Shloka 55
The Origin of the Lauhitya River
and the King of Tīrthas
शंतनो क्षेत्र संजातस्त्वमोघागर्भसंभवः । विरिञ्चिना जितः कामः शांतनोरप्यमत्सरात्
śaṃtano kṣetra saṃjātastvamoghāgarbhasaṃbhavaḥ | viriñcinā jitaḥ kāmaḥ śāṃtanorapyamatsarāt
أنتَ يا شَنتانو وُلدتَ من الحقل (كشيترا)، من رحم أموغا. وقد قهر فيرينچي (براهما) كاما (الشهوة)، وكذلك شَنتانو، إذ كان منزّهًا عن الحسد، غلبها.
Uncertain from single-verse context (likely a narrator/teacher addressing Śaṃtanu within the Sṛṣṭikhaṇḍa discourse).
Concept: Śravaṇa/pāṭha of tīrtha-māhātmya is itself a meritorious act; sacred geography is integrated into dharma through narrative remembrance.
Application: Keep a daily habit of reading/listening to a small portion of Purāṇa or tīrtha-māhātmya; treat sacred stories as a discipline of attention and gratitude.
Primary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"A manuscript-ending scene: palm-leaf folios or birch-bark pages rest on a low wooden desk beside a small river altar, where the Lauhitya flows in the distance under a calm sky. A scribe’s stylus and ink-pot lie still, while a subtle divine aura suggests the text itself as a tīrtha of sound.","primary_figures":["Purāṇic scribe (lekhaka)","Personified River Lauhitya (as a gentle river-deity)"],"setting":"Riverside hermitage study corner with manuscript desk, prayer items, and the broad river beyond.","lighting_mood":"golden dawn","color_palette":["burnt umber","river jade","parchment beige","soft gold","sky blue"],"tanjore_prompt":"Tanjore painting style: ornate manuscript colophon scene with a river-deity of Lauhitya emerging from stylized waves, gold leaf highlights on the manuscript border, rich red-green textiles on the desk cloth, temple-lamp glow, decorative lotus and conch motifs framing the chapter title in calligraphic Devanagari.","pahari_prompt":"Pahari miniature style: quiet hermitage desk with palm-leaf manuscript, distant Lauhitya river winding through green plains; delicate lines, cool blues and greens, fine floral borders, a small river-deity figure rendered with gentle expression and minimal gold accents.","kerala_mural_prompt":"Kerala mural style: stylized river waves with a calm river-deity, manuscript and stylus in the foreground; bold outlines, flat pigments, symmetrical border patterns, warm yellow-red background with green-blue river band.","pichwai_prompt":"Pichwai cloth painting style: decorative border of lotuses and flowing-water motifs; central panel shows the Lauhitya as a ribbon of blue with gold highlights, manuscript colophon medallion, intricate floral filigree and conch-shell accents, deep indigo ground with gold script-like ornamentation."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["flowing water","soft bell at chapter end","brief conch flourish"]}
Sandhi Resolution Notes: संजातस्त्वम् = संजातः + त्वम्; विरिञ्चिना जितः = instrumental agent; शांतनोरपि = शांतनोः + अपि.
FAQs
Viriñci is a common epithet of Brahmā. He is cited as an exemplar of mastery over kāma (desire), reinforcing the ethical ideal of self-restraint.
Amatsara means freedom from envy or jealousy. The verse frames it as a condition that supports conquering desire and maintaining inner steadiness.
It blends both: it references birth/origin (Śaṃtanu arising from Amoghā’s womb/‘field’) while drawing an ethical lesson about conquering desire through non-jealousy.