Shloka 101
Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities
जगुर्गंधर्वमुख्याश्च ननृतुश्चाप्सरोगणाः । मेरुप्रभृतयश्चापि मूर्तिमंतो महाचलाः
jagurgaṃdharvamukhyāśca nanṛtuścāpsarogaṇāḥ | meruprabhṛtayaścāpi mūrtimaṃto mahācalāḥ
গন্ধৰ্বসকলৰ মুখ্যসকলে গীত গাইলে, আৰু অপ্সৰাগণ নৃত্য কৰিলে; আৰু মেৰু আদি মহাপৰ্বতসমূহো যেন মূৰ্তিমান হৈ উঠিল।
Narrator (context not specified in the provided excerpt; likely within the Pulastya–Bhīṣma dialogue frame in Sṛṣṭikhaṇḍa)
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: mountain
Sandhi Resolution Notes: जगुर्+गन्धर्वमुख्याः+च → जगुर्गन्धर्वमुख्याश्च; ननृतुः+च+अप्सरोगणाः → ननृतुश्चाप्सरोगणाः; मेरुप्रभृतयः+च+अपि → मेरुप्रभृतयश्चापि.
FAQs
It signals a cosmic auspiciousness: celestial musicians and dancers appear when a major divine event unfolds, marking the moment as celebratory and ritually favorable in Puranic narrative style.
The verse uses personification to show that even the cosmic landscape participates in the event; Meru, the central world-mountain in Purāṇic cosmology, leads this imagery of nature becoming responsive and sentient.
Indirectly, yes: it portrays the ideal response to the divine—harmonious participation and reverence—suggesting that all levels of existence, from celestial beings to the earth itself, align in celebration of dharmic, sacred moments.