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Narada Purana — Purva Bhaga, Shloka 103

Hanūmaccarita

The Account of Hanumān

करांबुपातमन्योन्यं पृथक्कृत्वोभयत्र च । मुनयो राक्षसाश्चैव जलक्रीडां प्रचक्रिरे ॥ १०३ ॥

karāṃbupātamanyonyaṃ pṛthakkṛtvobhayatra ca | munayo rākṣasāścaiva jalakrīḍāṃ pracakrire || 103 ||

เมื่อแยกเป็นสองฝ่ายเผชิญกัน ทั้งเหล่ามุนีและรากษสก็เริ่มกีฬาทางน้ำ สาดน้ำด้วยฝ่ามือใส่กันและกัน

कर-अम्बु-पातम्splashing water with hands
कर-अम्बु-पातम्:
Karma (कर्म/Object)
TypeNoun
Rootकर (प्रातिपदिक) + अम्बु (प्रातिपदिक) + पात (प्रातिपदिक)
Formतत्पुरुष-समास (determinative; ‘water-splash by hands’), पुंलिङ्ग, द्वितीया, एकवचन
अन्योन्यम्mutually
अन्योन्यम्:
Kriya-visheshana (क्रियाविशेषण)
TypeIndeclinable
Rootअन्योन्य (प्रातिपदिक)
Formअव्ययीभाव-प्रयोग/क्रियाविशेषण (adverbial accusative: ‘mutually’)
पृथक्separately
पृथक्:
Kriya-visheshana (क्रियाविशेषण)
TypeIndeclinable
Rootपृथक् (अव्यय)
Formक्रियाविशेषण-अव्यय (adverb: ‘separately’)
कृत्वाhaving done
कृत्वा:
Kriya-anuvṛtti (पूर्वक्रिया)
TypeVerb
Rootकृ (धातु)
Formक्त्वान्त (Absolutive/Gerund)
उभयत्रon both sides
उभयत्र:
Adhikarana (अधिकरण/Locative sense)
TypeIndeclinable
Rootउभयत्र (अव्यय)
Formदेशवाचक-अव्यय (locative adverb: ‘in both places/among both sides’)
and
:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयार्थक-अव्यय (conjunction ‘and’)
मुनयःsages
मुनयः:
Karta (कर्ता)
TypeNoun
Rootमुनि (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, बहुवचन
राक्षसाःdemons
राक्षसाः:
Karta (कर्ता)
TypeNoun
Rootराक्षस (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, बहुवचन
and
:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयार्थक-अव्यय
एवindeed
एव:
Sambandha (सम्बन्ध)
TypeIndeclinable
Rootएव (अव्यय)
Formअवधारणार्थक-निपात (emphatic particle: ‘indeed/just’)
जल-क्रीडाम्water-sport
जल-क्रीडाम्:
Karma (कर्म/Object)
TypeNoun
Rootजल (प्रातिपदिक) + क्रीडा (प्रातिपदिक)
Formतत्पुरुष (‘water-play’), स्त्रीलिङ्ग, द्वितीया, एकवचन
प्रचक्रिरेengaged in / performed
प्रचक्रिरे:
Kriya (क्रिया)
TypeVerb
Rootप्र + कृ (धातु)
Formलिट् (Perfect), प्रथमपुरुष, बहुवचन; आत्मनेपद

Suta (narrator) describing the episode within the Narada Purana’s dialogue framework

Vrata: none

Primary Rasa: hasya

Secondary Rasa: adbhuta

M
Munis
R
Rākṣasas

FAQs

It depicts a dramatic, almost playful conflict—showing how even ascetics can be drawn into outward contests, which later passages typically use to highlight the need for steadiness (dharma) over impulsive engagement.

This specific verse is narrative rather than devotional instruction; by contrast, Bhakti is emphasized elsewhere as the stabilizing refuge that prevents the mind from being carried away by rivalry and spectacle.

No direct Vedāṅga instruction (like Vyākaraṇa, Jyotiṣa, or Kalpa) appears in this verse; it functions as scene-setting within the chapter’s storyline.