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Varaha Purana 196.20 — Adhyaya 196, Shloka 20

Description of the City of Dharmarāja

Yama

तां नदीं क्षोभयन्त्यस्ताः क्रीडन्ति सहिताः प्रियैः ॥ गायन्ति सलिले काश्चिन्मधुरं मधुविह्वलाः

tāṃ nadīṃ kṣobhayantyas tāḥ krīḍanti sahitāḥ priyaiḥ | gāyanti salile kāścin madhuraṃ madhuvihvalāḥ ||

Взбаламучивая ту реку, они играют вместе со своими возлюбленными; и некоторые, опьянённые сладостью, мелодично поют в воде.

tāmthat (her/it)
tām:
Karma (कर्म)
TypeNoun
Roottad (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन
nadīmriver
nadīm:
Karma (कर्म)
TypeNoun
Rootnadī (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया, एकवचन
kṣobhayantyaḥagitating / stirring
kṣobhayantyaḥ:
Karta (कर्ता)
TypeVerb
Rootkṣubh (धातु) + ṇic (णिच् causative) + śatṛ (कृदन्त)
Formवर्तमान-कृदन्त (Present active participle/शतृ) of causative ‘kṣobhayati’, स्त्रीलिङ्ग, प्रथमा, बहुवचन; कर्तरि
tāḥthose (women)
tāḥ:
Karta (कर्ता)
TypeNoun
Roottad (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन
krīḍantithey play
krīḍanti:
Kriyā (क्रिया)
TypeVerb
Rootkrīḍ (धातु)
Formलट्-लकार, प्रथम-पुरुष, बहुवचन; परस्मैपद
sahitāḥtogether / accompanied
sahitāḥ:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootsaha (उपसर्ग/अव्यय) + i (धातु) + kta (कृदन्त)
Formभूतकृदन्त (Past participle/क्त) ‘sahita’ = accompanied, स्त्रीलिङ्ग, प्रथमा, बहुवचन; विशेषणं (qualifying tāḥ)
priyaiḥwith (their) प्रिय ones / beloveds
priyaiḥ:
Sahakāraka (सहकारक)
TypeNoun
Rootpriya (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया, बहुवचन; सह-सम्बन्धे (with their beloveds)
gāyantithey sing
gāyanti:
Kriyā (क्रिया)
TypeVerb
Rootgai (धातु)
Formलट्-लकार, प्रथम-पुरुष, बहुवचन; परस्मैपद
salilein the water
salile:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootsalila (प्रातिपदिक)
Formनपुंसकलिङ्ग, सप्तमी, एकवचन
kāścitsome (women)
kāścit:
Karta (कर्ता)
TypeNoun
Rootkim (सर्वनाम-प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन; अनिश्चित-सर्वनाम (indefinite pronoun: some)
madhuramsomething sweet / sweetly
madhuram:
Karma (कर्म)
TypeNoun
Rootmadhura (प्रातिपदिक)
Formनपुंसकलिङ्ग, द्वितीया, एकवचन; कर्मरूपेण (object of singing: sweet song/thing)
madhuvihvalāḥintoxicated / enraptured (by sweetness)
madhuvihvalāḥ:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootmadhu (प्रातिपदिक) + vihvala (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, बहुवचन; तत्पुरुषः ‘मधुना विह्वलाः’ (bewildered/intoxicated by honey/sweetness)

Varāha (default dialogue framework)

Varaha Avatara Context: {"is_varaha_focus":false,"aspect_highlighted":"None","boar_form_detail":"None","earth_interaction":"None"}

Bhu Devi Dialogue: {"is_dialogue":false,"speaker_role":"instructor","bhu_devi_state":"None","key_question":"None"}

Mathura Mandala: {"is_mathura_related":true,"specific_site":"A sacred river (nadī/nimnagā) in Mathurā-maṇḍala (unnamed here)","parikrama_context":"Implicit river-route setting; no direct parikramā prescription.","krishna_connection":"Only tonal foreshadowing: river-play with प्रियैः and madhura-gīta evokes later Vraja soundscape, but Kṛṣṇa is not referenced."}

Dharma Shastra: {"has_dharma_rule":false,"topic":"None","instruction_summary":"None","karmic_consequence":"None"}

Vrata Mahatmya: {"has_vrata":false,"vrata_name":"None","tithi_month":"None","promised_fruit":"None"}

Cosmic Boar Symbolism: {"has_symbolism":false,"symbolic_interpretation":"None","yajna_varaha_imagery":"None","vedantic_connection":"None"}

Philosophical Teaching: {"has_teaching":true,"teaching_type":"aesthetic theology (nāda as sanctity-marker)","core_concept":"Sweet song (madhura-gīta) and communal harmony around sacred waters signify a refined, sattvic atmosphere—sanctity expressed through sound and joy.","practical_application":"In sacred settings, cultivate uplifting speech/song and harmonious companionship; let devotion and beauty refine emotion rather than inflame craving."}

Subject Matter: ["Geography","Aesthetics","Cultural History"]

Primary Rasa: śṛṅgāra

Secondary Rasa: hāsya

Type: river channel / bathing-play zone

Related Themes: Adhyāya 196 sound-and-water descriptions culminating in ornament/instrument resonance (v.23)

Visual Art Cues: {"scene_description":"Groups of women with their beloveds splash and churn the river while some sing sweetly in the water, as if intoxicated by spring-honey.","item_prompts":["dynamic splashes and ripples","paired companions (priyaiḥ)","singers half-submerged in water","suggestion of spring (flowers, bees)","expressive hand gestures of song","flowing hair and ornaments"],"kerala_mural_prompt":"Kerala mural: energetic water patterns, synchronized group play, expressive singing gestures, floral spring motifs around the riverbank.","tanjore_prompt":"Tanjore: gold-accented ornaments, stylized splashes, central singing figure group, rich reds/greens suggesting festivity.","mysore_prompt":"Mysore: nuanced expressions, delicate water texture, emphasis on musicality through hand-mudrā-like poses.","pahari_prompt":"Pahari: lyrical river scene with spring blossoms, light rhythmic composition, emphasis on song and gentle romance."}

Audio Atmosphere: {"recitation_mood":"playful, musical, flowing","suggested_raga":"Vasant or Pilu","pace":"medium with lilting cadence","voice_tone":"melodic, lightly animated"}

C
Classical Literature
P
Purāṇa
S
Soundscape Studies
S
Sacred Waters

FAQs

It is valuable for cultural history of performance and leisure imagery in Sanskrit texts, describing music and movement as part of river landscapes.

The verse refers to an unnamed river within the passage; the river is named Vaivasvatī in verse 24.

The verse is primarily descriptive; indirectly it highlights the river’s centrality as a shared cultural space.

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