Shloka 47
The Glory of Śrāddha at Sacred Fords and the Determination of the Kutapa Time
तथैव पंचतीर्थं च यत्र गोदावरी नदी । युता लिंगसहस्रेण सव्येतर जलावहा
tathaiva paṃcatīrthaṃ ca yatra godāvarī nadī | yutā liṃgasahasreṇa savyetara jalāvahā
Demikian juga ada Pañcatīrtha yang suci, tempat sungai Godāvarī mengalir—disertai seribu liṅga—membawa air di tebing kiri dan kanan.
Unspecified in the provided excerpt (context needed to confirm the dialogue pair for Adhyaya 11).
Concept: Sacred geography is layered: a great river becomes even more potent when embedded in a dense field of consecrated symbols (liṅgas) and multiple bathing points (pañca-tīrtha).
Application: Approach pilgrimage as inner purification: bathe with mindfulness, avoid harm and arrogance, and let the sight of sacred symbols (temples, liṅgas, tulasī, śālagrāma) deepen humility and devotion.
Primary Rasa: adbhuta
Secondary Rasa: vira
Type: tirtha
Visual Art Cues: {"scene_description":"The Godāvarī sweeps through a wide sacred bend where five distinct bathing ghats form the Pañcatīrtha, each marked by lamps and small shrines. Along both banks stretches a ‘forest’ of a thousand liṅgas—stone forms garlanded with bilva leaves—while pilgrims move like a living river of devotion under a vast sky.","primary_figures":["river goddess Godāvarī (personified, subtle)","pilgrims performing snāna","priests tending liṅga shrines"],"setting":"Godāvarī riverbend with five ghats, rows of liṅgas on both banks, small temples, lamp stands, and offering platforms","lighting_mood":"moonlit","color_palette":["midnight blue","silver moonlight","lamp-flame amber","stone charcoal","garland green"],"tanjore_prompt":"Tanjore painting style: panoramic Godāvarī Pañcatīrtha with five ornate ghats; rows of liṅgas on both banks decorated with bilva and garlands; gold leaf used for moon halo, lamp flames, and divine aura over the river; rich reds/greens in pilgrim garments, jewel-like detailing on shrine ornaments.","pahari_prompt":"Pahari miniature style: sweeping riverbend under a cool moon; delicate ghats and tiny liṅga shrines repeating rhythmically; pilgrims in soft colors; refined facial features; Himalayan-like lyrical atmosphere adapted to Deccan river landscape, with subtle mist and silver highlights.","kerala_mural_prompt":"Kerala mural style: stylized Godāvarī as a broad blue band; five ghats rendered symmetrically; repeated liṅga motifs with bold outlines; warm lamp yellows against deep blues; temple-wall aesthetic with decorative borders and iconic clarity.","pichwai_prompt":"Pichwai cloth painting style: central flowing Godāvarī with lotus motifs; five ghats like petals around the river; countless liṅgas as patterned sacred icons; peacocks and floral borders; deep indigo cloth with gold and white detailing, devotional crowd arranged in rhythmic rows."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["river surge","many small bells","chanting of pilgrims","conch shell","night insects"]}
Sandhi Resolution Notes: तथैव = तथा + एव; पंचतीर्थं = पञ्च-तीर्थम्; लिंगसहस्रेण = लिङ्ग-सहस्रेण; जलावहा = जल-आवहा; सव्येतर = सव्य + इतर (समास).
FAQs
It maps sanctity onto a real river landscape: the Godāvarī is presented as a tīrtha-zone marked by Pañcatīrtha and a dense presence of liṅgas, implying multiple shrines/markers along both banks.
By highlighting a named river-tīrtha and its liṅga presence, it points toward devotional pilgrimage and worship through sacred places—an accessible, place-centered form of practice for devotees.
The verse implicitly teaches reverence for sacred spaces and responsible conduct at tīrthas—approaching them with purity, humility, and devotion rather than mere curiosity or exploitation.