Shloka 7
Glorification of Prayāga
The Gaṅgā–Yamunā Confluence
निष्फलं तस्य तत्तीर्थं तस्माद्यानं परित्यजेत् । गंगायमुनयोर्मध्ये यस्तु कन्यां प्रयच्छति
niṣphalaṃ tasya tattīrthaṃ tasmādyānaṃ parityajet | gaṃgāyamunayormadhye yastu kanyāṃ prayacchati
Walang bunga para sa kanya ang tīrtha na yaon; kaya’t talikdan ang gayong paglalakbay. Ngunit ang nagbibigay ng isang dalaga sa kasal sa lupain sa pagitan ng Gaṅgā at Yamunā ay tunay na nagkakamit ng dakilang kabutihan.
Unspecified (context needed to identify the dialogue pair for Adhyaya 43)
Concept: Tīrtha-yātrā without dharmic intention and right action is barren; merit arises from righteous giving, especially kanyā-dāna, in a sanctified region.
Application: Treat pilgrimages as occasions for ethical action—charity, humility, service, and family duties performed with purity—rather than spiritual tourism.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: tirtha
Visual Art Cues: {"scene_description":"A pilgrim caravan pauses on the fertile Gaṅgā–Yamunā plain. In the foreground, a solemn kanyā-dāna rite unfolds: the bride’s father pours water into the groom’s hands, while priests chant beside a small fire; in the distance, the twin rivers shimmer like silver ribbons, suggesting that true tīrtha-fruit arises from dharmic action, not mere travel.","primary_figures":["bride (kanyā)","groom","bride’s father (dātā)","Vedic priest (ṛtvik)","pilgrims"],"setting":"Riverine doāb with sandy ghāṭa, mango groves, a modest yajña-kuṇḍa, and distant river confluence haze","lighting_mood":"golden dawn","color_palette":["river-silver","saffron ochre","mango-leaf green","vermillion red","indigo shadow"],"tanjore_prompt":"Tanjore painting style: a sacred Gaṅgā–Yamunā doāb scene with a central kanyā-dāna ritual, priest and fire altar, stylized rivers behind; heavy gold leaf halos on the officiating priest and auspicious symbols, rich vermillion and emerald textiles, ornate jewelry, temple-like framing with floral borders and embossed gold detailing.","pahari_prompt":"Pahari miniature style: delicate kanyā-dāna on a riverbank between two flowing rivers, refined faces and gentle gestures, thin ink outlines, cool blues and soft greens, distant sandbars and trees, lyrical sky wash; subtle emphasis on humility and dharma rather than grandeur.","kerala_mural_prompt":"Kerala mural style: bold black outlines and flat natural pigments depicting the marriage-gift rite at a ghāṭa, stylized river waves, priest with pronounced eyes and traditional ornaments, warm red-yellow-green palette, symmetrical composition with auspicious motifs around the scene.","pichwai_prompt":"Pichwai cloth painting style: a devotional doāb tableau with lotus borders and peacocks; the kanyā-dāna rite framed by floral vines, deep blue river bands with gold highlights, intricate textile patterns, temple-arch motifs, and auspicious kalasha elements—Krishna/Vishnu symbols subtly integrated (śaṅkha-cakra motifs) to signal tīrtha sanctity."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["flowing water","soft temple bells","low Vedic chanting","rustling leaves"]}
Sandhi Resolution Notes: तत्तीर्थं = तत् + तीर्थम्; तस्माद्यानं = तस्मात् + यानम्; गंगायमुनयोर्मध्ये = गङ्गा + यमुनयोः + मध्ये (समास/सन्धि-लेखन); यस्तु = यः + तु.
FAQs
It indicates that merely visiting a tīrtha can become “fruitless” for a person lacking the qualifying attitude or conduct implied by the surrounding passage; hence, one should abandon a journey that is not aligned with dharma.
The Gaṅgā-Yamunā doāb is presented as a specially sanctified region; performing major dharmic acts there—here, kanyā-dāna (giving a daughter in marriage)—is praised as highly meritorious.
The verse prioritizes sincere dharmic action (such as responsible charity and socially sacred duties like kanyā-dāna) over empty ritual travel, implying that inner integrity and right action give religious practice its real value.