Shloka 97
Adhyaya 23 — Ashvatara’s Vow for Madalasa and the Bestowal of Musical Science by Sarasvati
कुमारैस्तरुणैर्वृद्धैरुरगैरुपशोभितम् ।
तथैव नागकन्याभिः क्रीडन्तीभिरितस्ततः ॥
kumārais taruṇair vṛddhair uragair upaśobhitam | tathaiva nāgakanyābhiḥ krīḍantībhir itas tataḥ ||
ते पाताळ सर्पांनी शोभून गेले होते—बालक, तरुण व वृद्ध सर्वच; तसेच नागकन्याही इकडे-तिकडे क्रीडा करीत त्यास अलंकृत करीत होत्या।
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FAQs
The scene normalizes Pātāla as a structured, thriving society; it encourages the reader to see ‘the other’ as possessing culture and order, not merely as monstrous or chaotic.
Ākhyāna/varṇana. It is descriptive ethnography within a narrative, not a pancalakṣaṇa doctrinal segment.
The presence of all ages suggests wholeness and continuity; ‘play’ signifies līlā—spontaneous, non-anxious movement of life-force in a protected realm.