यस्मिन्वसेः क्षणमहोपुरुषे गजेऽश्वे स्त्रैणे तृणे सरसि देवकुले गृहेऽन्ने । रत्ने पतत्त्रिणि पशौ शयने धरायां सश्रीकमेव सकले तदिहास्तिनान्यत्
yasminvaseḥ kṣaṇamahopuruṣe gaje'śve straiṇe tṛṇe sarasi devakule gṛhe'nne | ratne patattriṇi paśau śayane dharāyāṃ saśrīkameva sakale tadihāstinānyat
Saan ka manahan—kahit sandali—sa tao, sa elepante o kabayo, sa babae, sa damo, sa lawa, sa angkang banal, sa tahanan, sa pagkain, sa hiyas, sa mga ibon, sa mga baka, sa higaan, o sa ibabaw ng lupa—ang lahat doon ay napupuspos ng Śrī, ng kasaganaan. Sa daigdig na ito, wala nang ibang pinagmumulan ng pagpapala kundi Ikaw.
Agastya (stuti, contextually in Kāśīkhaṇḍa narrative)
Tirtha: Kāśī-kṣetra
Type: kshetra
Scene: A panoramic montage showing Lakṣmī’s subtle presence in many forms: in a noble person, elephant, horse, woman, grass, lake, home, food, jewels, birds, cattle, bed, and the earth—each scene glowing with a faint lotus-gold aura indicating Śrī’s indwelling.
Auspiciousness is not accidental; it is the presence of Śrī/Lakṣmī—cultivated through devotion and right living.
The teaching is embedded in Kāśīkhaṇḍa’s Kāśī setting, where worship and remembrance are said to yield heightened spiritual merit.
No explicit rite; the verse supports continual reverence to Lakṣmī as the source of all śrī (prosperity).