Previous Verse
Next Verse

Narada Purana — Purva Bhaga, Shloka 68

The Account of Kārtavīrya’s Protective Kavaca

Kārtavīrya-kavaca-vṛttānta

महागजा महासिंहा महामहिषयोनयः । ऋक्षवाराहशुनकवानरोलूकमूर्तयः ॥ ६८ ॥

mahāgajā mahāsiṃhā mahāmahiṣayonayaḥ | ṛkṣavārāhaśunakavānarolūkamūrtayaḥ || 68 ||

Sie werden als große Elefanten, große Löwen und aus den Leibern mächtiger Büffel geboren; und sie nehmen Gestalten von Bären, Ebern, Hunden, Affen und Eulen an.

महा-गजाःgreat elephants
महा-गजाः:
Karta (कर्ता/Subject)
TypeNoun
Rootमहा (प्रातिपदिक) + गज (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st/Nominative), बहुवचन; कर्मधारयः—महान्तः गजाः
महा-सिंहाःgreat lions
महा-सिंहाः:
Karta (कर्ता/Subject)
TypeNoun
Rootमहा (प्रातिपदिक) + सिंह (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा (1st/Nominative), बहुवचन; कर्मधारयः—महान्तः सिंहाः
महा-महिष-योनयःorigins/wombs of great buffaloes
महा-महिष-योनयः:
Karta (कर्ता/Subject)
TypeNoun
Rootमहा (प्रातिपदिक) + महिष (प्रातिपदिक) + योनि (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st/Nominative), बहुवचन; षष्ठी-तत्पुरुषः—महामहिषस्य योनयः (origins/wombs of great buffaloes)
ऋक्ष-वाराह-शुनक-वानर-उलूक-मूर्तयःforms of bears, boars, dogs, monkeys, and owls
ऋक्ष-वाराह-शुनक-वानर-उलूक-मूर्तयः:
Karta (कर्ता/Subject)
TypeNoun
Rootऋक्ष (प्रातिपदिक) + वाराह (प्रातिपदिक) + शुनक (प्रातिपदिक) + वानर (प्रातिपदिक) + उलूक (प्रातिपदिक) + मूर्ति (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st/Nominative), बहुवचन; बहुपद-तत्पुरुषः—(ऋक्षादीनां) मूर्तयः (forms of bears/boars/dogs/monkeys/owls)

Narada (teaching in dialogue, traditionally to the Sanatkumara brothers)

Vrata: none

Primary Rasa: bhayanaka

Secondary Rasa: adbhuta

FAQs

It underscores saṃsāra and yoni-bheda—souls, driven by karma and dispositions, can manifest in many non-human embodiments, highlighting the urgency of dharma and liberation-oriented practice.

By emphasizing the instability of embodied existence across species, it implicitly supports bhakti (especially toward Viṣṇu) as a stabilizing, liberating path that transcends karmic wandering.

The verse reflects a śāstric, taxonomic way of describing embodiment (yoni and mūrti classifications), aligning with the Third Pada’s technical style of organizing knowledge rather than prescribing a specific ritual.