Shloka 94
Merit of Causeways and Crossings, Temple Construction Rewards, and the Rudrākṣa Mahātmya
अतस्तु गणिकां स्पृष्ट्वा नरः स्नानाद्विशुध्यति । मलिनां दुर्गतिं याति बहुपूरुषसंश्रयात्
atastu gaṇikāṃ spṛṣṭvā naraḥ snānādviśudhyati | malināṃ durgatiṃ yāti bahupūruṣasaṃśrayāt
Darum wird ein Mann, der eine Kurtisane berührt hat, durch ein Bad gereinigt; sie jedoch, durch die Abhängigkeit von vielen Männern befleckt, gelangt in einen unglückseligen Zustand.
Unspecified (narrative voice within Adhyāya 59; speaker not explicitly identified from the provided excerpt).
Concept: Ritual purity can be restored through snāna for the toucher, while sustained entanglement in adharma is portrayed as spiritually corrosive.
Application: When one errs, take concrete steps to cleanse and reset—bathe, pray, seek ethical repair—while also addressing patterns that perpetuate harm.
Primary Rasa: bibhatsa
Secondary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"At a quiet riverbank, a man steps into cool water at dawn, palms joined, as ripples carry away symbolic darkness. On the far bank, a distant figure sits alone under a withered tree, suggesting the heavier karmic burden of repeated entanglement; the scene contrasts immediate cleansing with long-term consequence.","primary_figures":["a penitent man","river goddess presence (subtle, symbolic)","a distant solitary woman figure (allegorical)"],"setting":"River ghat with stone steps, small shrine, water pots, and morning mist; a boundary between near-bank ritual and far-bank solitude.","lighting_mood":"golden dawn","color_palette":["mist pearl","river teal","sunrise gold","sandalwood beige","soft crimson"],"tanjore_prompt":"Tanjore painting style: dawn snāna at a ghat with gold-leaf sun halo, ornate water pots and small shrine, penitent figure in añjali; rich reds/greens with gold embellishment, stylized waves and lotus motifs, devotional clarity.","pahari_prompt":"Pahari miniature style: delicate river landscape with pale mist, fine ripples, and a small ghat; expressive yet restrained figures, cool blues and soft golds, lyrical naturalism emphasizing purification and moral reflection.","kerala_mural_prompt":"Kerala mural style: bold outlined river-goddess symbolism, penitent figure performing snāna, stylized lotuses and waves; natural pigments with red/yellow/green dominance, temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: riverbank framed by lotus borders and floral filigree; central figure bathing with devotional posture, peacocks and lotuses as purity symbols, deep blues with gold highlights."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"serene","sound_elements":["flowing water","morning birds","soft temple bell","silence between lines"]}
Sandhi Resolution Notes: atastu = atas + tu; snānādviśudhyati = snānāt + viśudhyati (t + v → d + v); bahupūruṣasaṃśrayāt treated as tatpuruṣa compound in pañcamī singular.
FAQs
It frames snāna (ritual bathing) as a means of restoring purity (śauca) for the man after physical contact, reflecting a dharma-śāstra-like concern with purity rules.
It presents a moralized judgment that her dependence on many men is spiritually degrading, contrasting her fate with the man’s ability to regain purity through bathing.
Not directly; it is primarily an ethical/purity-rule statement rather than a devotional (bhakti) or doctrinal exposition.