Shloka 12

Puṣkara Mahatmya: Brahmā’s Lotus-Tīrtha, Sacrifice, Initiation, and Kṣetra-Dharma

Devanagari script

बह्वातोद्यसमुत्पन्नसमूहस्वननादिता । लयतालयुतानेक गीतवादित्र शोभिता

Transliteration

bahvātodyasamutpannasamūhasvananāditā | layatālayutāneka gītavāditra śobhitā

Translation

అనేక వాద్యాల నుండి పుట్టిన సమ్మిళిత నాదాలతో ఆ సభ మార్మోగింది. లయ-తాళాలతో కూడిన ఎన్నో గీతాలు, వాద్యప్రదర్శనలతో అది శోభిల్లింది.

Word by Word

• बहु-आतोद्य-समुत्पन्न-समूह-स्वन-नादिता: resounding with the sound of a multitude of musical instruments
• बहु-आतोद्य-समुत्पन्न-समूह-स्वन-नादिता: Visheshana (Qualifier/विशेषण)
• Type: Adjective
• Root: बहु + आतोद्य + समुत्पन्न + समूह + स्वन + नादित (प्रातिपदिक; √नद्/नदति इति धातु-आधारित कृदन्त ‘नादित’)
• Form: स्त्रीलिङ्ग, प्रथमा (1st), एकवचन; ‘नादिता’ = भूतकृदन्त (क्त), विशेषणम्

• लय-ताल-युता-अनेक: endowed with many rhythms and beats
• लय-ताल-युता-अनेक: Visheshana (Qualifier/विशेषण)
• Type: Adjective
• Root: लय + ताल + युत + अनेक (प्रातिपदिक; √युज्/योजयति इति धातु-आधारित कृदन्त ‘युत’)
• Form: स्त्रीलिङ्ग, प्रथमा (1st), एकवचन; ‘युता’ = भूतकृदन्त (क्त), विशेषणम्; ‘अनेक’ उपपदविशेषणम्

• गीत-वादित्र-शोभिता: adorned with songs and instruments
• गीत-वादित्र-शोभिता: Visheshana (Qualifier/विशेषण)
• Type: Adjective
• Root: गीत + वादित्र + शोभित (प्रातिपदिक; √शुभ्/शोभते इति धातु-आधारित कृदन्त ‘शोभित’)
• Form: स्त्रीलिङ्ग, प्रथमा (1st), एकवचन; ‘शोभिता’ = भूतकृदन्त (क्त), विशेषणम्

Speaker

Narrator (contextual description within the Adhyaya; specific speaker not identifiable from the single verse alone)

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: hasya

Geographic Context

Type: celestial_realm

Sandhi Resolution Notes

Sandhi Resolution Notes: बह्वातोद्यसमुत्पन्नसमूहस्वननादिता = बहु + आतोद्य + समुत्पन्न + समूह + स्वन + नादिता; लयतालयुतानेक = लय + ताल + युता + अनेक; गीतवादित्रशोभिता = गीत + वादित्र + शोभिता।

FAQs

What does this verse convey about sacred sound and music?

It portrays a sanctified atmosphere filled with coordinated musical sound—instrumental resonance, song, and measured rhythm (laya and tāla)—suggesting devotional or celebratory worship where sound itself becomes an offering.

Why are laya and tāla specifically mentioned?

Laya (rhythmic flow/tempo) and tāla (time-cycle/beat) indicate disciplined musical structure, implying that the beauty described is not chaotic noise but harmonized, intentional performance.

What ethical or devotional lesson can be drawn from this description?

The verse highlights the value of ordered, attentive participation in sacred acts—devotion expressed through harmony, coordination, and aesthetic excellence rather than mere display.