Shloka 144
Brahmā’s Puṣkara Sacrifice: Ṛtvij System, Sāvitrī’s Reconciliation, Tīrtha-Catalogue, Śrāddha & Initiation Rites, and Vrata Fruits
सामवेदस्तथा यज्ञे मधुरे मधुरप्रियः । अंकोटे यज्ञभोक्ता च ब्रह्मवादे सुरप्रियः
sāmavedastathā yajñe madhure madhurapriyaḥ | aṃkoṭe yajñabhoktā ca brahmavāde surapriyaḥ
یَجْیَہ میں میں سام وید ہوں؛ مٹھاس میں میں مدھُر پریہ، شیرینی کا عاشق ہوں۔ اَنگکوٹ میں میں یَجْیَہ بھوکتا، یَجْیَہ کا بھوگ قبول کرنے والا ہوں؛ اور برہمن کے وِواد میں میں دیوتاؤں کو محبوب ہوں۔
Unspecified in the provided excerpt (context needed from surrounding verses in Adhyaya 34).
Concept: Vishnu is both the Sāma Veda within sacrifice and the relish (rasa) within sweetness; He is the true yajña-bhoktā and the beloved of devas in brahma-vāda.
Application: Perform duties and rituals without mechanical pride—offer the ‘sweetness’ of speech and conduct to the Lord; keep discourse on Brahman free from ego and sectarian harshness.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A fire-altar blazes in a serene sacrificial hall as the Sāma Veda rises like luminous musical notation—golden syllables spiraling into the sky. Vishnu appears subtly as the inner enjoyer: a radiant presence seated within the flame, receiving offerings that transform into nectar-like sweetness, while devas listen to a calm brahma-vāda in the background.","primary_figures":["Vishnu (as Yajña-bhoktā)","Vedic priests (udgātṛ)","devas as listeners","sages engaged in brahma-vāda"],"setting":"Sacrificial pavilion with vedi, ladles, soma vessels, and a side assembly for philosophical discourse.","lighting_mood":"temple lamp-lit","color_palette":["saffron orange","smoke gray","golden amber","deep maroon","turquoise"],"tanjore_prompt":"Tanjore painting style: Vishnu enthroned within a stylized yajña-flame, Sāma Veda syllables rendered as gold-leaf calligraphy curling upward; priests in rich red-green garments offering ghee; devas with jeweled crowns listening to brahma-vāda; heavy gold leaf on halos, altar ornaments, and borders, with gem-like highlights.","pahari_prompt":"Pahari miniature style: intimate yajña scene with delicate faces and fine textiles; soft firelight reflecting on copper vessels; faint musical swirls symbolizing Sāma; a quiet corner where sages debate brahman under a canopy; cool shadows and warm flame gradients, detailed flora beyond the pavilion.","kerala_mural_prompt":"Kerala mural style: bold outlines, flat pigments; central Vishnu as the sacrificial essence, framed by the vedi and symmetrical attendants; stylized flames and Vedic symbols; dominant red/yellow/green with black contouring and rhythmic patterning like Sāma chants.","pichwai_prompt":"Pichwai cloth painting style: a devotional yajña tableau with ornate floral borders; Vishnu as the hidden recipient, offerings turning into nectar droplets; peacocks and lotuses in the border; deep blue background with gold motifs, rhythmic repetition suggesting Sāma melody."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["Sāma chant (melodic)","crackling fire","temple bells (soft)","tanpura drone","conch shell (opening)"]}
Sandhi Resolution Notes: सामवेदस्तथा=सामवेदः+तथा.
FAQs
It presents a theological identification: the divine is described as present within Vedic revelation (Sāma Veda), ritual action (yajña), spiritual “sweetness,” and Brahman-discourse—suggesting an all-pervading sacred presence across practice and knowledge.
“Yajñabhoktā” means the one who receives/enjoys the offerings of sacrifice—i.e., the ultimate recipient of ritual merit and oblations, often understood as the supreme divine principle behind the devas.
It bridges all three: Karma (yajña), Jñāna (brahma-vāda), and a devotional aesthetic (madhura/madhurapriya), implying that the sacred can be approached through ritual, knowledge, and loving relish.