Shloka 2

Chapter 90

Devanagari script

स्त्रीभिश्चोत्तम-वेषाभिर्नव-यौवन-कान्तिभिः ।

कन्दुकादिभिर्हर्म्येषु क्रीडन्तीभिस्तडिद्-द्युभिः ॥

Transliteration

strībhiś cottama-veṣābhir nava-yauvana-kāntibhiḥ / kandukādibhir harmyeṣu krīḍantībhis taḍid-dyubhiḥ //

Translation

അവിടെ ദ്വാരകയിൽ ഉത്തമ വേഷധാരികളായി, നവയൗവനകാന്തിയിൽ ദീപ്തരായ മഹിളകൾ കൊട്ടാരമുറികളിൽ പന്ത് മുതലായ കളികളിൽ ക്രീഡിച്ചു; അവരുടെ ശോഭ മിന്നലുപോലെ തിളങ്ങി।

Synonyms

• strībhiḥ: with women
• strībhiḥ: Karana (करण/Instrument—company)
• Type: Noun
• Root: strī (प्रातिपदिक)
• Form: Feminine (स्त्रीलिङ्ग), Instrumental (3rd/तृतीया), Plural (बहुवचन)

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

• uttama-veṣābhiḥ: with excellent attire
• uttama-veṣābhiḥ: Karana (करण/Instrument qualifier)
• Type: Adjective
• Root: uttama (प्रातिपदिक) + veṣa (प्रातिपदिक)
• Form: Compound: uttama-veṣa (उत्तमवेष = excellent attire); Masculine/Neuter (पुं/नपुं), Instrumental (3rd/तृतीया), Plural (बहुवचन); qualifying strībhiḥ

• nava-yauvana-kāntibhiḥ: with the radiance of fresh youth
• nava-yauvana-kāntibhiḥ: Karana (करण/Instrument qualifier)
• Type: Adjective
• Root: nava (प्रातिपदिक) + yauvana (प्रातिपदिक) + kānti (प्रातिपदिक)
• Form: Compound: nava-yauvana-kānti (नवयौवनकान्ति = beauty of fresh youth); Feminine (स्त्रीलिङ्ग; kānti), Instrumental (3rd/तृतीया), Plural (बहुवचन); qualifying strībhiḥ

• kanduka-ādibhiḥ: with balls and the like
• kanduka-ādibhiḥ: Karana (करण/Instrument—means of play)
• Type: Noun
• Root: kanduka (प्रातिपदिक) + ādi (प्रातिपदिक)
• Form: Compound: kanduka-ādi (कन्दुकादि = balls etc.); Masculine/Neuter (पुं/नपुं), Instrumental (3rd/तृतीया), Plural (बहुवचन)

• harmyeṣu: in palaces, mansions
• harmyeṣu: Adhikarana (अधिकरण/locative)
• Type: Noun
• Root: harmya (प्रातिपदिक)
• Form: Neuter (नपुंसकलिङ्ग), Locative (7th/सप्तमी), Plural (बहुवचन)

• krīḍantībhiḥ: playing
• krīḍantībhiḥ: Karana (करण/Instrument—accompaniment)
• Type: Verb
• Root: √krīḍ (धातु) + śatṛ (कृदन्त)
• Form: Present active participle (वर्तमानकाले शतृ), Feminine (स्त्रीलिङ्ग), Instrumental (3rd/तृतीया), Plural (बहुवचन); agreeing with strībhiḥ

• taḍid-dyubhiḥ: with lightning-like splendor
• taḍid-dyubhiḥ: Karana (करण/Instrument qualifier)
• Type: Adjective
• Root: taḍit (प्रातिपदिक) + dyu (प्रातिपदिक)
• Form: Compound: taḍid-dyu (तडिद्द्यु = lightning-bright); Masculine/Neuter (पुं/नपुं), Instrumental (3rd/तृतीया), Plural (बहुवचन); qualifying strībhiḥ

Purport

The Bhāgavatam here paints the refined, auspicious atmosphere of Dvārakā’s inner palaces. The description is not meant to provoke worldly fascination but to show the beauty and harmony that surround the Lord’s līlā when society is guided by dharma. The women are portrayed as cultured and well-adorned, indicating both external elegance and the inner prosperity of a protected, righteous civilization. Their playful sports in the palace (harmyeṣu) suggest peace and security—conditions made possible by Kṛṣṇa’s guardianship and the virtuous administration of His associates. The comparison to lightning (taḍid-dyubhiḥ) conveys brilliance and movement, emphasizing the living vibrancy of a city centered on Bhagavān. For devotees, the lesson is that when the Supreme Lord is the heart of life, even ordinary human activities—play, art, beauty, and celebration—become expressions of auspiciousness rather than causes of bondage, because they exist within the shelter of devotion and divine protection.

Characters & Entities

• Śukadeva Gosvāmī
• Dvārakā ladies (royal women)

FAQs

What is being described in Srimad Bhagavatam 10.90.2?

It describes the royal ladies of Dvārakā—beautifully dressed, youthful and radiant—playing with balls and other games within the palace chambers.

Why does the Bhagavatam include descriptions of beauty and opulence in Dvārakā?

To show the auspicious harmony of a city centered on Kṛṣṇa, where prosperity and refined culture exist under dharma and divine protection.

Practical application of this verse in modern life?

Cultivate a wholesome, dharmic environment where art, celebration, and beauty are guided by values and devotion, not exploitation or distraction.