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Narada Purana — Purva Bhaga, Shloka 129

The Description of the Four Durgā Mantras

शशिखण्डधरां वीणां वादयंतीं मधून्मदाम् । रक्तांशुकां च कह्लारमालाशोभितचूलिकाम् ॥ १२९ ॥

śaśikhaṇḍadharāṃ vīṇāṃ vādayaṃtīṃ madhūnmadām | raktāṃśukāṃ ca kahlāramālāśobhitacūlikām || 129 ||

તે તેણીને જુએ—ચંદ્રખંડ ધારણ કરનારિ, વીણા વગાડતી, મધની મધુરતાથી મત્ત; લાલ વસ્ત્રધારિણી, અને કહ્લાર (નીલ કમળ)ની માળાથી શોભિત ચુડાવાળી॥૧૨૯॥

शशिखण्डधराम्bearing a moon-crescent
शशिखण्डधराम्:
Karma (कर्म)
TypeAdjective
Rootशशि-खण्ड-धरा (प्रातिपदिक; components: शशि + खण्ड + धरा)
Formस्त्रीलिङ्ग, द्वितीया-विभक्ति, एकवचन; विशेषण (of देवता)
वीणाम्a vīṇā (lute)
वीणाम्:
Karma (कर्म)
TypeNoun
Rootवीणा (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया-विभक्ति, एकवचन
वादयन्तीम्playing (causing to sound)
वादयन्तीम्:
Karma (कर्म)
TypeAdjective
Root√वद्/√वाद् (धातु) + वादयत् (णिच्-प्रयोजक वर्तमान-कृदन्त/शतृ)
Formणिच् (causative) + शतृ-प्रत्ययान्त वर्तमानकृदन्त; स्त्रीलिङ्ग, द्वितीया-विभक्ति, एकवचन; विशेषण
मधून्honeys / sweet drinks
मधून्:
Karma (कर्म)
TypeNoun
Rootमधु (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, बहुवचन
मदाम्intoxicated
मदाम्:
Karma (कर्म)
TypeAdjective
Rootमदा (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया-विभक्ति, एकवचन; विशेषण (of देवता)
रक्तांशुकाम्clad in red cloth
रक्तांशुकाम्:
Karma (कर्म)
TypeAdjective
Rootरक्त-अंशुक (प्रातिपदिक; components: रक्त + अंशुक)
Formस्त्रीलिङ्ग, द्वितीया-विभक्ति, एकवचन; विशेषण
and
:
Sambandha (सम्बन्ध/connector)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक अव्यय (conjunction)
कह्लारमालाशोभितचूलिकाम्whose topknot is adorned with a kahlāra-garland
कह्लारमालाशोभितचूलिकाम्:
Karma (कर्म)
TypeAdjective
Rootकह्लार-माला-शोभित-चूलिका (प्रातिपदिक; components: कह्लार + माला + शोभित (कृदन्त) + चूलिका)
Formस्त्रीलिङ्ग, द्वितीया-विभक्ति, एकवचन; विशेषण—‘कह्लारमालया शोभिता चूलिका यस्याः’ (topknot adorned by a garland of kahlāra-lotuses)

Narada (narrative description within the dialogue tradition)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: shringara

V
Vina
K
Kahlara (blue lotus)

FAQs

The verse uses sacred aesthetics—moon-ornament, vīṇā-music, lotus-garlands, and red garments—to evoke meditative contemplation (dhyāna) where beauty and sound become supports for devotion and inner steadiness.

By portraying a divine presence absorbed in music, it suggests bhakti as loving absorption: the devotee’s mind is drawn to the Lord’s/Deity’s qualities (guṇa) through uplifting forms, symbols, and sacred sound.

The prominence of the vīṇā and sound points to Śikṣā (phonetics) and chandas/rhythm as practical disciplines—training the voice, tone, and cadence so recitation and musical devotion remain precise and spiritually effective.

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