Shloka 55
The Origin of the Lauhitya River
and the King of Tīrthas
शंतनो क्षेत्र संजातस्त्वमोघागर्भसंभवः । विरिञ्चिना जितः कामः शांतनोरप्यमत्सरात्
śaṃtano kṣetra saṃjātastvamoghāgarbhasaṃbhavaḥ | viriñcinā jitaḥ kāmaḥ śāṃtanorapyamatsarāt
ឱ សន្តនុ អ្នកកើតពីក្សេត្រ (វាល/ដី) កើតចេញពីគភ៌របស់ អមោឃា។ សូម្បីតែ កាម (តណ្ហា) ក៏ត្រូវ វិរិញ្ចិ (ព្រះព្រហ្ម) ឈ្នះ; ហើយសន្តនុផងដែរ ដោយគ្មានចិត្តច嫉 ឈ្នះវាបាន។
Uncertain from single-verse context (likely a narrator/teacher addressing Śaṃtanu within the Sṛṣṭikhaṇḍa discourse).
Concept: Śravaṇa/pāṭha of tīrtha-māhātmya is itself a meritorious act; sacred geography is integrated into dharma through narrative remembrance.
Application: Keep a daily habit of reading/listening to a small portion of Purāṇa or tīrtha-māhātmya; treat sacred stories as a discipline of attention and gratitude.
Primary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"A manuscript-ending scene: palm-leaf folios or birch-bark pages rest on a low wooden desk beside a small river altar, where the Lauhitya flows in the distance under a calm sky. A scribe’s stylus and ink-pot lie still, while a subtle divine aura suggests the text itself as a tīrtha of sound.","primary_figures":["Purāṇic scribe (lekhaka)","Personified River Lauhitya (as a gentle river-deity)"],"setting":"Riverside hermitage study corner with manuscript desk, prayer items, and the broad river beyond.","lighting_mood":"golden dawn","color_palette":["burnt umber","river jade","parchment beige","soft gold","sky blue"],"tanjore_prompt":"Tanjore painting style: ornate manuscript colophon scene with a river-deity of Lauhitya emerging from stylized waves, gold leaf highlights on the manuscript border, rich red-green textiles on the desk cloth, temple-lamp glow, decorative lotus and conch motifs framing the chapter title in calligraphic Devanagari.","pahari_prompt":"Pahari miniature style: quiet hermitage desk with palm-leaf manuscript, distant Lauhitya river winding through green plains; delicate lines, cool blues and greens, fine floral borders, a small river-deity figure rendered with gentle expression and minimal gold accents.","kerala_mural_prompt":"Kerala mural style: stylized river waves with a calm river-deity, manuscript and stylus in the foreground; bold outlines, flat pigments, symmetrical border patterns, warm yellow-red background with green-blue river band.","pichwai_prompt":"Pichwai cloth painting style: decorative border of lotuses and flowing-water motifs; central panel shows the Lauhitya as a ribbon of blue with gold highlights, manuscript colophon medallion, intricate floral filigree and conch-shell accents, deep indigo ground with gold script-like ornamentation."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["flowing water","soft bell at chapter end","brief conch flourish"]}
Sandhi Resolution Notes: संजातस्त्वम् = संजातः + त्वम्; विरिञ्चिना जितः = instrumental agent; शांतनोरपि = शांतनोः + अपि.
FAQs
Viriñci is a common epithet of Brahmā. He is cited as an exemplar of mastery over kāma (desire), reinforcing the ethical ideal of self-restraint.
Amatsara means freedom from envy or jealousy. The verse frames it as a condition that supports conquering desire and maintaining inner steadiness.
It blends both: it references birth/origin (Śaṃtanu arising from Amoghā’s womb/‘field’) while drawing an ethical lesson about conquering desire through non-jealousy.