Padma Purana — Bhumi Khanda, Shloka 31
Glory of Guru-tīrtha: Mānasarovara Marvels and the Revā Confluence
आतपेनाकुलो जीवो मम जातोति सुप्रिये । अस्मिन्वै संगमे कांते श्रमश्रांतो हि सत्वरः
ātapenākulo jīvo mama jātoti supriye | asminvai saṃgame kāṃte śramaśrāṃto hi satvaraḥ
„O Geliebte, mein Leben ist durch die glühende Hitze bedrängt. An diesem Saṅgama, Teure, bin ich rasch müde und erschöpft vom Mühen geworden.“
Unspecified (a male speaker addressing a beloved woman as ‘supriye/kānte’)
Concept: Spiritual pursuit often includes bodily strain; acknowledging fatigue becomes the doorway to receiving sacred remedy (snāna/pāna) and grace.
Application: When overwhelmed (heat, stress), pause, admit limitation, and seek a ‘cooling confluence’—a restorative practice like prayer, water, or a brief sacred routine rather than pushing blindly.
Primary Rasa: karuna
Secondary Rasa: shringara
Type: tirtha
Visual Art Cues: {"scene_description":"A traveler speaks to his beloved under a blazing sky, sweat and dust on his brow, the river’s distant shimmer promising relief. The confluence lies ahead like a cool ribbon, while the beloved steadies him with compassionate attention.","primary_figures":["a weary pilgrim-husband","beloved wife (kāntā/supriyā)","distant pilgrims"],"setting":"Sun-scorched riverbank path leading to a saṅgama; sparse shade from a lone banyan; clay water-pot and walking staff","lighting_mood":"harsh midday sun softened by river-glare","color_palette":["sun-bleached sand","burnt umber","pale turquoise","white cotton","vermillion accent"],"tanjore_prompt":"Tanjore painting style: the weary pilgrim addresses his beloved beneath a stylized blazing sun; the Narmadā saṅgama glints with gold leaf highlights; rich red-green textiles, ornate jewelry on the wife, embossed gold on the horizon heat-haze, devotional undertone with a small Viṣṇu symbol on a roadside shrine.","pahari_prompt":"Pahari miniature style: intimate couple scene with delicate lines; heat shown through pale washes and sparse trees; the river’s cool turquoise in the distance; refined facial expressions conveying fatigue and tenderness; gentle landscape gradients.","kerala_mural_prompt":"Kerala mural style: bold outlines, warm red/yellow background for heat; the couple in frontal stylization with expressive eyes; the river as a cool green-blue band; minimal but iconic props (kamaṇḍalu, staff).","pichwai_prompt":"Pichwai cloth painting style: decorative border of sun motifs and lotuses; the couple foregrounded, with stylized water patterns leading to the saṅgama; peacocks seeking shade; deep blue river contrasted with warm ochres, intricate floral filigree."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["cicadas","hot wind","distant flowing water","soft ankle bells"]}
Sandhi Resolution Notes: आतपेनाकुलो→आतपेन आकुलः; जातोति→जातः इति; अस्मिन्वै→अस्मिन् वै; श्रमश्रांतो→श्रमश्रान्तः
FAQs
The verse does not name the speaker; it is a direct speech addressed to a beloved woman (“supriye”, “kānte”), so the speaker is context-dependent within Adhyaya 89.
It expresses physical distress from heat and the speaker’s immediate fatigue during a meeting/encounter, using affectionate address to the listener.
Not explicitly; it primarily conveys an emotional-physical state within a narrative/dialogue, and any theological or ethical lesson depends on the surrounding context of Adhyaya 89.