Shloka 83
Tīrtha-Māhātmya Sequence: Sacred Fords, Baths, Gifts, and Śrāddha
Narmadā-Belt Itinerary
तत्र स्नात्वा तु राजेंद्र शुचिर्भूत्वा समाहितः । बहुभिर्नागकन्याभिः क्रीडते कालमक्षयम्
tatra snātvā tu rājeṃdra śucirbhūtvā samāhitaḥ | bahubhirnāgakanyābhiḥ krīḍate kālamakṣayam
فإذا اغتسل هناك، أيها الملك، صار طاهرًا ثابتَ القلب؛ ويلاعب كثيرًا من فتيات الناغا، فيمضي زمنًا لا ينفد.
Unspecified (narrative voice addressing the king, “rājendra”)
Concept: Ritual bathing yields śauca and samādhāna (composure), which in Purāṇic phala-language manifests as extended celestial enjoyment.
Application: Use purification practices to cultivate mental steadiness; interpret 'rewards' as incentives but keep the ultimate aim (devotion/liberation) clear.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"At the Nāgeśvara tīrtha, the kingly pilgrim emerges from the water with a calm, luminous face, droplets catching light like pearls. Around him, nāga-kanyās—half-divine maidens with subtle serpent-ornament motifs—dance and play with lotus garlands, while the tapovana’s ascetic stillness frames the scene in paradoxical serenity.","primary_figures":["a purified pilgrim/king","nāga-kanyās","forest sages (distant, witnessing)"],"setting":"sacred bathing pool within a forest of austerities; lotus-filled water, stone steps, small Nāgeśvara shrine with serpent canopy emblem","lighting_mood":"moonlit","color_palette":["pearl white","emerald green","lotus pink","silver blue","smoky violet"],"tanjore_prompt":"Tanjore painting style: Moonlit Nāgeśvara tīrtha with gold leaf moon halo; purified king with jeweled crown set aside, wearing simple cloth; nāga-kanyās in rich silks and gem ornaments, stylized serpent motifs in jewelry; embossed gold on lotuses and water ripples; devotional-royal grandeur with ornate arch framing the shrine.","pahari_prompt":"Pahari miniature style: Elegant moonlit pool in a quiet grove; delicate nāga-kanyās with refined faces and translucent veils; the bather stands composed; cool silvers and greens; lyrical lotuses; distant hermitage smoke to balance sensuality with ascetic context.","kerala_mural_prompt":"Kerala mural style: Bold outlines; rhythmic dance poses of nāga-kanyās; patterned water bands; shrine with serpent canopy; warm reds/yellows/greens with a dark blue night field; expressive eyes and temple-wall composition.","pichwai_prompt":"Pichwai cloth painting style: Central lotus pond with intricate floral borders; nāga-kanyās arranged in symmetrical dance circles; deep indigo background with gold highlights; peacocks and lotuses; small Nāgeśvara shrine vignette; ornate textile detailing emphasizing 'akṣaya-kāla' timeless festivity."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["water dripping","anklet bells","soft flute","night insects"]}
Sandhi Resolution Notes: शुचिर्भूत्वा = शुचिः + भूत्वा; बहुभिर्नागकन्याभिः = बहुभिः + नागकन्याभिः; कालमक्षयम् = कालम् + अक्षयम्.
FAQs
It presents bathing there as producing inner and outer purity (śuci) and mental composure (samāhita), implying spiritual refinement as the immediate fruit.
Nāgakanyāḥ are mythic nāga (serpent) maidens—celestial or semi-divine beings associated with nāga realms—often depicted as attendants or companions in wondrous locales.
The phrase frames the locale as a realm of sustained enjoyment beyond ordinary human limitations, contrasting worldly time-bound pleasure with a more enduring, otherworldly experience.