Shloka 28
The Deeds of Cyavana
in the Context of Guru-tirtha Glorification
नाहलीसुमरी चान्या पुण्या चान्या पुलिंदिका । हेमा मनोरथा दिव्या चंद्रिका वेदसंक्रमा
nāhalīsumarī cānyā puṇyā cānyā puliṃdikā | hemā manorathā divyā caṃdrikā vedasaṃkramā
อีกนามหนึ่งคือ นาหลี-สุมรี; อีกนามคือ ปุณยา; อีกนามคือ ปุลินทิกา; และยังมี เหมา, มโนรถา, ทิพยา, จันทริกา, และ เวทสังกรมา (เป็นนามทั้งหลาย)
Unspecified in the provided extract (context needed to confirm the dialogue frame, commonly Pulastya speaking to Bhīṣma in Bhūmi-khaṇḍa).
Concept: Smaraṇa (recollection) and nāma-kīrtana of sacred rivers/tīrthas is meritorious and prepares the mind for pilgrimage and devotion.
Application: Keep a short daily practice of remembering holy places/rivers before bath or sandhyā; let it cultivate cleanliness, gratitude, and restraint.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Visual Art Cues: {"scene_description":"A procession of river-goddesses appears in a luminous corridor of mist, each identified by a floating Sanskrit name-glyph above her crown. They stand poised like living tīrthas, their garments rippling like water, as a sage recites their names into the air that turns into lotus petals.","primary_figures":["Personified river-goddesses (nadī-devyaḥ)","A reciting sage (Pulastya-like)","A listening king (Bhīṣma-like figure)"],"setting":"Riverbank that subtly transforms into a celestial map—sand, lotuses, and a horizon filled with faint temple silhouettes.","lighting_mood":"divine radiance","color_palette":["sapphire blue","lotus pink","pearl white","antique gold","emerald green"],"tanjore_prompt":"Tanjore painting style: a row of nadī-devīs as jeweled goddesses holding small kalaśas and lotuses, each with a gold-leaf halo and embossed ornaments; Sanskrit name-panels in stylized script above them; rich vermilion and emerald textiles, gem-studded crowns, temple-arch framing, heavy gold leaf embellishment.","pahari_prompt":"Pahari miniature style: delicate river-goddesses standing on a pale sandbar with translucent water, fine facial features and soft smiles; cool blues and greens, thin white outlines, distant hills and tiny shrines; a sage seated with palm-leaf manuscript, the names suggested as faint calligraphy in the sky.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments; nadī-devīs with large expressive eyes, ornate jewelry, and patterned garments; each holding a kalaśa; background of stylized lotuses and flowing water bands, temple-wall aesthetic in red/yellow/green dominance.","pichwai_prompt":"Pichwai cloth painting style: a devotional tableau where the river-goddesses form a garland-like semicircle around a central lotus pond; intricate floral borders, peacocks at the edges, deep indigo ground with gold detailing; the names rendered as decorative cartouches among lotus motifs."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Bhupali","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["soft temple bells","flowing water","palm-leaf page turns","distant conch shell"]}
Sandhi Resolution Notes: चान्या = च + अन्या; (अन्यत्र सन्धि-विशेषः न दृश्यते)
FAQs
The verse is a catalog-style list of proper names; in Bhūmi-khaṇḍa such lists commonly enumerate tīrthas/places (and sometimes rivers). The exact category requires the surrounding verses.
Bhūmi-khaṇḍa functions as a sacred-geography archive: listing tīrthas and related names preserves pilgrimage memory, ritual associations, and regional toponyms within a Purāṇic framework.
In context, such enumerations typically support tīrtha-yātrā and dharma: remembering and visiting sacred sites is presented as a means to accrue puṇya (merit) and cultivate devotion and disciplined conduct.