Shloka 36
Narmadā Pilgrimage Itinerary: Sequence of Tīrthas, Rites, and Fruits
यत्रेष्ट्वा बहुभिर्यज्ञैरिंद्रो देवाधिपोभवत् । तत्र स्नात्वा नरो राजन्नर्मदोदधिसंगमे
yatreṣṭvā bahubhiryajñairiṃdro devādhipobhavat | tatra snātvā naro rājannarmadodadhisaṃgame
ໂອ ພຣະຣາຊາ, ທີ່ນັ້ນເມື່ອໄດ້ບູຊາຍັດຍະຫຼາຍປະການ ອິນທຣະຈຶ່ງໄດ້ເປັນຈອມແຫ່ງເທວະທັງປວງ. ຜູ້ໃດອາບນ້ຳທີ່ນັ້ນ—ຈຸດສັງຄົມນະຣະມະດາກັບມະຫາສະມຸດ—ຈະໄດ້ບຸນອັນຍິ່ງໃຫຍ່.
Unknown (context not provided; likely a Purāṇic narrator addressing a king)
Concept: Great results arise from dharmic acts performed in sanctified space; tīrtha amplifies yajña and snāna alike.
Application: Choose ‘good contexts’ for good actions: do charity, vows, and reconciliation in environments that support sattva—temples, riversides, quiet mornings—so intention and setting reinforce each other.
Primary Rasa: vira
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"On the sandy edge where river meets sea, a grand yajña is underway: priests in white chant as ghee flames leap high, and Indra appears above the altar, crowned and radiant. The confluence waters glint behind, suggesting that the very geography feeds the sacrificial fire with unseen sanctity.","primary_figures":["Indra","Vedic priests (ṛtviks)","pilgrims at the confluence"],"setting":"Coastal sacrificial ground near the estuary, with a large vedi, ladles, kusa grass, banners, and the sea horizon beyond.","lighting_mood":"golden dawn","color_palette":["flame orange","sandalwood beige","sky blue","sea green","sun-gold"],"tanjore_prompt":"Tanjore painting style: Indra descending above a blazing yajña-vedi at the Narmadā–ocean confluence; thick gold leaf on Indra’s crown and halo, gold accents on flames and ritual vessels; richly patterned textiles, ornate borders, gem-like detailing on ornaments and altar implements.","pahari_prompt":"Pahari miniature style: refined yajña scene with delicate smoke curls, priests in rhythmic poses, Indra hovering in a soft cloud; cool coastal palette with warm fire center; fine linework on ritual tools and facial expressions, distant sea rendered in pale washes.","kerala_mural_prompt":"Kerala mural style: symmetrical altar composition; Indra with large expressive eyes and bold outlines; stylized flames and wave motifs; red-yellow-green pigments with deep blue sea band, temple-wall aesthetic framing.","pichwai_prompt":"Pichwai cloth painting style: central yajña altar surrounded by floral borders and repeated conch motifs; Indra icon above, confluence waters stylized with lotus patterns; dense ornamentation, deep blues and gold, rhythmic repetition of ritual objects like a textile mandala."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Durga","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["Vedic chant cadence","crackling fire","conch shell","ocean surf"]}
Sandhi Resolution Notes: यत्रेष्ट्वा = यत्र + इष्ट्वा; बहुभिर्यज्ञैः = बहुभिः + यज्ञैः; यज्ञैरिंद्रो = यज्ञैः + इन्द्रः; देवाधिपोभवत् = देवाधिपः + अभवत्; राजन्नर्मदोदधिसंगमे = राजन् + नर्मदा-उदधि-सङ्गमे
FAQs
It highlights a specific tīrtha: the saṅgama (meeting point) of the river Narmadā with the ocean, presenting it as a pilgrimage site where bathing is spiritually efficacious.
The verse primarily stresses yajña (sacrificial worship) and tīrtha-snāna (pilgrimage bathing). In Purāṇic theology these acts are framed as devotional practices when performed with reverence, linking sacred place, ritual, and divine grace.
It teaches that sustained sacred effort—ritual discipline (many yajñas) and purification practices (bathing at a tīrtha)—is presented as a means to attain elevated status and spiritual merit.