Shloka 32
Glorification of the Yamunā (Yamuna Mahatmya) and Prayāga’s Step-by-Step Aśvamedha Merit
तेषु स्नात्वा दिवं यांति ये मृतास्तेऽपुनर्भवाः । गंगा च यमुना चैव उभे तुल्यफले स्मृते
teṣu snātvā divaṃ yāṃti ye mṛtāste'punarbhavāḥ | gaṃgā ca yamunā caiva ubhe tulyaphale smṛte
ผู้ใดได้อาบน้ำในสายน้ำศักดิ์สิทธิ์เหล่านั้น แล้วถึงกาลมรณะ ย่อมไปสู่สวรรค์และไม่กลับมาเกิดอีก ทั้งคงคาและยมุนา—ทรงจำกันว่าให้ผลบุญเสมอกัน
Unspecified (narratorial voice within the chapter context)
Concept: Tīrtha-snānā, especially in Gaṅgā/Yamunā, is proclaimed as a decisive purifier whose culmination can be svarga and ‘no return’ (apunarbhava) when death occurs after such sanctification.
Application: Use sacred bathing (or symbolic ‘inner bath’ through repentance and mantra) as a reset; cultivate remembrance of Nārāyaṇa during pilgrimages so the outer act supports inner liberation.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"Two majestic rivers personified as goddesses—Gaṅgā in shimmering white-silver and Yamunā in deep sapphire—flow side by side toward a radiant celestial horizon. Pilgrims bathe at twin ghāṭas, while above, a subtle stairway of light rises to svarga, suggesting the verse’s promise that sanctified death becomes an ascent beyond return.","primary_figures":["Ganga-devi","Yamuna-devi","pilgrims","celestial attendants (apsaras/gandharvas, optional)"],"setting":"confluence-like riverbank with twin ghāṭas, lotus clusters, distant temple silhouettes, sky opening into svarga","lighting_mood":"divine radiance","color_palette":["pearl white","sapphire blue","golden amber","lotus magenta","emerald green"],"tanjore_prompt":"Tanjore painting style: Gaṅgā and Yamunā as regal river-goddesses above twin ghāṭas, devotees bathing below, a gold-leaf svarga pathway rising in the background, ornate crowns and jewelry with gem-like highlights, rich reds/greens in shrine architecture, heavy gold embellishment on water ripples and halos, symmetrical devotional composition.","pahari_prompt":"Pahari miniature style: lyrical riverscape with two flowing bands—one pale, one deep blue—personified as graceful goddesses, delicate pilgrims at the steps, soft clouds opening to a luminous upper realm, refined facial features, cool palette with warm gold accents, Himalayan foothills faintly suggested.","kerala_mural_prompt":"Kerala mural style: stylized twin rivers with rhythmic wave patterns, Gaṅgā and Yamunā depicted with bold outlines and iconic attributes (kalaśa, lotus), celestial realm indicated by layered arches and conch-disc motifs, earthy reds/yellows/greens, temple-wall aesthetic and decorative borders.","pichwai_prompt":"Pichwai cloth painting style: twin river panels framed by lotus and floral borders, peacocks and cows near the banks, devotees performing snāna, deep blue and white river fields with gold detailing, subtle Vaishnava symbols integrated, celebratory yet sacred Nathdwara-inspired ornamentation."}
Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["flowing water","conch shell","temple bells","distant choral hum"]}
Sandhi Resolution Notes: mṛtāste'punarbhavāḥ → mṛtāḥ + te + apunarbhavāḥ; caiva → ca + eva.
FAQs
It states that bathing in the referenced sacred waters grants heavenly attainment, and for those who die thereafter it is described as leading to freedom from returning to rebirth (apunarbhava).
No. This verse explicitly says Gaṅgā and Yamunā are “tulyaphala”—remembered as giving equal spiritual results.
It encourages reverence for tīrthas and sincere practice (such as ritual bathing) without sectarian rivalry—honoring both rivers as equally efficacious when approached with faith and purity of intent.