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Narada Purana — Purva Bhaga, Shloka 57

The Description of the Four Durgā Mantras

अनंगानंगकुसुमा भूयश्चानंगमेखला । अनंगमदना सर्वा मदविभ्रममंथरा ॥ ५७ ॥

anaṃgānaṃgakusumā bhūyaścānaṃgamekhalā | anaṃgamadanā sarvā madavibhramamaṃtharā || 57 ||

Siya’y muli ngang Anangā; ang kanyang mga bulaklak ay “mga bulaklak ni Ananga”; ang kanyang pamigkis ay Ananga rin; ang buo niyang pagkatao ay ang Madana ni Ananga—nanghihina sa pagkalango ng umuugoy na guniguni.

अनङ्गा(she who is) Ananga / bodiless (epithet)
अनङ्गा:
Karta (कर्ता/Subject)
TypeAdjective
Rootअनङ्ग (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st/Nominative), एकवचन; विशेषण (fem. nom. sg.)
अनङ्गकुसुमाhaving flowers of Ananga (Cupid)
अनङ्गकुसुमा:
Karta (कर्ता/Subject)
TypeAdjective
Rootअनङ्ग + कुसुम (प्रातिपदिक)
Formषष्ठी-तत्पुरुष (genitive determinative): अनङ्गस्य कुसुमानि; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
भूयःagain, further
भूयः:
Sambandha (सम्बन्ध/Adverbial)
TypeIndeclinable
Rootभूयस् (प्रातिपदिक)
Formअव्यय; पुनः/अधिकम् अर्थे (adverb: again/further)
and
:
Sambandha (सम्बन्ध/Connector)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयार्थक-अव्यय (conjunction)
अनङ्गमेखलाwearing Ananga as a girdle / with Cupid-girdle
अनङ्गमेखला:
Karta (कर्ता/Subject)
TypeAdjective
Rootअनङ्ग + मेखला (प्रातिपदिक)
Formषष्ठी-तत्पुरुष: अनङ्गस्य मेखला; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
अनङ्गमदनाwhose love/desire is of Ananga (Cupid)
अनङ्गमदना:
Karta (कर्ता/Subject)
TypeAdjective
Rootअनङ्ग + मदन (प्रातिपदिक)
Formषष्ठी-तत्पुरुष: अनङ्गस्य मदनः; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण
सर्वाall, wholly
सर्वा:
Karta (कर्ता/Subject)
TypeAdjective
Rootसर्व (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण (fem. nom. sg.)
मदविभ्रममन्थराslow/swaying due to intoxication and amorous delusion
मदविभ्रममन्थरा:
Karta (कर्ता/Subject)
TypeAdjective
Rootमद + विभ्रम + मन्थर (प्रातिपदिक)
Formतत्पुरुष (determinative): मद-विभ्रम-कारणेन मन्थरा; स्त्रीलिङ्ग, प्रथमा, एकवचन; विशेषण

Sanatkumara (in dialogue with Narada)

Vrata: none

Primary Rasa: adbhuta

Secondary Rasa: shringara

A
Ananga
M
Madana
K
Kama

FAQs

The verse intensifies the imagery of desire (Kāma/Ananga) and intoxicated delusion (mada-vibhrama), implicitly highlighting how fascination and sensual bewilderment can bind the mind—an important contrast to the Purana’s broader aim of directing attention toward dharma and higher knowledge.

By portraying the mind’s pull toward kāma and its ‘languid sway,’ the verse functions as a foil to bhakti: devotion requires steadiness (niścaya) and purification of attention, whereas passion-driven delusion disperses awareness and weakens spiritual resolve.

The verse showcases technical Sanskrit usage—dense compounds (samāsa) and deliberate epithet-repetition (anuprāsa/śleṣa-like effect) around ‘Ananga/Madana,’ reflecting the kind of linguistic precision associated with Vyākaraṇa and refined poetic diction often discussed alongside Vedanga learning.

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