Shloka 97
Adhyaya 23 — Ashvatara’s Vow for Madalasa and the Bestowal of Musical Science by Sarasvati
कुमारैस्तरुणैर्वृद्धैरुरगैरुपशोभितम् ।
तथैव नागकन्याभिः क्रीडन्तीभिरितस्ततः ॥
kumārais taruṇair vṛddhair uragair upaśobhitam | tathaiva nāgakanyābhiḥ krīḍantībhir itas tataḥ ||
Il était orné de serpents—enfants, jeunes gens et vieillards tout ensemble—et aussi de jeunes filles Nāga, jouant çà et là.
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FAQs
The scene normalizes Pātāla as a structured, thriving society; it encourages the reader to see ‘the other’ as possessing culture and order, not merely as monstrous or chaotic.
Ākhyāna/varṇana. It is descriptive ethnography within a narrative, not a pancalakṣaṇa doctrinal segment.
The presence of all ages suggests wholeness and continuity; ‘play’ signifies līlā—spontaneous, non-anxious movement of life-force in a protected realm.