Shloka 110
Tīrtha-Māhātmya Sequence: Sacred Fords, Baths, Gifts, and Śrāddha
Narmadā-Belt Itinerary
उमया सहितो रुद्रस्तेषां तुष्टो वरप्रदः । विमोक्षयित्वा तान्सर्वान्नर्म्मदातटमास्थितान्
umayā sahito rudrasteṣāṃ tuṣṭo varapradaḥ | vimokṣayitvā tānsarvānnarmmadātaṭamāsthitān
พระรุทระพร้อมด้วยพระอุมา ทรงพอพระทัยและประทานพรแก่พวกเขา แล้วทรงปลดปล่อยทั้งหมดผู้สถิต ณ ฝั่งแม่น้ำนรมทา และประทับอยู่ที่นั่น
Narrator (contextual; likely within the Pulastya–Bhīṣma dialogue frame of the Svarga-khaṇḍa)
Concept: Grace (prasāda) and tīrtha-power together dissolve bondage; divine presence sanctifies geography.
Application: Seek sacred places with humility; combine pilgrimage with repentance, restraint, and prayer for release from harmful patterns.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"On the serene bank of the Narmadā, Rudra stands with Umā, his matted locks crowned by a crescent, eyes softened by compassion. Released devotees bow with folded hands as the river glimmers, carrying away their former bonds like fading shadows into the current.","primary_figures":["Rudra (Śiva)","Umā (Pārvatī)","released devotees/ascetics"],"setting":"Narmadā riverbank with smooth black stones, bilva and aśvattha trees, a small natural shrine of stones and ash, distant hills","lighting_mood":"golden dawn with divine radiance around the couple","color_palette":["ash white","river emerald","lotus pink","saffron gold","deep indigo"],"tanjore_prompt":"Tanjore painting style: Rudra with Umā on the Narmadā bank, Rudra holding triśūla and ḍamaru, Umā with red sari and gold ornaments; released devotees kneeling; heavy gold leaf halo, rich vermilion and emerald background, gem-studded jewelry, ornate river waves rendered in stylized bands, South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: gentle Narmadā flowing through a rocky valley, Śiva and Pārvatī standing under a flowering tree, soft pastel garments, delicate faces, released ascetics in simple cloth; cool greens and blues, lyrical landscape, fine linework, misty hills in the distance.","kerala_mural_prompt":"Kerala mural style: bold outlined Śiva-Umā on a stylized riverbank, large expressive eyes, flat yet vibrant fields of red/yellow/green, devotees in reverent poses, sacred ash motifs, rhythmic wave patterns, temple-wall aesthetic with decorative borders.","pichwai_prompt":"Pichwai cloth painting style: Narmadā as a patterned ribbon of water with lotus motifs, central divine couple framed by floral borders, peacocks and river birds, intricate ornamentation, deep blues and gold accents, devotional symmetry and textile-like detailing."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["flowing water","temple bells","soft conch shell","morning birds"]}
Sandhi Resolution Notes: रुद्रस्तेषां = रुद्रः + तेषाम्; तान्सर्वान् = तान् + सर्वान्; नर्म्मदातटमास्थितान् = नर्मदा-तटम्-आस्थितान् (समास/सन्धि); विमोक्षयित्वा is gerund from causative of √मुच् with वि-.
FAQs
It presents the Narmadā’s bank as a sanctified setting where Śiva, with Umā, abides after granting grace—supporting the river’s status as a powerful tīrtha associated with liberation and divine presence.
Śiva is shown as responsive to devotion or merit: when pleased, he grants boons and also “releases” (vimokṣayitvā) beings from bondage, combining worldly beneficence with salvific grace.
Divine favor follows sincere conduct and devotion; the highest boon is not merely a gift but freedom from suffering and bondage, symbolized here by Śiva’s act of releasing them.