Shloka 20

Kṛṣṇa’s Daily Life in Dvārakā; the Captive Kings’ Appeal; Nārada Announces the Rājasūya

Devanagari script

मृदङ्गवीणामुरजवेणुतालदरस्वनै: । ननृतुर्जगुस्तुष्टुवुश्च सूतमागधवन्दिन: ॥ २० ॥

Transliteration

mṛdaṅga-vīṇā-muraja- veṇu-tāla-dara-svanaiḥ nanṛtur jagus tuṣṭuvuś ca sūta-māgadha-vandinaḥ

Translation

ด้วยเสียงไพเราะของมฤทังคะ วีณา มุรชะ ขลุ่ย ฉิ่ง และสังข์ พวกเขาร่ายรำและขับร้อง; ส่วนสุตะ มาคธะ และผู้สรรเสริญก็ขับสดุดีพระเกียรติของพระภควาน

Synonyms

• mṛdaṅga-vīṇā-muraja-veṇu-tāla-dara-svanaiḥ: by the sounds of various instruments
• mṛdaṅga-vīṇā-muraja-veṇu-tāla-dara-svanaiḥ: Karaṇa (करण)
• Type: Noun
• Root: mṛdaṅga (प्रातिपदिक) + vīṇā (प्रातिपदिक) + muraja (प्रातिपदिक) + veṇu (प्रातिपदिक) + tāla (प्रातिपदिक) + dara (प्रातिपदिक) + svana (प्रातिपदिक)
• Form: Masculine, Instrumental (3rd/तृतीया), Plural; समास: द्वन्द्व (list of instruments) with final member ‘svana’ (‘sounds’): ‘by the sounds of drums, lutes, murajas, flutes, cymbals, and daras’

• nanṛtuḥ: they danced
• nanṛtuḥ: Kriyā (क्रिया)
• Type: Verb
• Root: √nṛt (धातु)
• Form: Perfect (लिट्), 3rd person (प्रथमपुरुष), Plural (बहुवचन)

• jaguḥ: they sang
• jaguḥ: Kriyā (क्रिया)
• Type: Verb
• Root: √gai (धातु)
• Form: Perfect (लिट्), 3rd person (प्रथमपुरुष), Plural

• tuṣṭuvuḥ: they praised
• tuṣṭuvuḥ: Kriyā (क्रिया)
• Type: Verb
• Root: √stu (धातु)
• Form: Perfect (लिट्), 3rd person (प्रथमपुरुष), Plural

• ca: and
• ca: Samuccaya (समुच्चय)
• Type: Indeclinable
• Root: ca (अव्यय)
• Form: Conjunction particle (समुच्चय)

• sūta-māgadha-vandinaḥ: the sūtas, māgadhas, and bards
• sūta-māgadha-vandinaḥ: Karta (कर्ता)
• Type: Noun
• Root: sūta (प्रातिपदिक) + māgadha (प्रातिपदिक) + vandin (प्रातिपदिक)
• Form: Masculine, Nominative (1st/प्रथमा), Plural; समास: द्वन्द्व (‘sūtas, māgadhas, and bards/panegyrists’)

Characters & Entities

• Sūtas
• Māgadhas
• Vandinas (panegyrists)

FAQs

What does the Srimad Bhagavatam say about glorifying Krishna with music and song?

This verse describes professional bards and singers praising Kṛṣṇa through instruments, song, and dance, showing that joyful musical glorification is a natural expression of bhakti.

Why are Sūtas and Māgadhas mentioned in Krishna’s Dvārakā pastimes?

In royal assemblies, Sūtas and Māgadhas traditionally recited praises of the king; here they celebrate Kṛṣṇa in Dvārakā, highlighting His divine kingship and the culture of devotional eulogy.

How can this verse be applied in modern devotional life?

It encourages devotees to engage the senses in kīrtana—singing, playing instruments, and offering heartfelt praise—transforming celebration and art into devotional service.