Shloka 80
Tīrtha-Māhātmya of the Sarasvatī Region and the Praise of Kurukṣetra
Pilgrimage Merits
लभेत्कन्याशतं दिव्यं बह्मलोकं च गच्छति । ततो गच्छेत धर्मज्ञ तीर्थं संनिहितीमपि
labhetkanyāśataṃ divyaṃ bahmalokaṃ ca gacchati | tato gaccheta dharmajña tīrthaṃ saṃnihitīmapi
అతడు వంద దివ్య కన్యలను పొందుతూ బ్రహ్మలోకానికి గమించును. అనంతరం, ఓ ధర్మజ్ఞా, ‘సన్నిహితీ’ అనే తీర్థానికి కూడా వెళ్లవలెను।
Unspecified in the provided excerpt (context likely a narrator addressing a listener as 'dharmajña')
Concept: Merit ripens through disciplined movement from one sacred act to the next; heavenly enjoyments are not the endpoint—one should continue toward sanctifying tīrthas.
Application: Treat spiritual life as a deliberate ‘yātrā’: after any success or reward, return to practice—visit a temple/tīrtha, bathe, offer charity, and renew vows rather than resting in enjoyment.
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: tirtha
Visual Art Cues: {"scene_description":"A pilgrim-king, guided by a sage, approaches the tranquil waters of Sannihitī Sarovar after hearing of Brahmaloka rewards. In the distance, faint celestial silhouettes—Brahmā and devas—hover above the tīrtha, suggesting an unseen assembly that sanctifies the place.","primary_figures":["pilgrim king (narādhipa)","guiding ṛṣi","subtle forms of Brahmā and devas (ethereal)"],"setting":"Kurukṣetra lakeside tīrtha with stone ghāṭas, banyan and peepal trees, small shrines and flags, pilgrims carrying kamaṇḍalu and cloth bundles","lighting_mood":"golden dawn","color_palette":["saffron gold","lotus pink","river-teal","ash-white","vermillion red"],"tanjore_prompt":"Tanjore painting style: Sannihitī Sarovar with ornate stone ghāṭas; a crowned pilgrim-king and a serene sage in the foreground; Brahmā and devas as radiant aureoled figures in the sky; heavy gold leaf halos, rich crimson and emerald garments, gem-studded jewelry, temple flags and lamps, South Indian iconographic symmetry adapted to a North Indian tīrtha scene.","pahari_prompt":"Pahari miniature style: Kurukṣetra lakeside rendered with delicate brushwork; cool teal water, soft ochres of the ghāṭa, slender trees; the king and sage in refined profiles; devas suggested as pale luminous forms among clouds; lyrical naturalism and fine textile patterns.","kerala_mural_prompt":"Kerala mural style: Bold black outlines; Sannihitī as a stylized sacred tank with lotus motifs; the king and ṛṣi with large expressive eyes; Brahmā and devas in a radiant band above; natural pigment palette dominated by red, yellow, green with white highlights and temple-wall aesthetic.","pichwai_prompt":"Pichwai cloth painting style: Sacred sarovar framed by intricate floral borders and lotus medallions; pilgrims on ghāṭas; celestial assembly above; deep indigo sky with gold detailing; peacocks near the water’s edge; ornate textile-like patterning throughout."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["temple bells","distant conch shell","soft crowd murmur at ghāṭa","water lapping"]}
Sandhi Resolution Notes: लभेत्कन्याशतम् = लभेत् + कन्याशतम्.
FAQs
It states that one gains ‘a hundred divine maidens’ and attains Brahmaloka, indicating a heavenly reward typical of phalaśruti passages.
Saṃnihitī is named as a tīrtha (sacred ford/pilgrimage site) that the listener is instructed to visit next.
Beyond promising merit, the verse gives a sequential instruction: after attaining the stated fruit, one should proceed onward to another tīrtha—framing dharma as a continued path rather than a single act.