Shloka 30
The Deeds of Cyavana
in the Context of Guru-tirtha Glorification
देवद्रीची वीरवाहा लक्षहोमा अघापहा । पाराशरी हेमगर्भा सुभद्रा वसुपुत्रिका
devadrīcī vīravāhā lakṣahomā aghāpahā | pārāśarī hemagarbhā subhadrā vasuputrikā
দেৱদ্ৰীচী, বীৰবাহা, লক্ষহোমা—পাপহৰা; পাৰাশৰী, হেমগৰ্ভা, সুভদ্ৰা আৰু বসুপুত্ৰিকা—এই (তাঁৰ) নাম।
Unspecified (context-dependent list of epithets within the Bhūmi-khaṇḍa narrative)
Concept: Sacred waters are compassionate agents of purification; approaching them with śraddhā transforms one’s karmic burden into renewed dharmic resolve.
Application: Use bathing/cleaning as a mindful reset: pair physical cleansing with a vow to abandon one harmful habit; dedicate the act to Nārāyaṇa.
Primary Rasa: adbhuta
Secondary Rasa: vira
Visual Art Cues: {"scene_description":"A majestic river-goddess titled Aghāpahā stands with a calm, heroic gaze, her flowing sari turning into a river current that washes away dark ink-like stains from devotees’ feet. Behind her, Hemagarbhā is depicted as a luminous golden aura within a lotus-womb motif, suggesting auspicious rebirth and renewed vows.","primary_figures":["Nadī-devī as Aghāpahā","Nadī-devī as Hemagarbhā","Devotees seeking purification","A sage guiding the rite"],"setting":"Wide river ghat with stone steps, small shrines, and offerings of lamps and flowers; distant banyan and peepal trees.","lighting_mood":"golden dawn","color_palette":["river teal","sunrise gold","lotus coral","stone gray","ivory white"],"tanjore_prompt":"Tanjore painting style: central nadī-devī with gold-leaf halo labeled ‘Aghāpahā’, holding a kalaśa and lotus; devotees at her feet with offerings; Hemagarbhā suggested as a gold-embossed lotus-womb aureole behind; rich reds/greens, gem-like ornamentation, ornate arch and heavy gold leaf detailing.","pahari_prompt":"Pahari miniature style: serene dawn at a ghat, delicate figures bathing; the river-goddess appears subtly above the water with soft translucence; fine brushwork, cool-teal water, warm dawn gradient, refined faces, minimal ornament but lyrical grace.","kerala_mural_prompt":"Kerala mural style: symmetrical composition with nadī-devī front-facing, bold outlines, patterned garments; stylized waves at the base washing away dark motifs representing pāpa; strong red/yellow/green palette with black contouring and temple-wall texture.","pichwai_prompt":"Pichwai cloth painting style: ghat scene framed by intricate lotus borders; the river rendered as patterned blue with gold wave-lines; devotees offering lamps; central goddess with ornate floral halo; peacocks and cows at margins for auspiciousness, dense decorative detailing."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Desh","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["flowing water","morning birds","soft bells","lamp flames","gentle conch"]}
Sandhi Resolution Notes: (सन्धि-विशेषः न दृश्यते)
FAQs
It functions as a stotra-like enumeration of names/epithets—invocatory titles used for remembrance, praise, and merit (puṇya), rather than a narrative statement.
“Aghāpahā” means “remover of sin,” expressing the Purāṇic idea that devotion, praise, and sacred association (often via a deity, goddess, or tīrtha) can cleanse moral and ritual impurities and reorient one toward dharma.
Multiple names encode different attributes, lineages, and powers; reciting them is treated as a focused devotional practice (nāma-smaraṇa) and a compact way to transmit theology and sacred identity.