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Skanda Purana — Kashi Khanda, Shloka 94

अवाक्छिराः प्रलंबेद्यः शतसंवत्सरान्नरः । भीष्मसूवालुकातल्पशयस्तस्माद्वरो हरे

avākchirāḥ pralaṃbedyaḥ śatasaṃvatsarānnaraḥ | bhīṣmasūvālukātalpaśayastasmādvaro hare

ولو علّق الإنسان رأسه إلى أسفل مئة سنة، أو اضطجع على فراشٍ رهيبٍ من الرمل، فإن ما هو أسمى من تلك التَّقشّفات، يا هارا، هو النعمة المرتبطة بالغانغا المقدّسة.

अवाक्downwards
अवाक्:
Sambandha (Adverbial modifier)
TypeIndeclinable
Rootअवाक् (अव्यय/उपसर्गवत्)
Formदिशावाचक-अव्यय (adverb: ‘downwards’)
शिराःhead
शिराः:
Karta (Subject/कर्ता)
TypeNoun
Rootशिरस् (प्रातिपदिक)
Formनपुंसकलिङ्ग, प्रथमा (1st/Nominative), एकवचन; अवाक् इत्यनेन सह क्रियाविशेषणभाव (head down)
प्रलम्बेत्should hang (down)
प्रलम्बेत्:
Kriya (Action/क्रिया)
TypeVerb
Rootलम्ब् (धातु)
Formविधिलिङ् (Optative), तृतीयपुरुष (3rd person), एकवचन; आत्मनेपद
यःwho
यः:
Karta (Subject/कर्ता)
TypeNoun
Rootयद् (सर्वनाम-प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st/Nominative), एकवचन; सम्बन्धक
शतसंवत्सरान्for a hundred years
शतसंवत्सरान्:
Karma (Extent/measure as object)
TypeNoun
Rootशत + संवत्सर (प्रातिपदिक)
Formद्विगु-समास (numerical compound): शतं संवत्सराः; पुंलिङ्ग, द्वितीया (2nd/Accusative), बहुवचन (कालपरिमाण)
नरःa man
नरः:
Karta (Subject/कर्ता)
TypeNoun
Rootनर (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st/Nominative), एकवचन
भीष्मसूवालुकातल्पशयःone who lies on a bed of scorching sand
भीष्मसूवालुकातल्पशयः:
Karta (Subject/कर्ता)
TypeNoun
Rootभीष्म + सू + वालुका + तल्प + शय (प्रातिपदिक)
Formबहुपद-तत्पुरुष (determinative chain): भीष्मं सूयते/सह्यते इति (भीष्मसू) + वालुकातल्पे शयः; पुंलिङ्ग, प्रथमा (1st/Nominative), एकवचन
तस्मात्than that, from that
तस्मात्:
Apadana (Ablative/source/अपादान)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formपुं/नपुंसक, पञ्चमी (5th/Ablative), एकवचन
वरःbetter, superior
वरः:
Pradhana-visheshana (Predicate qualifier)
TypeAdjective
Rootवर (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st/Nominative), एकवचन; विधेय-विशेषण
हरेO Hari
हरे:
Sambodhana (Address/सम्बोधन)
TypeNoun
Rootहरि (प्रातिपदिक)
Formपुंलिङ्ग, सम्बोधन (8th/Vocative), एकवचन

Skanda

Tirtha: Gaṅgā (as superior ‘vara’ to tapas)

Type: ghat

Listener: Hara (Śiva) addressed

Scene: Dramatic ascetic scenes—one hanging upside down from a tree/cliff; another lying on a harsh sandy bed—juxtaposed with tranquil Gaṅgā flow and Śiva’s compassionate gaze, implying Gaṅgā’s superior boon.

H
Hara (Śiva)
G
Gaṅgā

FAQs

The Purāṇa elevates Gaṅgā’s sanctity above harsh bodily mortifications, highlighting compassionate purification.

Gaṅgā-tīrtha, within the Kāśī-centered praise of the Kāśīkhaṇḍa.

No direct prescription; examples of severe tapas are used as contrasts to Gaṅgā’s superior merit.