समानीतास्तैश्च साकं सुनंदा नाम ब्राह्मणी । विधवाभ्यागता तत्र तपस्तप्तुं महीतटे
samānītāstaiśca sākaṃ sunaṃdā nāma brāhmaṇī | vidhavābhyāgatā tatra tapastaptuṃ mahītaṭe
Kasama nila ay dinala rin ang isang babaeng brāhmaṇa na nagngangalang Sunandā; bilang balo, siya’y dumating doon upang magsagawa ng mga pag-aayuno at pagtalima sa asetikong pagsasanay sa pampang ng ilog.
Sūta (Lomaharṣaṇa) to the sages (deduced)
Type: ghat
Scene: Sunandā, a widowed brāhmaṇa woman, arrives quietly at a riverbank with minimal belongings; she sits in meditation near reeds and a small fire altar, while brāhmaṇas and Nārada are seen in the distance, suggesting her being brought along and choosing tapas.
Even amid personal loss, steadfast tapas performed at a holy bank becomes a dharmic path to purification and divine favor.
A sacred riverbank/shore connected to the Vaṭayakṣiṇī narrative is being praised as a fit place for tapas.
Performing tapas (austerities) at the sacred bank is presented as the chosen discipline.