Shloka 31
Glory of Guru-tīrtha: Mānasarovara Marvels and the Revā Confluence
आतपेनाकुलो जीवो मम जातोति सुप्रिये । अस्मिन्वै संगमे कांते श्रमश्रांतो हि सत्वरः
ātapenākulo jīvo mama jātoti supriye | asminvai saṃgame kāṃte śramaśrāṃto hi satvaraḥ
“ஓ சுப்ரியே, வெயிலின் வெப்பத்தால் என் உயிர் மிகுந்த கலக்கமடைந்தது. ஓ காந்தே, இந்த சங்கமத்தில் நான் விரைவில் உழைப்பால் சோர்ந்து களைத்துவிட்டேன்.”
Unspecified (a male speaker addressing a beloved woman as ‘supriye/kānte’)
Concept: Spiritual pursuit often includes bodily strain; acknowledging fatigue becomes the doorway to receiving sacred remedy (snāna/pāna) and grace.
Application: When overwhelmed (heat, stress), pause, admit limitation, and seek a ‘cooling confluence’—a restorative practice like prayer, water, or a brief sacred routine rather than pushing blindly.
Primary Rasa: karuna
Secondary Rasa: shringara
Type: tirtha
Visual Art Cues: {"scene_description":"A traveler speaks to his beloved under a blazing sky, sweat and dust on his brow, the river’s distant shimmer promising relief. The confluence lies ahead like a cool ribbon, while the beloved steadies him with compassionate attention.","primary_figures":["a weary pilgrim-husband","beloved wife (kāntā/supriyā)","distant pilgrims"],"setting":"Sun-scorched riverbank path leading to a saṅgama; sparse shade from a lone banyan; clay water-pot and walking staff","lighting_mood":"harsh midday sun softened by river-glare","color_palette":["sun-bleached sand","burnt umber","pale turquoise","white cotton","vermillion accent"],"tanjore_prompt":"Tanjore painting style: the weary pilgrim addresses his beloved beneath a stylized blazing sun; the Narmadā saṅgama glints with gold leaf highlights; rich red-green textiles, ornate jewelry on the wife, embossed gold on the horizon heat-haze, devotional undertone with a small Viṣṇu symbol on a roadside shrine.","pahari_prompt":"Pahari miniature style: intimate couple scene with delicate lines; heat shown through pale washes and sparse trees; the river’s cool turquoise in the distance; refined facial expressions conveying fatigue and tenderness; gentle landscape gradients.","kerala_mural_prompt":"Kerala mural style: bold outlines, warm red/yellow background for heat; the couple in frontal stylization with expressive eyes; the river as a cool green-blue band; minimal but iconic props (kamaṇḍalu, staff).","pichwai_prompt":"Pichwai cloth painting style: decorative border of sun motifs and lotuses; the couple foregrounded, with stylized water patterns leading to the saṅgama; peacocks seeking shade; deep blue river contrasted with warm ochres, intricate floral filigree."}
Audio Atmosphere: {"recitation_mood":"dramatic","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["cicadas","hot wind","distant flowing water","soft ankle bells"]}
Sandhi Resolution Notes: आतपेनाकुलो→आतपेन आकुलः; जातोति→जातः इति; अस्मिन्वै→अस्मिन् वै; श्रमश्रांतो→श्रमश्रान्तः
FAQs
The verse does not name the speaker; it is a direct speech addressed to a beloved woman (“supriye”, “kānte”), so the speaker is context-dependent within Adhyaya 89.
It expresses physical distress from heat and the speaker’s immediate fatigue during a meeting/encounter, using affectionate address to the listener.
Not explicitly; it primarily conveys an emotional-physical state within a narrative/dialogue, and any theological or ethical lesson depends on the surrounding context of Adhyaya 89.