Shloka 11
Episode of Vena: The Power of Association and Revā (Narmadā) Tīrtha
सूत उवाच । लुब्धकाश्च महापापाः संजाता दासधीवराः । रेवा च यमुना गंगास्तासामंभसि संस्थिताः
sūta uvāca | lubdhakāśca mahāpāpāḥ saṃjātā dāsadhīvarāḥ | revā ca yamunā gaṃgāstāsāmaṃbhasi saṃsthitāḥ
スータは言った。「貪欲で大いなる罪を負う者たちは、奴隷や漁夫（ディーヴァラ）となって生まれ、レーヴァー、ヤムナー、ガンガーの水に住まった。」
Sūta
Concept: Greed and grave sin precipitate degraded births and servitude; karma manifests socially and bodily.
Application: Treat lobha (greed) as a daily sādhanā target: simplify consumption, practice dana, and avoid exploitative livelihood.
Primary Rasa: karuna
Secondary Rasa: bibhatsa
Type: river
Visual Art Cues: {"scene_description":"On a broad river confluence, shadowed figures—once wealthy but now broken by greed—stand waist-deep, clutching fishing nets and oars. Above them, the rivers shimmer with an otherworldly sanctity, suggesting that even in degradation the waters hold a hidden promise of cleansing.","primary_figures":["Sūta (as narrator figure)","fallen fishermen/slaves","personified river goddesses (Revā, Yamunā, Gaṅgā)"],"setting":"Riverbank with reeds, small boats, nets, and distant ghats; subtle divine forms rising from the waters.","lighting_mood":"overcast-to-divine radiance (a thin beam of light on the water)","color_palette":["slate gray","river jade","mud brown","pale gold","indigo"],"tanjore_prompt":"Tanjore painting style: riverbank tableau with three personified river goddesses emerging from stylized waves, gold leaf halos and ornate crowns; below, humbled fishermen with nets and small boats, rich vermilion and emerald accents, gem-studded jewelry on the deities, South Indian iconographic symmetry, heavy gold leaf on the water’s highlights.","pahari_prompt":"Pahari miniature style: lyrical riverscape with delicate brushwork, soft mist over the water, small figures of fishermen in subdued tones, and faint celestial river-deities in translucent veils; cool palette with Himalayan-style atmospheric depth and refined facial features.","kerala_mural_prompt":"Kerala mural style: bold black outlines, flat yet vibrant river bands, three river-deities with large expressive eyes and elaborate headgear; humbled human figures in earthy pigments at the bottom register; temple-wall composition with red/yellow/green dominance and rhythmic wave motifs.","pichwai_prompt":"Pichwai cloth painting style: sacred river as a decorative field of lotus motifs and flowing patterns; personified Gaṅgā-Yamunā-Revā framed by intricate floral borders; small narrative vignettes of fishermen at the margins; deep blues, gold detailing, and stylized water-lotus geometry."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["flowing water","distant temple bells","oar splashes","low wind","conch shell (faint)"]}
Sandhi Resolution Notes: लुब्धकाः+च→लुब्धकाश्च; गंगाः+तासाम्→गंगास्तासाम्; तासाम्+अंभसि→तासामंभसि.
FAQs
It names them explicitly as major tīrtha-rivers and frames them as inhabited places, reinforcing their prominence in Purāṇic sacred geography.
It links greed and grave sin with a degraded social condition—becoming slaves and fishermen—presenting moral causality as a driver of rebirth and circumstance.
That unchecked greed (lobha) and major wrongdoing have tangible consequences, urging self-restraint and righteous conduct as safeguards against downfall.