Shloka 122
The Greatness of the Gaṅgā: Purification, Ancestor Rites, and Liberation
य इदं शृणुयान्मर्त्यः पुण्याख्यानमनुत्तमम् । सर्वं तरति दुःखौघ गंगास्नानफलं लभेत्
ya idaṃ śṛṇuyānmartyaḥ puṇyākhyānamanuttamam | sarvaṃ tarati duḥkhaugha gaṃgāsnānaphalaṃ labhet
ଯେ କୌଣସି ମର୍ତ୍ୟ ଏହି ଅନୁତ୍ତମ ପୁଣ୍ୟାଖ୍ୟାନ ଶୁଣେ, ସେ ସମଗ୍ର ଦୁଃଖପ୍ରବାହକୁ ତରିଯାଏ ଏବଂ ଗଙ୍ଗାସ୍ନାନର ଫଳ ଲାଭ କରେ।
Unspecified (narrator voice within Sṛṣṭikhaṇḍa context)
Concept: Listening to sacred narrative (puṇyākhyāna-śravaṇa) ferries one across sorrow like a boat; devotional hearing can confer the same merit as bathing in Gaṅgā.
Application: Make daily śravaṇa a practice: read/hear a short Purāṇic passage, reflect, and act ethically; for those far from tīrthas, cultivate ‘kathā-snāna’—inner bathing through attentive listening.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: river
Visual Art Cues: {"scene_description":"In a lamp-lit hall, listeners sit with folded hands as a reciter chants the sacred narrative; the sound is visualized as rippling golden waves flowing outward. Those waves transform into the Gaṅgā itself—so that the act of listening becomes a luminous ‘bath,’ carrying the audience across a dark flood labeled ‘duḥkha.’","primary_figures":["kathā-vācaka/reciter","devotee listeners","symbolic Gaṅgā as sound-waves"],"setting":"Temple mandapa or āśrama hall with oil lamps, palm-leaf manuscripts, and a small water vessel of Gaṅgā-jala on a stand.","lighting_mood":"temple lamp-lit","color_palette":["warm gold","deep maroon","midnight blue","ivory","river turquoise"],"tanjore_prompt":"Tanjore painting style: central vācaka on a raised seat with manuscript, listeners in symmetrical rows, gold-leaf sound-waves morphing into Gaṅgā with shimmering highlights, ornate pillars and rich red-green borders, gem-studded lamp stands, sacred aura around the narrative as a portable tīrtha.","pahari_prompt":"Pahari miniature style: intimate indoor satsanga scene, delicate lamps and textiles, soft facial expressions of absorption, stylized golden lines representing sound drifting toward a moonlit river outside, cool blues contrasted with warm lamp glow.","kerala_mural_prompt":"Kerala mural style: bold outlines of the reciter and listeners, stylized wave-bands of sound/river, warm yellow-red background, temple-wall aesthetic, iconographic clarity emphasizing the equivalence of śravaṇa and snāna.","pichwai_prompt":"Pichwai cloth painting style: ornate border of lotus and lamp motifs, central satsanga with rhythmic repetition of seated devotees, sound-waves rendered as patterned river ripples in deep blue and gold, devotional symmetry and intricate floral detailing."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhupali","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["tanpura drone","soft temple bells","page rustle","distant flowing water"]}
Sandhi Resolution Notes: शृणुयात् + मर्त्यः → शृणुयान्मर्त्यः; दुःखौघ (दुःख + ओघ) as compound; गङ्गास्नानफलं written as गंगास्नानफलं in text.
FAQs
It highlights Gaṅgā as a supreme tīrtha and uses her bath-fruit (gaṅgā-snāna-phala) as a benchmark for spiritual merit, implying the exceptional sanctity attributed to the river in Purāṇic sacred geography.
By praising śravaṇa (devotional listening) of a puṇya-ākhyāna as spiritually transformative, it presents accessible devotion—hearing sacred narratives—as a direct means to purification comparable to major pilgrimage rites.
The verse teaches that sincere engagement with sacred teaching (listening attentively) can help one overcome suffering and cultivate inner purification, encouraging regular practice over reliance solely on difficult external rituals.