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Shloka 26

Chapter 84: Brahmā’s Counsel on Tāraka, the Search for Agni, and the Genesis of Skanda

Kārttikeya

सौवर्णा गिरयस्तत्र मणिरत्नशिलोच्चया: । सर्वरत्नमयैर्भान्ति शंगैश्वारुभिरुच्छितै:,वहाँ सोनेके पर्वत तथा मणि और रत्नोंके शैलसमूह हैं, जो अपने मनोहर, ऊँचे तथा सर्वरत्नमय शिखरोंसे सुशोभित होते हैं

sauvarṇā girayas tatra maṇiratnaśilocchrayāḥ | sarvaratnamayair bhānti śṛṅgaiś cārubhir ucchitaiḥ ||

വ്യാസൻ വർണ്ണിച്ചു—അവിടെ സ്വർണമയമായ പർവ്വതങ്ങളും, മണി-രത്നങ്ങളാൽ നിർമ്മിതമായ ശിലാസമൂഹങ്ങളും ഉണ്ട്. അവയുടെ മനോഹരവും ഉയർന്നതുമായ സർവരത്നമയ ശിഖരങ്ങൾ അത്യന്തം ദീപ്തിയായി തിളങ്ങുന്നു.

सौवर्णाःgolden
सौवर्णाः:
Karta
TypeAdjective
Rootसौवर्ण
FormMasculine, Nominative, Plural
गिरयःmountains
गिरयः:
Karta
TypeNoun
Rootगिरि
FormMasculine, Nominative, Plural
तत्रthere
तत्र:
Adhikarana
TypeIndeclinable
Rootतत्र
मणि-रत्न-शिला-उच्चयाःheaps/masses of rocks of gems and jewels
मणि-रत्न-शिला-उच्चयाः:
Karta
TypeNoun
Rootउच्चय
FormMasculine, Nominative, Plural
सर्व-रत्न-मयैःmade of all kinds of jewels
सर्व-रत्न-मयैः:
Karana
TypeAdjective
Rootमय
FormMasculine/Neuter, Instrumental, Plural
भान्तिshine
भान्ति:
TypeVerb
Rootभा
FormPresent, Third, Plural, Parasmaipada
शृङ्गैःwith peaks/summits
शृङ्गैः:
Karana
TypeNoun
Rootशृङ्ग
FormNeuter, Instrumental, Plural
आरुभिःbeautiful, charming
आरुभिः:
Karana
TypeAdjective
Rootआरु
FormMasculine/Neuter, Instrumental, Plural
उच्छितैःlofty, raised, high
उच्छितैः:
Karana
TypeAdjective
Rootउच्छित
FormMasculine/Neuter, Instrumental, Plural

व्यास उवाच

V
Vyāsa
G
golden mountains
G
gem-and-jewel rock masses
J
jewel-like peaks (śṛṅga)

Educational Q&A

The verse primarily conveys the Mahābhārata’s use of sacred geography: extraordinary landscapes symbolize realms shaped by merit and divine order. Such descriptions remind the listener that the moral quality of beings and worlds (puṇya/pāpa, dharma/adharma) is reflected in the very texture of the cosmos.

Vyāsa is narrating a vision-like description of a particular region, emphasizing its supernatural magnificence—golden mountains and jewel-formed peaks—thereby setting an awe-filled scene within the broader discourse of the Anuśāsana Parva.