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Skanda Purana — Nagara Khanda, Shloka 7

ततस्तद्गीतलौल्येन पातालात्समुपेत्य च । तक्षको वासुकिश्चैव द्विज रूपधरावुभौ

tatastadgītalaulyena pātālātsamupetya ca | takṣako vāsukiścaiva dvija rūpadharāvubhau

แล้วด้วยความหลงใหลในบทเพลงของนาง ทักษกะและวาสุกีจึงผุดขึ้นจากปาตาละ และทั้งสองก็แปลงกายเป็นพราหมณ์

ततःthen, thereafter
ततः:
क्रियाविशेषण (Adverbial)
TypeIndeclinable
Rootततः (अव्यय; तद्-प्रभव)
Formअव्यय (क्रम/हेतुवाचक: thereafter/from there)
तद्गीतलौल्येनdue to eagerness for that song
तद्गीतलौल्येन:
करण (Cause/means)
TypeNoun
Rootतद् (सर्वनाम) + गीत (प्रातिपदिक) + लौल्य (प्रातिपदिक)
Formनपुंसकलिङ्ग (लौल्य), तृतीया-विभक्ति (करण), एकवचन; ‘तद्गीते लौल्यं’ इति षष्ठी/सप्तमी-तत्पुरुषार्थः
पातालात्from Pātāla (netherworld)
पातालात्:
अपादान (Source)
TypeNoun
Rootपाताल (प्रातिपदिक)
Formनपुंसकलिङ्ग, पञ्चमी-विभक्ति (अपादान), एकवचन
समुपेत्यhaving come up/approached
समुपेत्य:
क्रियाविशेषण (पूर्वक्रिया)
TypeVerb
Rootसम्-उप-इ (धातु) + क्त्वा (ल्यप्)
Formल्यप्-प्रत्ययान्त अव्ययकृदन्त (gerund), पूर्वकालिक (having come/approached)
and
:
समुच्चय
TypeIndeclinable
Rootच (अव्यय)
Formअव्यय (समुच्चयबोधक)
तक्षकःTakṣaka (serpent)
तक्षकः:
कर्ता (Subject)
TypeNoun
Rootतक्षक (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा-विभक्ति, एकवचन
वासुकिःVāsuki (serpent)
वासुकिः:
कर्ता (Subject, coordinated)
TypeNoun
Rootवासुकि (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा-विभक्ति, एकवचन
and
:
समुच्चय
TypeIndeclinable
Rootच (अव्यय)
Formअव्यय (समुच्चयबोधक)
एवindeed, just
एव:
अवधारण (Emphasis)
TypeIndeclinable
Rootएव (अव्यय)
Formअव्यय (निश्चय/अवधारण/particle of emphasis)
द्विजa brāhmaṇa (twice-born)
द्विज:
विशेषण (Qualifier)
TypeNoun
Rootद्विज (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा-विभक्ति, एकवचन; समासपूर्वपदत्वेन ‘द्विजरूपधरौ’ इत्यत्र विशेषणार्थः
रूपधरौassuming the form
रूपधरौ:
कर्ता (Subject qualifier)
TypeAdjective
Rootरूपधर (प्रातिपदिक; रूप + धर)
Formपुंलिङ्ग, प्रथमा-विभक्ति, द्विवचन; विशेषण (रूपं धरतीति)
उभौboth
उभौ:
कर्ता (Subject)
TypeNoun
Rootउभ (सर्वनाम-प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा-विभक्ति, द्विवचन

Sūta

Tirtha: Kedāradeva (narrative locus)

Type: kshetra

Scene: From a dark jeweled underworld, Takṣaka and Vāsuki rise upward, then appear near the shrine disguised as calm brāhmaṇas, listening intently to the woman’s song.

T
Takṣaka
V
Vāsuki
P
Pātāla
K
Kedāradeva (implied by context)

FAQs

Pure devotion expressed through sacred song can move even powerful beings; bhakti becomes a force that bridges worlds.

The setting remains Kedāra/Kedāreśvara worship, where the nāgas come to witness the devotion.

No explicit prescription; it highlights the spiritual efficacy of devotional singing (gīta-bhakti).