Srimad Bhagavatam — Chaturtha Skandha, Shloka 21

Brahmā Counsels the Demigods; Journey to Kailāsa; Śiva’s Tranquility and Brahmā’s Praise

Devanagari script

कर्णान्त्रैकपदाश्वास्यैर्निर्जुष्टं वृकनाभिभि: । कदलीखण्डसंरुद्धनलिनीपुलिनश्रियम् ॥ २१ ॥

Transliteration

karṇāntraikapadāśvāsyair nirjuṣṭaṁ vṛka-nābhibhiḥ kadalī-khaṇḍa-saṁruddha- nalinī-pulina-śriyam

Translation

वहाँ कर्णान्त्र, एकपद, अश्वास्य, वृक और कस्तूरीधारी मृग (वृकनाभि) आदि अनेक प्रकार के हरिण विचरते हैं। साथ ही केले के घने झुरमुटों से घिरे सरोवर-तट अत्यन्त रमणीय शोभा पाते हैं।

Synonyms

• कर्णान्त्रैकपदाश्वास्यैः: with beings of the ‘karṇāntraikapadāśvāsyā’ type
• कर्णान्त्रैकपदाश्वास्यैः: Karana (करण)
• Type: Noun
• Root: कर्ण-अन्त्र-एकपद-आश्वास्य (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया (करण), बहुवचन; बहुव्रीहि: कर्णान्त्रं (ear-gut?) एकपदं (one-footed?) आश्वास्यं (breathing?) येषां ते; a descriptive epithet of a class of beings; instrumental plural

• निर्जुष्टम्: frequented
• निर्जुष्टम्: Visheshana (विशेषण)
• Type: Adjective
• Root: निर्जुष्ट (कृदन्त; √जुष् (धातु) + निर् + क्त)
• Form: नपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; भूतकर्मणि कृदन्त ‘frequented/inhabited’

• वृकनाभिभिः: with ‘vṛka-nābhi’ creatures
• वृकनाभिभिः: Karana (करण)
• Type: Noun
• Root: वृक-नाभि (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया (करण), बहुवचन; वृकस्य नाभिः (wolf-navel; a named creature/species); instrumental plural

• कदलीखण्डसंरुद्धनलिनीपुलिनश्रियम्: having the beauty of lotus-pond banks hemmed in by banana-groves
• कदलीखण्डसंरुद्धनलिनीपुलिनश्रियम्: Visheshana (विशेषण)
• Type: Adjective
• Root: कदली-खण्ड-संरुद्ध-नलिनी-पुलिन-श्री (प्रातिपदिक)
• Form: स्त्रीलिङ्ग-श्री-शब्दान्त, द्वितीया, एकवचन; बहुपद-तत्पुरुष: कदलीखण्डैः संरुद्धं (blocked by banana-groves) यत् नलिन्याः पुलिनं (lotus-pond bank) तस्य श्रीः (beauty) = the beauty of the banks of lotus-ponds obstructed by banana-groves; accusative singular (as attribute of a neuter object described)

FAQs

What does the Srimad Bhagavatam describe about the condition of Daksha’s sacrificial arena after the disturbance?

This verse depicts the area as desolate and unsafe—infested with wolves—and its natural beauty (lotus-lined banks) overgrown and obstructed, emphasizing ruin after irreligious conflict.

Why is Śukadeva Gosvāmī describing forests, wolves, and overgrowth in Canto 4 Chapter 6?

He is painting the aftermath of the broken sacrifice to show how a sacred setting loses harmony and prosperity when arrogance and offense disrupt dharma.

What is a practical lesson from this shloka for modern spiritual life?

When respect, purity, and right intention are neglected, even a good endeavor becomes chaotic—so protect devotional practice by avoiding offense and maintaining spiritual discipline.