Shloka 22
Adhyaya 6 — Balarama’s Dilemma, Drunken Wanderings in Revata’s Grove, and the Slaying of the Suta
कारण्डवैः प्लवैर्हंसैः कूर्मैर्मद्गुभिरेव च ।
एभिश्चान्यैश्च कीर्णानि समन्ताज्जलचारिभिः ॥
kāraṇḍavaiḥ plavair haṃsaiḥ kūrmair madgubhir eva ca /
ebhis cānyaiś ca kīrṇāni samantāj jalacāribhiḥ
Ia dipenuhi dari segala arah dengan itik kāraṇḍava, burung penyelam, angsa, kura-kura, burung madgu, serta banyak lagi makhluk lain yang bergerak di air.
{ "primaryRasa": "shanta", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
The verse contributes to a Purāṇic aesthetic where the ordered abundance of nature signals auspiciousness and dharmic harmony; a well-described tīrtha/āśrama environment is portrayed as naturally thriving, implying that right order (ṛta/dharma) is reflected in the surrounding ecology.
This verse is not directly Sarga/Pratisarga/Manvantara/Vaṃśa/Vaṃśānucarita in content; it functions as ancillary narrative description (upabṛṃhaṇa) supporting a scene-setting passage rather than a core pañcalakṣaṇa unit.
Aquatic birds and turtles commonly symbolize movement through the ‘waters’ of saṃsāra—creatures at ease in water hint at adaptability and inner poise. The haṃsa in particular can carry contemplative overtones (discernment), though here it remains primarily a naturalistic marker of a serene, life-filled waterscape.