Shloka 35
The Greatness of the Gaṅgā: Purification, Ancestor Rites, and Liberation
नरकस्था दिवं यांति स्वर्गस्था मोक्षमाप्नुयुः । परदारपरद्रव्य बाधा द्रोहपरस्य च
narakasthā divaṃ yāṃti svargasthā mokṣamāpnuyuḥ | paradāraparadravya bādhā drohaparasya ca
Mereka yang berada di neraka boleh naik ke syurga, dan mereka yang di syurga boleh mencapai moksha—apabila meninggalkan pelanggaran terhadap pasangan orang lain dan harta orang lain, perbuatan menyakiti, serta pengkhianatan terhadap sesama.
Unspecified (narratorial/teaching voice within the Adhyaya context)
Concept: Moral restraint—avoiding adultery, theft/appropriation, harm, and betrayal—reverses karmic descent and opens the path from hell to heaven and from heaven to liberation.
Application: Adopt concrete vows: fidelity, honesty with others’ property, non-harming speech and action, and loyalty; use daily self-audit and restitution where harm occurred.
Primary Rasa: shanta
Secondary Rasa: karuna
Visual Art Cues: {"scene_description":"A symbolic triptych: on the left, a dark naraka landscape dissolves as chains fall away; in the center, a human figure turns from shadowy temptations—another’s spouse, glittering stolen wealth, a raised weapon, a masked betrayer—toward a path of light; on the right, a luminous stairway rises through svarga into a serene, formless radiance suggesting mokṣa.","primary_figures":["Allegorical human seeker","Personifications of temptation (adultery, theft, harm, betrayal)","Celestial gatekeepers (optional)"],"setting":"Mythic moral landscape blending underworld gloom, heavenly gardens, and a transcendent light beyond form.","lighting_mood":"divine radiance","color_palette":["charcoal black","smoky violet","sunlit gold","pearl white","emerald green"],"tanjore_prompt":"Tanjore painting style: central repentant seeker with hands in añjali, temptations rendered as stylized figures at the margins; gold leaf stairway leading to a radiant mokṣa halo; rich reds and greens, ornate borders, symbolic rather than realistic naraka/svarga architecture.","pahari_prompt":"Pahari miniature style: lyrical moral allegory with delicate figures—temptations in muted tones, the seeker turning toward a bright garden path; soft clouds and a distant luminous summit; refined facial features and gentle gradients.","kerala_mural_prompt":"Kerala mural style: bold outlined allegorical panel—left naraka in dark pigments, center seeker rejecting four vices, right svarga garden transitioning to a bright circular aura; strong reds/yellows/greens with black contours and stylized flames/clouds.","pichwai_prompt":"Pichwai cloth painting style: central path bordered by lotus and floral motifs; vices depicted as small narrative vignettes in medallions; upper register a radiant circular mandala suggesting liberation; deep blues and gold with intricate borderwork."}
Audio Atmosphere: {"recitation_mood":"meditative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["low temple drone","soft bell punctuations","wind through trees","brief silence after moral clauses"]}
Sandhi Resolution Notes: मोक्षमाप्नुयुः → मोक्षम् + आप्नुयुः; परदारपरद्रव्य इति द्वन्द्वसमासः (समाहार); श्लोकस्य द्वितीयपादः अपूर्णवाक्यरूपेण सूचीवत् (enumeration) दृश्यते।
FAQs
It teaches restraint and non-injury: do not violate another’s spouse, do not take another’s property, do not harm others, and do not betray others—ethical purification is presented as a condition for higher spiritual states.
It implies moral reform can elevate one’s trajectory: abandoning grave wrongs associated with lust, greed, violence, and treachery is framed as enabling ascent from suffering to heavenly merit, and from heavenly merit toward liberation.
No. This shloka is primarily a dharma/ethical instruction rather than a passage about sacred places or named deities.