Shloka 22
Narmadā Tīrtha-Māhātmya: Patreśvara and the Sequence of Sacred Fords
अन्नार्थी लभते ह्यन्नं स्मरणादेव नित्यशः । नर्मदां सेव्यते नित्यं स्वयं देवो महेश्वरः । तेन पुण्या नदी ज्ञेया ब्रह्महत्यापहारिणी
annārthī labhate hyannaṃ smaraṇādeva nityaśaḥ | narmadāṃ sevyate nityaṃ svayaṃ devo maheśvaraḥ | tena puṇyā nadī jñeyā brahmahatyāpahāriṇī
جو اناج کا طالب ہو، وہ اس کے محض سمرن سے ہی ہمیشہ اناج پا لیتا ہے۔ نَرمدا کی نِتّ سَیوَا ہوتی ہے—خود مہادیو مہیشور (شیو) کے ہاتھوں۔ اس لیے وہ نہایت پُنّیہ ندی جانی جائے، جو برہمن ہتیا (برہماہتیا) کے پاپ کو دور کرنے والی ہے۔
Unspecified (narratorial verse within Svarga-khaṇḍa context)
Concept: Smaraṇa (remembrance) of a mahā-tīrtha itself becomes a means of grace—granting both worldly support and deep purification.
Application: Keep a daily practice of tīrtha-smaraṇa (Narmadā/Gaṅgā etc.), offer water mentally, and pair it with ethical living; use remembrance as a stabilizing refuge in scarcity or guilt.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"On the emerald banks of the Narmadā, the river appears as a luminous goddess rising from rippling waters, while Mahādeva stands in quiet devotion, offering bilva leaves and a water libation. Pilgrims at the ghāṭa fold their hands, and a subtle aura suggests sins dissolving like dark ink in clear current.","primary_figures":["Narmadā-devī (river goddess)","Mahādeva (Śiva)","pilgrims/sages"],"setting":"Rocky river-ghāṭa with ancient steps, banyan and arjuna trees, small shrine with liṅga and a lamp, flowing midstream with lotuses","lighting_mood":"golden dawn with divine radiance on the water surface","color_palette":["sapphire blue","river-emerald","lotus pink","gold leaf","ash white"],"tanjore_prompt":"Tanjore painting style: Narmadā-devī emerging from stylized waves holding a kalaśa and lotus, Mahādeva in ash-white with matted locks offering arghya at a ghāṭa shrine; heavy gold leaf halo around both, rich crimson-green borders, gem-studded ornaments, ornate arch (prabhāvali), South Indian iconographic symmetry, intricate water patterns and lotus motifs.","pahari_prompt":"Pahari miniature style: serene Narmadā river valley with rocky banks and soft trees, Śiva in quiet reverence near a small shrine, Narmadā personified subtly within the water; delicate brushwork, cool blues/greens, lyrical naturalism, refined faces, misty horizon and gentle ripples.","kerala_mural_prompt":"Kerala mural style: bold outlined Mahādeva with large expressive eyes and stylized ornaments, Narmadā-devī as a radiant feminine form within patterned waves; temple-wall aesthetic, natural pigments, dominant reds/yellows/greens, rhythmic lotus borders and a small ghāṭa-lamp glowing.","pichwai_prompt":"Pichwai cloth painting style: river-ghāṭa filled with lotus clusters and floral borders, Narmadā as a central goddess figure with attendants, peacocks and cows near the bank, deep indigo water with gold highlights; intricate vines, symmetrical composition, devotional ambiance with hanging lamps and patterned textiles."}
Audio Atmosphere: {"recitation_mood":"devotional","suggested_raga":"Bhairavi","pace":"slow-meditative","voice_tone":"reverent-soft","sound_elements":["flowing water","temple bells","conch shell (distant)","morning birds"]}
Sandhi Resolution Notes: annārthī → anna-arthī; hyannaṃ → hi annam; smaraṇādeva → smaraṇāt eva; brahmahatyāpahāriṇī → brahma-hatyā-apahāriṇī.
FAQs
The verse states that even remembrance (smaraṇa) of the Narmadā brings practical benefit—specifically, one seeking food is said to obtain food continually.
Because Mahādeva (Śiva) himself is said to revere her constantly; on that basis she is declared a supremely holy river.
She is described as brahmahatyāpahāriṇī—one who removes the sin of brahmin-slaying (brahmahatyā), indicating a strong purificatory and expiatory (prāyaścitta) power.