Shloka 142
The Tale of the Five Pretas and the Glory of Puṣkara & the Eastern Sarasvatī
सरस्वती नदीं प्राप्य न स्नाने नियमः क्वचित् । भुक्ते वा न च वा भुक्ते दिवा वा यदि वा निशि
sarasvatī nadīṃ prāpya na snāne niyamaḥ kvacit | bhukte vā na ca vā bhukte divā vā yadi vā niśi
ເມື່ອໄປຮອດແມ່ນ້ຳສະຣັສວະຕີ ການອາບນ້ຳບໍ່ມີຂໍ້ຈຳກັດໃດໆ—ຈະກິນແລ້ວຫຼືຍັງບໍ່ກິນ ຈະເປັນກາງວັນຫຼືກາງຄືນກໍຕາມ
Unspecified in provided excerpt (context likely a narrator/teacher describing tīrtha-māhātmya of Sarasvatī)
Concept: At certain supremely sacred tīrthas, the act of snāna is universally permissible; grace is not blocked by minor procedural conditions.
Application: Do not postpone purification and prayer waiting for ‘perfect conditions’; begin where you are, and let consistency and sincerity carry the practice.
Primary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"A timeless ghat on the Sarasvatī welcomes all: a traveler arrives at midnight with a small lamp, while another bathes at noon under a blazing sun—both equally embraced by the river’s sanctity. The composition shows day and night in one frame, emphasizing ‘no restriction’ through a split-sky motif.","primary_figures":["pilgrims of different ages","river personification (subtle)","lamp-bearing traveler"],"setting":"stone steps into the river, small shrines, banyan and peepal trees, offerings floating on leaf-bowls","lighting_mood":"moonlit","color_palette":["midnight indigo","lamp-flame amber","silver moonlight","river teal","sandstone beige"],"tanjore_prompt":"Tanjore painting style: split composition showing day and night over the same Sarasvatī ghat, pilgrims bathing regardless of time, gold leaf used for lamp flames and divine river highlights, rich reds and greens in garments, ornate border with lotus and conch motifs, symmetrical shrine elements.","pahari_prompt":"Pahari miniature style: poetic dual-time scene with a crescent moon on one side and soft sun glow on the other, delicate ripples, pilgrims entering water with modest gestures, cool indigo-to-saffron gradient sky, fine brushwork and gentle naturalism.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized moon and sun sharing the sky, rhythmic figures bathing, patterned river waves, red-yellow-green palette with black contours, temple-wall border designs emphasizing auspiciousness.","pichwai_prompt":"Pichwai cloth painting style: decorative border of lotuses and vines, central river band with multiple small vignettes of pilgrims bathing day/night, deep blue ground with gold accents, peacocks and floral motifs, devotional textile aesthetic."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Durga","pace":"slow-meditative","voice_tone":"serene","sound_elements":["night insects","flowing water","soft bell","gentle conch","quiet footsteps on stone"]}
Sandhi Resolution Notes: सति-सप्तमी प्रयोगः: भुक्ते ... भुक्ते; विकल्प-समुच्चयः: वा/न च वा; पदविभागः यथालिखित।
FAQs
It states that bathing in the Sarasvatī is not bound by customary timing rules; it may be done regardless of meal status and regardless of day or night.
It highlights the Sarasvatī as a specially sanctifying river-tīrtha whose merit is presented as readily accessible, indicating a tradition of mapping sacred power onto specific rivers and places.
The verse emphasizes accessibility in religious practice: sincere approach to a sacred act (snāna at a tīrtha) is prioritized over rigid external constraints like timing or prior eating.