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Narada Purana — Purva Bhaga, Shloka 93

The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga

हंससारससंकीर्णकमलोत्पलशालिभिः । सरोभिर्नीलांभोभिः परीते भवनोत्तमे ॥ ९३ ॥

haṃsasārasasaṃkīrṇakamalotpalaśālibhiḥ | sarobhirnīlāṃbhobhiḥ parīte bhavanottame || 93 ||

Kediaman yang paling mulia itu dikelilingi tasik-tasik berair biru, dipenuhi angsa dan burung sarasa, serta kaya dengan teratai dan lili air biru (utpala).

हंससारससंकीर्णकमलोत्पलशालिभिःwith lakes possessing lotuses and lilies, crowded with swans and cranes
हंससारससंकीर्णकमलोत्पलशालिभिः:
Karaṇa (करण)
TypeAdjective
Rootहंस-सारस-संकीर्ण-कमल-उत्पल-शालिन् (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया (करण/3rd), बहुवचन; बहुपद-समास: ‘having lotuses and water-lilies, crowded with swans and cranes’; विशेषण (सरोभिः)
सरोभिःwith lakes
सरोभिः:
Karaṇa (करण)
TypeNoun
Rootसरस् (प्रातिपदिक)
Formनपुंसकलिङ्ग, तृतीया (करण/3rd), बहुवचन
नीलाम्भोभिःwith blue waters
नीलाम्भोभिः:
Karaṇa (करण)
TypeAdjective
Rootनील-अम्भस् (प्रातिपदिक)
Formनपुंसकलिङ्ग, तृतीया (करण/3rd), बहुवचन; ‘blue waters’; विशेषण (सरोभिः)
परीतेsurrounded
परीते:
Adhikaraṇa (अधिकरण)
TypeAdjective
Rootपरि-इ (धातु) + क्त (कृदन्त)
Formक्त-प्रत्ययान्त भूतकर्मणि/भूतकृत् (past passive participle); नपुंसकलिङ्ग, सप्तमी (अधिकरण/7th), एकवचन; ‘surrounded’; विशेषण (भवनोत्तमे)
भवनोत्तमेin the excellent mansion
भवनोत्तमे:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootभवन-उत्तम (प्रातिपदिक)
Formनपुंसकलिङ्ग, सप्तमी (अधिकरण/7th), एकवचन; ‘in the best mansion/palace’

Suta (narrating the scene in the Purana’s frame dialogue)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: shanta

FAQs

It portrays an auspicious, sattvic environment—pure waters, sacred birds, and lotuses—used in Puranic literature to signal a holy setting fit for dharmic instruction and spiritual practice.

Indirectly, it frames devotion by emphasizing purity and sacred ambience: such serene surroundings support japa, worship, and attentive listening to teachings—key supports of Vishnu-bhakti in Puranic practice.

While not teaching a Vedanga directly, it reflects the traditional requirement of a suitable, calm place for study and recitation—supporting disciplines like Śikṣā (proper chanting) and Vyākaraṇa (accurate textual learning) within the Third Pada’s technical focus.