Shloka 78
Mārkaṇḍeya’s Birth and Boon; Puṣkara’s Glory; Rāma’s Śrāddha; Refuge-Hymn to Śiva
देवरातः शमीकश्च षडेते वै द्विजोत्तमाः । श्राद्धे च ते महाबाहो संभारांस्त्वमुपाहर
devarātaḥ śamīkaśca ṣaḍete vai dvijottamāḥ | śrāddhe ca te mahābāho saṃbhārāṃstvamupāhara
دیورآت اور شمیک—یہ چھے ہی یقیناً دِوِجوں میں افضل ہیں۔ اور شرادھ کے لیے، اے قوی بازو! تم ضروری سامان مہیا کر کے لے آؤ۔
Unspecified in the provided excerpt (context needed from surrounding verses).
Concept: Śrāddha succeeds through proper recipients (dvijottamas) and complete, timely ritual materials.
Application: When performing family rites or charity, prioritize integrity: choose worthy recipients, prepare thoughtfully, and treat obligations to elders/ancestors as sacred service.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A disciplined householder stands in a courtyard altar-space, respectfully inviting revered dvijas named in the rite. Brass vessels, darbha grass, and neatly arranged offering trays signal meticulous śrāddha preparation, while a calm, ancestral presence is suggested through subtle, translucent silhouettes near the fire.","primary_figures":["gṛhastha yajamāna","dvijottama brāhmaṇas (Devarāta, Śamīka and others)","pitṛs (subtle, ethereal presence)"],"setting":"A traditional āśrama-courtyard with a small vedi, darbha mats, water pots, and offering plates; sacred thread and ritual implements prominently placed.","lighting_mood":"temple lamp-lit","color_palette":["sandalwood beige","smoke gray","copper bronze","ivory white","deep maroon"],"tanjore_prompt":"Tanjore painting style: a śrāddha courtyard scene with the yajamāna offering arghya to seated dvijottamas, gold leaf highlighting the vedi, brass vessels, and sacred thread; rich reds and greens in textiles, gem-studded ornaments on ritual vessels, traditional South Indian iconographic symmetry, faint golden aura suggesting pitṛ presence.","pahari_prompt":"Pahari miniature style: delicate śrāddha gathering in an āśrama courtyard, refined faces of brāhmaṇas, soft earth-tones, detailed darbha grass and copper pots, lyrical trees framing the scene, gentle atmospheric perspective and calm compositional balance.","kerala_mural_prompt":"Kerala mural style: bold black outlines of the yajamāna and brāhmaṇas seated on mats, stylized ritual vessels, warm red/yellow/green pigments, large expressive eyes, temple-wall aesthetic with a subtle haloed suggestion of pitṛs behind the vedi.","pichwai_prompt":"Pichwai cloth painting style: a devotional domestic ritual scene bordered by intricate floral patterns and lotus motifs; central śrāddha vedi with offerings, peacocks in the border, deep blues and gold accents; Vaishnava undertone with a small Śālagrāma/Viṣṇu symbol on the altar cloth."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","low fire crackle","water poured into a copper lota","distant birds"]}
Sandhi Resolution Notes: शमीकश्च = शमीकः + च; षडेते = षट् + एते; संभारांस्त्वम् = संभारान् + त्वम्.
FAQs
It frames śrāddha as a formal dharmic rite requiring proper preparation (saṃbhāra) and the involvement of qualified dvijas (dvijottamāḥ), emphasizing ritual correctness and respect for learned Brahmins.
They are named as exemplary “twice-born” (dvijottamāḥ). The verse itself does not supply further identification; confirming their exact role requires the surrounding narrative context of Adhyaya 33.
It highlights responsibility and diligence in performing ancestral duties: one should not treat śrāddha casually, but prepare the rite properly and honor the worthy recipients involved in the ritual.