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Narada Purana — Purva Bhaga, Shloka 59

Śeṣoditya-Sūrya-nyāsa, Soma-sādhana, Graha-pūjā, and Bhauma-vrata-vidhi

सुशुक्लमाल्यवसनामुक्ताहारविभूषिताः । सर्वास्स्तनभराक्रांता रचितांजलयः शुभाः ॥ ५९ ॥

suśuklamālyavasanāmuktāhāravibhūṣitāḥ | sarvāsstanabharākrāṃtā racitāṃjalayaḥ śubhāḥ || 59 ||

Mit überaus weißen Girlanden und Gewändern geschmückt und mit Perlenketten geziert, standen sie alle—mit schwerer, voller Brust—glückverheißend da, die Hände ehrfürchtig zum Añjali gefaltet.

सु-शुक्ल-माल्य-वसन-मुक्ता-हार-विभूषिताःadorned with very white garlands, garments, and pearl-necklaces
सु-शुक्ल-माल्य-वसन-मुक्ता-हार-विभूषिताः:
Visheshana (विशेषण)
TypeAdjective
Rootसु (अव्यय-उपसर्ग) + शुक्ल (प्रातिपदिक) + माल्य (प्रातिपदिक) + वसन (प्रातिपदिक) + मुक्ता (प्रातिपदिक) + हार (प्रातिपदिक) + विभूषित (कृदन्त; √भूष् धातु, क्त)
Formबहुवचन, प्रथमा; (पुंलिङ्गे/स्त्रीलिङ्गे समानरूपः) क्त-प्रत्ययान्त विशेषणम्; समासः: ‘सुशुक्लैः माल्यैः वसनैः मुक्ताहारैः विभूषिताः’ (adorned with very white garlands, garments, and pearl-necklaces)
सर्वाःall (of them)
सर्वाः:
Karta (कर्ता)
TypeNoun
Rootसर्व (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन
स्तन-भर-आक्रान्ताःweighed down by the burden of breasts
स्तन-भर-आक्रान्ताः:
Visheshana (विशेषण)
TypeAdjective
Rootस्तन (प्रातिपदिक) + भर (प्रातिपदिक) + आक्रान्त (कृदन्त; √क्रम् धातु, क्त; आ-उपसर्ग)
Formबहुवचन, प्रथमा; क्त-प्रत्ययान्त; समासः: ‘स्तनभरैः आक्रान्ताः’ (weighed down/overcome by the burden of breasts)
रचित-अञ्जलयःwith hands joined (in añjali)
रचित-अञ्जलयः:
Karta (कर्ता)
TypeNoun
Rootरचित (कृदन्त; √रच् धातु, क्त) + अञ्जलि (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, बहुवचन; समासः: ‘रचितः अञ्जलिः येषाम्’ (those whose folded hands are formed)
शुभाःauspicious/beautiful
शुभाः:
Visheshana (विशेषण)
TypeAdjective
Rootशुभ (प्रातिपदिक)
Form(स्त्रीलिङ्गे) प्रथमा, बहुवचन; विशेषणम्

Narada (narrating within the dialogue to the Sanatkumara brothers)

Vrata: none

Primary Rasa: shringara

Secondary Rasa: bhakti

FAQs

It highlights śubhatva (auspiciousness) expressed through external purity (white garments/garlands) and inner reverence (añjali), indicating a devotional atmosphere of respectful attendance.

Bhakti is shown through bodily expression of humility—standing with joined palms—along with sattvic symbols of purity and devotion, suggesting that reverence and respectful presence are integral to devotional practice.

It reflects ritual/ācāra principles—proper decorum and auspicious presentation in sacred settings—supporting the broader Vedāṅga-oriented focus of this pada on disciplined conduct around sacred recitation and worship.