Narada Purana — Purva Bhaga, Shloka 33

The Account of the Lalitā Hymn, the Protective Armor

Kavaca), and the Thousand Names (Sahasranāma

Devanagari script

सिंहारूढास्तथा पांतु पांतु ऋक्षगता अपि । रथारूढाश्च मां पांतु सर्वतः सर्वदा रणे ॥ ३३ ॥

Transliteration

siṃhārūḍhāstathā pāṃtu pāṃtu ṛkṣagatā api | rathārūḍhāśca māṃ pāṃtu sarvataḥ sarvadā raṇe || 33 ||

Translation

Semoga para Śakti ilahi yang menunggang singa melindungiku; demikian pula yang menunggang beruang. Semoga yang duduk di kereta perang melindungiku—dari segala arah, setiap saat, di medan laga.

Word by Word

• siṃha-ārūḍhāḥ: mounted on lions
• siṃha-ārūḍhāḥ: Karta (कर्ता/Subject)
• Type: Adjective
• Root: siṃha (प्रातिपदिक) + ārūḍha (कृदन्त, √ruh/रुह्)
• Form: Puṃliṅga (Masculine), Prathamā vibhakti (Nominative, 1st), Bahuvacana (Plural); कृदन्तः—भूतकृत्/क्त (past passive participle) ‘ārūḍha’ used adjectivally

• tathā: also/likewise
• tathā: Sambandha (सम्बन्ध/connector)
• Type: Indeclinable
• Root: tathā (अव्यय)
• Form: Avyaya; conjunction/adverb (समुच्चय/अन्वय)

• pāntu: may (they) protect
• pāntu: Kriyā (क्रिया/Verb)
• Type: Verb
• Root: √pā (पा, धातु)
• Form: Loṭ-lakāra (Imperative), Prathama-puruṣa (3rd person), Bahuvacana (Plural); parasmaipada

• pāntu: may (they) protect
• pāntu: Kriyā (क्रिया/Verb)
• Type: Verb
• Root: √pā (पा, धातु)
• Form: Loṭ-lakāra (Imperative), Prathama-puruṣa (3rd person), Bahuvacana (Plural); parasmaipada

• ṛkṣa-gatāḥ: gone to/positioned on bears
• ṛkṣa-gatāḥ: Karta (कर्ता/Subject)
• Type: Adjective
• Root: ṛkṣa (प्रातिपदिक) + gata (कृदन्त, √gam/गम्)
• Form: Puṃliṅga (Masculine), Prathamā vibhakti (Nominative, 1st), Bahuvacana (Plural); कृदन्तः—क्त (past passive participle) ‘gata’ used adjectivally

• api: also/even
• api: Sambandha (सम्बन्ध/particle)
• Type: Indeclinable
• Root: api (अव्यय)
• Form: Avyaya; particle (निपात)

• ratha-ārūḍhāḥ: mounted on chariots
• ratha-ārūḍhāḥ: Karta (कर्ता/Subject)
• Type: Adjective
• Root: ratha (प्रातिपदिक) + ārūḍha (कृदन्त, √ruh/रुह्)
• Form: Puṃliṅga (Masculine), Prathamā vibhakti (Nominative, 1st), Bahuvacana (Plural); कृदन्तः—क्त ‘ārūḍha’ used adjectivally

• ca: and
• ca: Sambandha (सम्बन्ध/connector)
• Type: Indeclinable
• Root: ca (अव्यय)
• Form: Avyaya; conjunction (समुच्चयबोधक)

• mām: me
• mām: Karma (कर्म/Object)
• Type: Noun
• Root: asmad (अस्मद्, सर्वनाम-प्रातिपदिक)
• Form: Sarvanāma (Pronoun); Dvitīyā vibhakti (Accusative, 2nd), Ekavacana (Singular)

• pāntu: may (they) protect
• pāntu: Kriyā (क्रिया/Verb)
• Type: Verb
• Root: √pā (पा, धातु)
• Form: Loṭ-lakāra (Imperative), Prathama-puruṣa (3rd person), Bahuvacana (Plural); parasmaipada

• sarvataḥ: from all sides
• sarvataḥ: Adhikaraṇa (अधिकरण/locative sense—‘from all sides’)
• Type: Indeclinable
• Root: sarvatas (सर्वतस्, अव्यय)
• Form: Avyaya; adverb (क्रियाविशेषण)

• sarvadā: always
• sarvadā: Kāla-adhikaraṇa (कालाधिकरण/temporal)
• Type: Indeclinable
• Root: sarvadā (सर्वदा, अव्यय)
• Form: Avyaya; adverb (कालवाचक क्रियाविशेषण)

• raṇe: in battle
• raṇe: Adhikaraṇa (अधिकरण/Location)
• Type: Noun
• Root: raṇa (रण, प्रातिपदिक)
• Form: Puṃliṅga (Masculine), Saptamī vibhakti (Locative, 7th), Ekavacana (Singular)

Speaker

Narada (in a protective/ritualized recitation context within the Vedanga-oriented section)

Vrata Kalpa

Vrata: none

Verse Rasa

Primary Rasa: vira (heroic)

Secondary Rasa: bhayanaka (fear)

FAQs

What is the spiritual significance of this verse in Narada Purana?

It functions as a rakṣā-prārthanā (protective prayer), invoking guardianship from multiple divine forms and directions, emphasizing uninterrupted protection (sarvadā) and total coverage (sarvataḥ) in times of danger.

How does this verse explain the path of devotion (Bhakti)?

Bhakti here appears as śaraṇāgati—seeking refuge through heartfelt invocation. The devotee entrusts personal safety to higher divine forces, expressing dependence and remembrance in crisis.

What practical Vedic knowledge (Vedanga) is highlighted here?

Mantra-prayoga (ritual application) and chandas-aware recitation: the verse is structured for repeated protective chanting, using directional completeness (sarvataḥ) and temporal completeness (sarvadā) typical of kavacha-style formulations.