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Shloka 13

Nahuṣa’s Departure and the Splendor of Mahodaya

City-and-Forest Description

तत्र ता रूपसंयुक्ता दिव्या नार्यः समागताः । गंधर्वा गीततत्त्वज्ञा जगुर्गीतैर्नृपोत्तमम्

tatra tā rūpasaṃyuktā divyā nāryaḥ samāgatāḥ | gaṃdharvā gītatattvajñā jagurgītairnṛpottamam

Allí se congregaron aquellas radiantes y hermosas mujeres celestiales; y los Gandharvas, conocedores de la esencia verdadera del canto, entonaron melodías para el mejor de los reyes.

तत्रthere
तत्र:
Adhikaraṇa (अधिकरण/Location adverb)
TypeIndeclinable
Rootतत्र (अव्यय)
FormAdverb (क्रियाविशेषण-अव्यय), place ‘there’
ताःthose (women)
ताः:
Karta (कर्ता/Subject)
TypeNoun
Rootतद् (सर्वनाम/प्रातिपदिक)
FormFeminine, Nominative (1st), Plural
रूप-संयुक्ताःendowed with beauty
रूप-संयुक्ताः:
Karta-anvaya (कर्तरि विशेषणम्)
TypeAdjective
Rootरूप (प्रातिपदिक) + संयुक्त (कृदन्त; सम्-युज् धातु, क्त)
FormFeminine, Nominative, Plural; तृतीया/षष्ठी-भावार्थक तत्पुरुषः ‘रूपेण/रूपस्य संयुक्ताः’ = endowed with beauty
दिव्याःdivine
दिव्याः:
Karta-anvaya (कर्तरि विशेषणम्)
TypeAdjective
Rootदिव्य (प्रातिपदिक)
FormFeminine, Nominative, Plural; विशेषणम् (qualifies नार्यः)
नार्यःwomen
नार्यः:
Karta (कर्ता/Subject)
TypeNoun
Rootनारी (प्रातिपदिक)
FormFeminine, Nominative (1st), Plural
समागताःassembled, came together
समागताः:
Kriyā (क्रिया/Predicate)
TypeVerb
Rootसम्-आ-गम् (धातु) → समागत (कृदन्त, क्त-प्रत्यय)
FormPast active participle (क्त), Feminine, Nominative, Plural; finite sense ‘had assembled’
गन्धर्वाःGandharvas
गन्धर्वाः:
Karta (कर्ता/Subject)
TypeNoun
Rootगन्धर्व (प्रातिपदिक)
FormMasculine, Nominative (1st), Plural
गीत-तत्त्व-ज्ञाःknowers of musical principles
गीत-तत्त्व-ज्ञाः:
Karta-anvaya (कर्तरि विशेषणम्)
TypeAdjective
Rootगीत (प्रातिपदिक) + तत्त्व (प्रातिपदिक) + ज्ञ (प्रातिपदिक)
FormMasculine, Nominative, Plural; षष्ठी-तत्पुरुषः ‘गीतस्य तत्त्वं जानन्ति’ (knowers of the essence of song)
जगुःsang
जगुः:
Kriyā (क्रिया/Verb)
TypeVerb
Rootगै (धातु; गान)
FormPerfect (लिट्), 3rd person, Plural, Parasmaipada
गीतैःwith songs
गीतैः:
Karaṇa (करण/Instrument/means)
TypeNoun
Rootगीत (प्रातिपदिक)
FormNeuter, Instrumental (3rd), Plural
नृप-उत्तमम्the best of kings
नृप-उत्तमम्:
Karma (कर्म/Object)
TypeNoun
Rootनृप (प्रातिपदिक) + उत्तम (प्रातिपदिक)
FormMasculine, Accusative (2nd), Singular; षष्ठी-तत्पुरुषः ‘नृपाणाम् उत्तमः’

Narrator (contextual; specific speaker not identifiable from the single verse alone)

Concept: Refined sound (gīta) is treated as a sacred science; beauty and art become offerings that honor dharma and elevate consciousness.

Application: Use music and art to purify attention—choose uplifting sound, practice gratitude, and dedicate talents as service rather than self-display.

Primary Rasa: shringara

Secondary Rasa: adbhuta

Type: forest

Visual Art Cues: {"scene_description":"On a riverbank clearing, radiant celestial women gather in shimmering garments while gandharvas, poised with vīṇā and flute, sing intricate melodies that ripple across the water. Nahuṣa stands honored at the center, the forest itself seeming to listen—leaves stilled, lotuses open, and light pooling like nectar.","primary_figures":["Nahuṣa","celestial women (apsaras-like)","Gandharvas","Mātali (optional, nearby)"],"setting":"Riverbank clearing within a divine forest; lotus-strewn water, flowering trees, natural stone dais for musicians","lighting_mood":"moonlit","color_palette":["moon-silver","lotus pink","sapphire blue","pale gold","forest emerald"],"tanjore_prompt":"Tanjore painting style: a moonlit riverbank concert with gandharvas playing vīṇā and flute, celestial women assembled in jeweled attire, Nahuṣa honored at center; heavy gold leaf on ornaments and instruments, rich reds/greens, embossed halos and decorative borders, temple-like symmetry in composition.","pahari_prompt":"Pahari miniature style: intimate lyrical music scene by a lotus river, delicate brushwork on faces and textiles, cool moonlit blues and greens; gandharvas seated on a stone dais, apsaras in graceful poses, subtle ripples and fragrant blossoms rendered with fine detail.","kerala_mural_prompt":"Kerala mural style: bold outlined gandharvas and celestial women with characteristic eyes, instruments stylized, river and lotuses in patterned bands; natural pigment palette with dominant blues/greens and warm gold accents, rhythmic arrangement like a temple mural panel.","pichwai_prompt":"Pichwai cloth painting style: ornate musical assembly framed by lotus and floral borders, deep blue night ground with gold highlights; peacocks near the water, dense lotus motifs, gandharvas and celestial women arranged in decorative symmetry around the honored king."}

Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Bhairavi","pace":"moderate-narrative","voice_tone":"emotional","sound_elements":["veena","flute","ankle bells","flowing water","soft chorus"]}

Sandhi Resolution Notes: रूपसंयुक्ता = रूप-संयुक्ताः; गीततत्त्वज्ञा = गीत-तत्त्व-ज्ञाः; जगुर्गीतैर्नृपोत्तमम् = जगुः गीतैः नृप-उत्तमम्

D
Divine women (apsaras-like celestial women)
G
Gandharvas
T
The best of kings (nṛpottama)

FAQs

Gandharvas are celestial beings famed as musicians and singers in Purāṇic literature; here they are described as gīta-tattva-jñāḥ—those who understand the inner principles of music.

The verse frames the scene as a heavenly or exalted assembly, using divine beauty as a marker of auspiciousness and splendor surrounding the king.

It reflects the Purāṇic ideal that righteous kingship attracts harmony and prosperity—symbolized here by celestial attendance and refined arts offered in honor.