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Shloka 59

Adhyaya 23Ashvatara’s Vow for Madalasa and the Bestowal of Musical Science by Sarasvati

ततः कैलासशैलेन्द्र-शिखरस्थितमीश्वरम् ।

गीतकैः सप्तभिर्नागौ तन्त्रीलयसमन्वितौ ॥

tataḥ kailāsaśailendra-śikharasthitamīśvaram / gītakaiḥ saptabhirnāgau tantrīlayasamanvitau

అప్పుడు ఆ ఇద్దరు నాగులు కైలాస శిఖరంపై స్థితుడైన ప్రభువును, తంత్రి-వాద్యమూ లయతో కూడిన ఏడు గీతాలతో స్తుతించారు।

tataḥthen
tataḥ:
Kāla/Anantara (काल/अनन्तर)
TypeIndeclinable
Roottataḥ (अव्यय)
FormAdverb (क्रियाविशेषण), ‘thereupon/then’
kailāsa-śaila-indra-śikhara-sthitamsituated on the peak of Mount Kailāsa
kailāsa-śaila-indra-śikhara-sthitam:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootkailāsa (प्रातिपदिक) + śaila (प्रातिपदिक) + indra (प्रातिपदिक) + śikhara (प्रातिपदिक) + sthita (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Accusative (द्वितीया/2), Singular (एकवचन); qualifying ‘īśvaram’; meaning ‘situated on the peak of the lord of mountains, Kailāsa’
īśvaramthe Lord (Śiva)
īśvaram:
Karma (कर्म)
TypeNoun
Rootīśvara (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Accusative (द्वितीया/2), Singular (एकवचन)
gītakaiḥwith songs; by song-verses
gītakaiḥ:
Karaṇa (करण)
TypeNoun
Rootgītaka (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग), Instrumental (तृतीया/3), Plural (बहुवचन)
saptabhiḥwith seven
saptabhiḥ:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootsapta (प्रातिपदिक)
FormInstrumental (तृतीया/3), Plural (बहुवचन); numeral qualifying ‘gītakaiḥ’
nāgauthe two Nāgas
nāgau:
Karta (कर्ता)
TypeNoun
Rootnāga (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (प्रथमा/1), Dual (द्विवचन)
tantrī-laya-samanvitauendowed with stringed-instrument and rhythm
tantrī-laya-samanvitau:
Viśeṣaṇa (विशेषण)
TypeAdjective
Roottantrī (प्रातिपदिक) + laya (प्रातिपदिक) + samanvita (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (प्रथमा/1), Dual (द्विवचन); qualifying ‘nāgau’; ‘endowed with lute/strings and rhythm’
Narrative voice

{ "primaryRasa": "bhakti", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

Śiva
BhaktiŚiva worshipMusic as worshipKailāsa

FAQs

Art becomes sādhana when offered to God: refined musical order (tāla/laya) is redirected into devotion rather than display.

A devotional episode within narrative; not a pancalakṣaṇa classification.

Kailāsa symbolizes the summit of consciousness; ‘seven songs’ can resonate with seven notes or inner centers—devotion harmonizing the whole being.