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Varaha Purana 197.33 — Adhyaya 197, Shloka 33

The Division of the Gates of Yama’s City and the Description of the Tribunal Hall

गायकाः हासकाश्चैव सर्वजीवप्रबोधकाः ॥ मृत्युनासहिता नित्यं कालज्ञा कालसम्मताः

gāyakā hāsakāś caiva sarvajīvaprabodhakāḥ || mṛtyunā sahitā nityaṁ kālajñā kālasammatāḥ

गायकाः हासकाश्चैव सर्वजीवप्रबोधकाः। मृत्युनासहिता नित्यं कालज्ञा कालसम्मताः॥

गायकाःsingers
गायकाः:
कर्ता (Subject/कर्ता)
TypeNoun
Rootगै (धातु) → गायक (प्रातिपदिक; कृदन्त-ण्वुल्)
Formण्वुल्-प्रत्ययान्त (agent noun), पुल्लिङ्ग, प्रथमा-विभक्ति, बहुवचन
हासकाःlaughers/jesters
हासकाः:
कर्ता
TypeNoun
Rootहास (प्रातिपदिक) + क (प्रत्यय; agent/one who causes)
Formपुल्लिङ्ग, प्रथमा-विभक्ति, बहुवचन
and
:
समुच्चय
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चय-अव्यय (conjunction)
एवindeed/just
एव:
अवधारण (Emphasis)
TypeIndeclinable
Rootएव (अव्यय)
Formनिश्चय/अवधारण-अव्यय (emphatic particle)
सर्वजीवप्रबोधकाःarousers of all creatures
सर्वजीवप्रबोधकाः:
विशेषण (to गायकाः/हासकाः)
TypeAdjective
Rootसर्व (प्रातिपदिक) + जीव (प्रातिपदिक) + प्रबोधक (प्रातिपदिक; √बुध् + णिच् + ण्वुल्)
Formतत्पुरुष (determinative: 'awakening all beings'), पुल्लिङ्ग, प्रथमा-विभक्ति, बहुवचन
मृत्युनाwith Death
मृत्युना:
सह (Association/सहकारक)
TypeNoun
Rootमृत्यु (प्रातिपदिक)
Formपुल्लिङ्ग, तृतीया-विभक्ति (Instrumental/सह), एकवचन
सहिताःaccompanied
सहिताः:
विशेषण (to गायकाः/हासकाः etc.)
TypeAdjective
Rootसह (उपसर्ग) + इ (धातु) → सहित (कृदन्त, क्त)
Formक्त-प्रत्ययान्त (PPP; 'accompanied'), पुल्लिङ्ग, प्रथमा-विभक्ति, बहुवचन
नित्यम्always
नित्यम्:
क्रियाविशेषण (Adverbial)
TypeIndeclinable
Rootनित्य (प्रातिपदिक)
Formक्रियाविशेषण-अव्यय (adverbial accusative)
कालज्ञाःknowers of time
कालज्ञाः:
विशेषण
TypeAdjective
Rootकाल (प्रातिपदिक) + ज्ञ (प्रातिपदिक; √ज्ञा)
Formतत्पुरुष ('knowing time'), पुल्लिङ्ग, प्रथमा-विभक्ति, बहुवचन
कालसम्मताःsanctioned by Time
कालसम्मताः:
विशेषण
TypeAdjective
Rootकाल (प्रातिपदिक) + सम्मत (कृदन्त, क्त; √मन् with सम्)
Formतत्पुरुष ('approved by Time'), क्त-प्रत्ययान्त, पुल्लिङ्ग, प्रथमा-विभक्ति, बहुवचन

Varāha (default dialogue framework; speaker not explicit in fragment)

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":"observer","bhu_devi_state":"None","key_question":"None"}

Mathura Mandala: {"is_mathura_related":false,"specific_site":"None","parikrama_context":"None","krishna_connection":"None"}

Dharma Shastra: {"has_dharma_rule":true,"topic":"None","instruction_summary":"Time-ordinance (kāla-sammati) governs all beings; even aesthetic agents (singers/jesters) serve as awakeners to mortality and duty.","karmic_consequence":"Heeding ‘wake-up’ signals (impermanence reminders) supports dharmic urgency; ignoring them deepens negligence and karmic entanglement."}

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

Cosmic Boar Symbolism: {"has_symbolism":true,"symbolic_interpretation":"The retinue of Death as kāla-jña indicates that cosmic order includes māyā’s ‘performers’—sound, rhythm, and spectacle—used to rouse jīvas from heedlessness.","yajna_varaha_imagery":"Singers/jesters parallel ritual chant and regulated cadence: sound as instrument of kāla, awakening beings like mantra that ‘calls’ attention.","vedantic_connection":"Kāla as a mode of Īśvara’s governance; nāda (sound) as a means of awakening viveka (discernment) amid saṃsāra’s theatre."}

Philosophical Teaching: {"has_teaching":true,"teaching_type":"didactic-symbolic","core_concept":"Saṃsāra is a staged order under Time; even entertainment can function as spiritual alarm (prabodha) toward awareness.","practical_application":"Treat life’s signals—art, humor, shocks, losses—as prompts for mindfulness, repentance, and dharmic correction."}

Subject Matter: ["Cosmology","Ethics"]

Primary Rasa: adbhuta

Secondary Rasa: bhayanaka

Type: otherworldly retinue/procession

Related Themes: Varaha Purana ch.197 (attendants of Death; kāla motifs)

Visual Art Cues: {"scene_description":"A surreal procession: singers and jesters with instruments and expressive gestures, flanking or following Death, as if performing to awaken all beings to Time’s decree.","item_prompts":["musical instruments (veena, mridanga, cymbals)","jesters with expressive masks","scroll/banner of kāla-ordinance","Death figure in center or ahead","processional movement"],"kerala_mural_prompt":"Kerala mural style, rhythmic composition with musicians, stylized gestures, strong outlines, ceremonial procession behind Mṛtyu.","tanjore_prompt":"Tanjore style, ornate musicians with gold accents on instruments, central Mṛtyu icon, rich decorative borders.","mysore_prompt":"Mysore style, refined courtly procession, detailed instruments, controlled expressions balancing wonder and dread.","pahari_prompt":"Pahari style, narrative procession across landscape-like clouds, delicate figures, emphasis on storytelling and motion."}

Audio Atmosphere: {"recitation_mood":"ritual-theatrical yet solemn","suggested_raga":"Khamaj","pace":"medium","voice_tone":"clear, slightly narrative, with restrained gravity"}

C
Classical Literature
P
Purāṇic Studies
R
Ritual Aesthetics
A
Afterlife Imagery

FAQs

The verse shows how Purāṇic texts integrate performative social roles (singers, jesters) into cosmic administration, blending courtly imagery with metaphysical themes.

No geographic location is specified.

It suggests that awakening to reality (prabodha) occurs under the governance of Time—an implicit call to awareness and responsibility.

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