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Narada Purana — Purva Bhaga, Shloka 93

The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga

हंससारससंकीर्णकमलोत्पलशालिभिः । सरोभिर्नीलांभोभिः परीते भवनोत्तमे ॥ ९३ ॥

haṃsasārasasaṃkīrṇakamalotpalaśālibhiḥ | sarobhirnīlāṃbhobhiḥ parīte bhavanottame || 93 ||

Cette demeure d’excellence était entourée de lacs aux eaux bleues, peuplés de cygnes et de grues sarasa, et riches en lotus et nénuphars bleus.

हंससारससंकीर्णकमलोत्पलशालिभिःwith lakes possessing lotuses and lilies, crowded with swans and cranes
हंससारससंकीर्णकमलोत्पलशालिभिः:
Karaṇa (करण)
TypeAdjective
Rootहंस-सारस-संकीर्ण-कमल-उत्पल-शालिन् (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया (करण/3rd), बहुवचन; बहुपद-समास: ‘having lotuses and water-lilies, crowded with swans and cranes’; विशेषण (सरोभिः)
सरोभिःwith lakes
सरोभिः:
Karaṇa (करण)
TypeNoun
Rootसरस् (प्रातिपदिक)
Formनपुंसकलिङ्ग, तृतीया (करण/3rd), बहुवचन
नीलाम्भोभिःwith blue waters
नीलाम्भोभिः:
Karaṇa (करण)
TypeAdjective
Rootनील-अम्भस् (प्रातिपदिक)
Formनपुंसकलिङ्ग, तृतीया (करण/3rd), बहुवचन; ‘blue waters’; विशेषण (सरोभिः)
परीतेsurrounded
परीते:
Adhikaraṇa (अधिकरण)
TypeAdjective
Rootपरि-इ (धातु) + क्त (कृदन्त)
Formक्त-प्रत्ययान्त भूतकर्मणि/भूतकृत् (past passive participle); नपुंसकलिङ्ग, सप्तमी (अधिकरण/7th), एकवचन; ‘surrounded’; विशेषण (भवनोत्तमे)
भवनोत्तमेin the excellent mansion
भवनोत्तमे:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootभवन-उत्तम (प्रातिपदिक)
Formनपुंसकलिङ्ग, सप्तमी (अधिकरण/7th), एकवचन; ‘in the best mansion/palace’

Suta (narrating the scene in the Purana’s frame dialogue)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: shanta

FAQs

It portrays an auspicious, sattvic environment—pure waters, sacred birds, and lotuses—used in Puranic literature to signal a holy setting fit for dharmic instruction and spiritual practice.

Indirectly, it frames devotion by emphasizing purity and sacred ambience: such serene surroundings support japa, worship, and attentive listening to teachings—key supports of Vishnu-bhakti in Puranic practice.

While not teaching a Vedanga directly, it reflects the traditional requirement of a suitable, calm place for study and recitation—supporting disciplines like Śikṣā (proper chanting) and Vyākaraṇa (accurate textual learning) within the Third Pada’s technical focus.