Shloka 71
Narasiṃha’s Greatness and the Slaying of Hiraṇyakaśipu
Boon, Portents, and Cosmic Restoration
एतास्सहस्रशश्चान्या नृत्यगीतविशारदाः । उपातिष्ठंत राजानं हिरण्यकशिपुं प्रभुम्
etāssahasraśaścānyā nṛtyagītaviśāradāḥ | upātiṣṭhaṃta rājānaṃ hiraṇyakaśipuṃ prabhum
നൃത്തഗാനങ്ങളിൽ നിപുണരായ മറ്റും ആയിരക്കണക്കിന് സ്ത്രീകൾ പ്രഭുവായ രാജാവ് ഹിരണ്യകശിപുവിനെ സേവിച്ചു സമീപിച്ചു നിന്നു.
Narrator (contextual description within the Adhyaya; specific dialogue speaker not explicit in this single verse).
Primary Rasa: adbhuta
Secondary Rasa: shringara
Type: city
Sandhi Resolution Notes: एतास्सहस्रशश्चान्या = एताः + सहस्रशः + च + अन्याः; उपातिष्ठंत = उपातिष्ठन्त (final nasal assimilation in Devanagari orthography)
FAQs
It depicts the royal court of Hiraṇyakaśipu, where numerous attendants—particularly women skilled in music and dance—stand ready in service to the king.
Not directly; it functions mainly as narrative description, emphasizing worldly splendor and the king’s power, which later contrasts with spiritual themes elsewhere in the Purāṇa.
The compound “nṛtyagīta-viśāradāḥ” highlights specialized expertise (dance and song), while “upātiṣṭhanta” conveys the sense of standing by in attendance/service to a ruler.