ताम्रा रस्याः पयोवाहाः पितृप्रीतिप्रदाः शभाः । सस्यमाला महासिन्धुर्दातुर्दात्री पृथुस्तुता । इन्द्रद्युम्नस्य कन्या च क्षितिजन्मा रावती
tāmrā rasyāḥ payovāhāḥ pitṛprītipradāḥ śabhāḥ | sasyamālā mahāsindhurdāturdātrī pṛthustutā | indradyumnasya kanyā ca kṣitijanmā rāvatī
تامرا، راسيا، بايوفاهَا، بيتṛبريتِبرَدا، شَبها؛ سَسْيَمَالا، مَهَاسِنْدْهُ، داتṛ، داتري، پṛثُستوتا؛ وابنةُ إندرَديومنَ، كْشِتِجَنما، وراڤتي—هذه أسماءٌ مقدّسة يُستحبّ تذكّرها.
Lomaharṣaṇa (Sūta), deduced from Māheśvarakhaṇḍa narrative style
Tirtha: Mahī (invoked through nāma-mālā)
Type: river
Listener: Pilgrims/householders
Scene: A sage-like figure (Pṛthu’s voice implied) enumerates river-names as a garland; each name appears as a small river-goddess vignette—Tāmrā, Rasyā, Payovāhā, Pitṛprītipradā, etc.—flowing into a single Mahī form.
Remembering and reciting the tīrtha’s sacred names is itself a dharmic act, linked with ancestral satisfaction and prosperity.
The Mahī tīrtha tradition (Mahī river and its confluence region), presented through a garland of sacred epithets.
Use these names as a nāma-mālā (name-list) for recitation in ritual contexts (expanded explicitly in the next verses).