Shloka 19
The Glory of Guru-Tīrtha: The Guru as Supreme Pilgrimage
Prelude: Cyavana and the Parable Cycle
तीर्थयात्रां प्रयास्यामि अभीष्टफलदायिनीम् । गृहक्षेत्रादिसंत्यज्य भार्यां पुत्रं धनं ततः
tīrthayātrāṃ prayāsyāmi abhīṣṭaphaladāyinīm | gṛhakṣetrādisaṃtyajya bhāryāṃ putraṃ dhanaṃ tataḥ
«ខ្ញុំនឹងចេញដំណើរធ្វើទិរថយាត្រា ទៅកាន់ទីសក្ការៈ ដែលប្រទានផលតាមបំណង; ដោយបោះបង់ផ្ទះ ដីស្រែ និងអ្វីៗទាំងឡាយ ហើយសូម្បីប្រពន្ធ កូន និងទ្រព្យសម្បត្តិផងដែរ»
Unspecified in the provided excerpt (context needed from surrounding verses of Bhūmi-khaṇḍa 85).
Concept: Pilgrimage becomes transformative when paired with tyāga—releasing clinging to home, land, and even familial/wealth identity.
Application: Practice measured detachment: simplify possessions, reduce status-identity, and dedicate travel/ritual acts to spiritual growth rather than display.
Primary Rasa: vira
Secondary Rasa: shanta
Type: tirtha
Visual Art Cues: {"scene_description":"A pilgrim-king steps out of his palace gate, turning once to look back at family and wealth left behind, then fixing his gaze on a distant line of temples and riverbanks. His attendants fade into the background as he walks alone with a staff and water-pot, embodying heroic renunciation.","primary_figures":["pilgrim-king/seeker","wife and child (in the distance, symbolic)","temple priests or pilgrims (background)"],"setting":"city gate opening to a long pilgrimage road with way-side shrines, banyan trees, and distant ghats","lighting_mood":"golden dawn","color_palette":["saffron ochre","dusty rose","river-blue haze","bronze","ivory"],"tanjore_prompt":"Tanjore painting style: the king as pilgrim with staff and kamaṇḍalu departing a palace archway, gold leaf highlights on temple spires in the distance, rich maroon and emerald textiles, ornate borders with lotus and conch motifs, devotional Vaishnava iconography subtly present.","pahari_prompt":"Pahari miniature style: a lone traveler on a winding path, delicate architecture of a palace behind, soft dawn gradients, refined expressions of detachment, distant ghats and small shrines rendered with lyrical naturalism.","kerala_mural_prompt":"Kerala mural style: stylized departure scene with bold outlines, the pilgrim’s determined eyes, warm yellow-red palette, decorative creeper borders, simplified palace and shrine silhouettes emphasizing dharma-journey.","pichwai_prompt":"Pichwai cloth painting style: pilgrimage road framed by intricate floral borders, lotus and conch motifs, deep blue horizon with gold accents, peacocks near banyan roots, a small Viṣṇu shrine motif guiding the traveler."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["footsteps on stone","morning conch","temple bells","distant chanting"]}
Sandhi Resolution Notes: गृहक्षेत्रादिसंत्यज्य → गृहक्षेत्रादि + सन्त्यज्य.
FAQs
It presents pilgrimage (tīrtha-yātrā) as a spiritually potent act and links it with vairāgya—detachment from possessions and family ties—suggesting that inner renunciation strengthens sacred travel.
The verse uses strong renunciatory language; in Purāṇic contexts this often functions as an idealized statement of detachment. A full ethical reading depends on the surrounding narrative and the speaker’s life-stage (e.g., householder vs. renunciant).
It frames pilgrimage as “fruit-giving”—capable of granting sought-after outcomes—typically understood as merit (puṇya), purification, and spiritual progress, rather than merely worldly gain.