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Shloka 10

Vīrabhadra Destroys Dakṣa’s Sacrifice

Dakṣa-yajña-vināśa

यस्त्वन्तकाले व्युप्तजटाकलाप: स्वशूलसूच्यर्पितदिग्गजेन्द्र: । वितत्य नृत्यत्युदितास्त्रदोर्ध्वजान् उच्चाट्टहासस्तनयित्नुभिन्नदिक् ॥ १० ॥

yas tv anta-kāle vyupta-jaṭā-kalāpaḥ sva-śūla-sūcy-arpita-dig-gajendraḥ vitatya nṛtyaty uditāstra-dor-dhvajān uccāṭṭa-hāsa-stanayitnu-bhinna-dik

अन्तकाले व्युप्तजटाकलापो रुद्रो दिग्गजेन्द्रान् स्वशूलसूच्यर्पयति; उदितास्त्रदोर्ध्वजान् ध्वजवत् प्रसार्य उच्चाट्टहासो गर्वेण नृत्यति, तनयित्नुभिन्ना इव दिशः।

yaḥwho
yaḥ:
Karta (कर्ता) of nṛtyati
TypeNoun
Rootyad (सर्वनाम-प्रातिपदिक)
FormPuṁliṅga, Prathamā Ekavacana; relative pronoun
tubut/indeed
tu:
Sambandha-bodhaka (निपात)
TypeIndeclinable
Roottu (अव्यय)
FormNipāta (particle), contrast/emphasis
anta-kāleat the time of dissolution
anta-kāle:
Adhikaraṇa (अधिकरण)
TypeNoun
Rootanta (प्रातिपदिक) + kāla (प्रातिपदिक)
FormPuṁliṅga, Saptamī (सप्तमी) Ekavacana; tatpuruṣa: 'antasya kālaḥ' (time of the end) used as locative of time
vyupta-jaṭā-kalāpaḥwith loosened mass of matted hair
vyupta-jaṭā-kalāpaḥ:
Viśeṣaṇa (विशेषण) of yaḥ (Rudra)
TypeAdjective
Rootvyupta (कृदन्त/प्रातिपदिक) + jaṭā (प्रातिपदिक) + kalāpa (प्रातिपदिक)
FormPuṁliṅga, Prathamā Ekavacana; bahuvrīhi: 'vyuptaḥ jaṭā-kalāpo yasya' (whose matted-hair mass is loosened/spread)
sva-śūla-sūci-arpita-dig-gajendraḥhaving the guardian elephants impaled on his trident-tip
sva-śūla-sūci-arpita-dig-gajendraḥ:
Viśeṣaṇa (विशेषण) of yaḥ
TypeAdjective
Rootsva (प्रातिपदिक) + śūla (प्रातिपदिक) + sūci (प्रातिपदिक) + arpita (कृदन्त) + dik (प्रातिपदिक) + gajendra (प्रातिपदिक)
FormPuṁliṅga, Prathamā Ekavacana; bahuvrīhi: 'svaśūlasūcyā arpitaḥ diggajendraḥ yasya' (who has the directional elephant impaled on the tip of his own trident)
vitatyahaving spread out
vitatya:
Pūrvakāla-kriyā (पूर्वकालक्रिया)
TypeVerb
Rootvi-√tan (धातु)
FormAbsolutive (क्त्वा/ल्यप्), 'vitatya' (having spread/extended)
nṛtyatidances
nṛtyati:
Kriyā (क्रिया)
TypeVerb
Rootnṛt (धातु)
FormLaṭ (लट्, Present), Prathama-puruṣa (3rd), Ekavacana, parasmaipada
udita-astra-dor-dhvajānhis arms like banners with weapons raised
udita-astra-dor-dhvajān:
Karma (कर्म) of vitatya (what is spread)
TypeNoun
Rootudita (कृदन्त/प्रातिपदिक) + astra (प्रातिपदिक) + dor (प्रातिपदिक) + dhvaja (प्रातिपदिक)
FormPuṁliṅga, Dvitīyā Bahuvacana; tatpuruṣa: 'udita-astraḥ' (raised weapons) qualifying 'dor-dhvajān' = 'arms as banners'
uccāṭṭa-hāsa-stanayitnu-bhinna-dikwhose directions are rent by loud laughter and thunder
uccāṭṭa-hāsa-stanayitnu-bhinna-dik:
Viśeṣaṇa (विशेषण) of yaḥ
TypeAdjective
Rootuccāṭṭa (प्रातिपदिक) + hāsa (प्रातिपदिक) + stanayitnu (प्रातिपदिक) + bhinna (कृदन्त/प्रातिपदिक) + dik (प्रातिपदिक)
FormPuṁliṅga, Prathamā Ekavacana; bahuvrīhi: 'uccāṭṭahāsastanayitnubhyāṁ bhinnā diśo yasya' (whose directions are shattered by loud laughter and thunder)

Prasūti, who appreciated the power and strength of her son-in-law, Lord Śiva, is describing what he does at the time of dissolution. This description indicates that the strength of Lord Śiva is so great that Dakṣa’s power could not be set in comparison to it. At the time of dissolution, Lord Śiva, with his trident in hand, dances over the rulers of the different planets, and his hair is scattered, just as the clouds are scattered over all directions in order to plunge the different planets into incessant torrents of rain. In the last phase of dissolution, all the planets become inundated with water, and that inundation is caused by the dancing of Lord Śiva. This dance is called the pralaya dance, or dance of dissolution. Prasūti could understand that the dangers ahead resulted not only from Dakṣa’s having neglected her daughter, but also because of his neglecting the prestige and honor of Lord Śiva.

L
Lord Śiva (Rudra)

FAQs

This verse depicts Lord Śiva’s fearsome pralaya-form: with loosened matted hair, he dances with uplifted weapons, and even the guardians of the directions are overcome—showing his role as the great agent of dissolution.

In the narrative surrounding Dakṣa’s sacrifice and offenses, the Bhāgavatam emphasizes Śiva’s immense potency; the fierce imagery underscores that insulting great devotees and devas has grave consequences.

It teaches humility and reverence: do not minimize spiritually powerful personalities, and remember that the universe is governed by higher divine order beyond human pride and control.