Shloka 110
Tīrtha-Māhātmya Sequence: Sacred Fords, Baths, Gifts, and Śrāddha
Narmadā-Belt Itinerary
उमया सहितो रुद्रस्तेषां तुष्टो वरप्रदः । विमोक्षयित्वा तान्सर्वान्नर्म्मदातटमास्थितान्
umayā sahito rudrasteṣāṃ tuṣṭo varapradaḥ | vimokṣayitvā tānsarvānnarmmadātaṭamāsthitān
اُما کے ساتھ رُدر ان سے خوشنود ہو کر ور دینے والا بنا؛ اور نَرمدا کے کنارے ٹھہرے ہوئے اُن سب کو رہائی دے کر خود وہیں مقیم رہا۔
Narrator (contextual; likely within the Pulastya–Bhīṣma dialogue frame of the Svarga-khaṇḍa)
Concept: Grace (prasāda) and tīrtha-power together dissolve bondage; divine presence sanctifies geography.
Application: Seek sacred places with humility; combine pilgrimage with repentance, restraint, and prayer for release from harmful patterns.
Primary Rasa: adbhuta
Secondary Rasa: shanta
Type: river
Visual Art Cues: {"scene_description":"On the serene bank of the Narmadā, Rudra stands with Umā, his matted locks crowned by a crescent, eyes softened by compassion. Released devotees bow with folded hands as the river glimmers, carrying away their former bonds like fading shadows into the current.","primary_figures":["Rudra (Śiva)","Umā (Pārvatī)","released devotees/ascetics"],"setting":"Narmadā riverbank with smooth black stones, bilva and aśvattha trees, a small natural shrine of stones and ash, distant hills","lighting_mood":"golden dawn with divine radiance around the couple","color_palette":["ash white","river emerald","lotus pink","saffron gold","deep indigo"],"tanjore_prompt":"Tanjore painting style: Rudra with Umā on the Narmadā bank, Rudra holding triśūla and ḍamaru, Umā with red sari and gold ornaments; released devotees kneeling; heavy gold leaf halo, rich vermilion and emerald background, gem-studded jewelry, ornate river waves rendered in stylized bands, South Indian iconographic symmetry.","pahari_prompt":"Pahari miniature style: gentle Narmadā flowing through a rocky valley, Śiva and Pārvatī standing under a flowering tree, soft pastel garments, delicate faces, released ascetics in simple cloth; cool greens and blues, lyrical landscape, fine linework, misty hills in the distance.","kerala_mural_prompt":"Kerala mural style: bold outlined Śiva-Umā on a stylized riverbank, large expressive eyes, flat yet vibrant fields of red/yellow/green, devotees in reverent poses, sacred ash motifs, rhythmic wave patterns, temple-wall aesthetic with decorative borders.","pichwai_prompt":"Pichwai cloth painting style: Narmadā as a patterned ribbon of water with lotus motifs, central divine couple framed by floral borders, peacocks and river birds, intricate ornamentation, deep blues and gold accents, devotional symmetry and textile-like detailing."}
Audio Atmosphere: {"recitation_mood":"narrative","suggested_raga":"Yaman","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["flowing water","temple bells","soft conch shell","morning birds"]}
Sandhi Resolution Notes: रुद्रस्तेषां = रुद्रः + तेषाम्; तान्सर्वान् = तान् + सर्वान्; नर्म्मदातटमास्थितान् = नर्मदा-तटम्-आस्थितान् (समास/सन्धि); विमोक्षयित्वा is gerund from causative of √मुच् with वि-.
FAQs
It presents the Narmadā’s bank as a sanctified setting where Śiva, with Umā, abides after granting grace—supporting the river’s status as a powerful tīrtha associated with liberation and divine presence.
Śiva is shown as responsive to devotion or merit: when pleased, he grants boons and also “releases” (vimokṣayitvā) beings from bondage, combining worldly beneficence with salvific grace.
Divine favor follows sincere conduct and devotion; the highest boon is not merely a gift but freedom from suffering and bondage, symbolized here by Śiva’s act of releasing them.