Shloka 13
Origin of Suvrata
Boon, Sacred Ford, and the Birth Narrative
तदा सुमनया युक्तः सोमशर्मा द्विजोत्तमः । सुतीर्थे पावने तस्मिन्रेवातीरे सुपुण्यदे
tadā sumanayā yuktaḥ somaśarmā dvijottamaḥ | sutīrthe pāvane tasminrevātīre supuṇyade
تب سُمنَا کے ساتھ برہمنوں میں افضل سوم شرما، رِیوا کے کنارے اُس پاک و مطہر سُتیرتھ پر، نہایت پُنیہ بخش دیس میں پہنچا۔
Narrator (contextual; specific dialogue speaker not explicit in this single verse)
Concept: Satsaṅga and tīrtha-sevā (reaching a sanctifying ford) initiate inner purification and set the stage for dharma-bearing acts.
Application: Choose periodic ‘tīrtha-moments’ in life—visiting a temple/river, or creating a weekly sacred routine—arrive with a companion in virtue (sumanā: good-mindedness) and begin with cleanliness and prayer.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Type: river
Visual Art Cues: {"scene_description":"A brāhmaṇa Somaśarmā, serene and travel-worn, arrives with Sumanā at a luminous ford on the Revā. The river glides wide and calm; stone steps and a small shrine are visible, while distant sal trees and low hills frame the sanctified bank.","primary_figures":["Somaśarmā (brāhmaṇa pilgrim)","Sumanā (companion)","Revā-devī (personified river, subtle presence)"],"setting":"Narmadā riverbank tīrtha with ghāṭ steps, a modest Viṣṇu shrine, pilgrims’ waterpots, and flowering river reeds","lighting_mood":"golden dawn","color_palette":["saffron ochre","river jade-green","lotus pink","sandstone beige","soft gold"],"tanjore_prompt":"Tanjore painting style: Somaśarmā and Sumanā at the Revā su-tīrtha, a small Viṣṇu shrine on the ghāṭ, Revā-devī subtly personified with a halo; heavy gold leaf on halos and shrine arch, rich vermilion and emerald garments, gem-studded ornaments on the deity icon, ornate floral borders and lotus motifs.","pahari_prompt":"Pahari miniature style: two pilgrims arriving at a quiet Narmadā ford, delicate linework, cool morning haze over green-blue water, gentle hills and trees, refined faces, minimal shrine architecture, lyrical naturalism with small birds and ripples.","kerala_mural_prompt":"Kerala mural style: bold black outlines, Somaśarmā and Sumanā in traditional attire on a stylized ghāṭ, Revā as a graceful goddess with flowing water patterns, warm red-yellow-green palette, temple-wall aesthetic with decorative creepers and lotus medallions.","pichwai_prompt":"Pichwai cloth painting style: riverbank tīrtha framed by intricate lotus borders, a central small Viṣṇu icon on the ghāṭ, pilgrims offering water; deep indigo river, gold highlights, floral vines, peacocks near the bank, devotional symmetry."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"reverent-soft","sound_elements":["flowing water","soft temple bells","morning birds","conch shell (distant)","footsteps on stone steps"]}
Sandhi Resolution Notes: तस्मिन्रेवातीरे = तस्मिन् + रेवातीरे
FAQs
It situates the story at a renowned tīrtha on the bank of the Revā (Narmadā), highlighting the Purāṇic practice of mapping holiness onto specific rivers, fords, and regions.
Indirectly: by foregrounding pilgrimage to purifying sacred places, it reflects a devotional culture where approaching holy sites is a supportive practice for cultivating faith, purity, and religious merit.
The verse commends intentional association with sanctifying environments—seeking purity through right company and sacred places—implying that one should choose uplifting contexts for spiritual progress.