Shloka 41

Means to Slay Tāraka: Girijā’s Birth, Kāma’s Burning, and Umā’s Austerities

Devanagari script

तंत्रीलयनयोपेतं सिद्धगंधर्वकिन्नरैः । सरागमुपधाविष्टं गीयते तस्य वेश्मसु

Transliteration

taṃtrīlayanayopetaṃ siddhagaṃdharvakinnaraiḥ | sarāgamupadhāviṣṭaṃ gīyate tasya veśmasu

Translation

Kasabay ng mga kuwerdas ng vīṇā, ng mga sukat ng ritmo at mga himig, ito’y inaawit nang may alab sa kaniyang mga palasyo ng mga Siddha, Gandharva, at Kinnara.

Word by Word

• तन्त्री-लय-नय-उपेतम्: endowed with lute, rhythm, and musical style
• तन्त्री-लय-नय-उपेतम्: Visheshana (विशेषण)
• Type: Adjective
• Root: तन्त्री (प्रातिपदिक) + लय (प्रातिपदिक) + नय (प्रातिपदिक) + उपेत (कृदन्त/प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया (2nd), एकवचन; समासः—तत्पुरुषः (तन्त्रीलय-नयैः उपेतम् = endowed with lute, rhythm, and musical method)

• सिद्ध-गन्धर्व-किन्नरैः: by Siddhas, Gandharvas, and Kinnaras
• सिद्ध-गन्धर्व-किन्नरैः: Karana (करण)
• Type: Noun
• Root: सिद्ध (प्रातिपदिक) + गन्धर्व (प्रातिपदिक) + किन्नर (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया (3rd/करण), बहुवचन; समासः—द्वन्द्वः (सिद्धाश्च गन्धर्वाश्च किन्नराश्च)

• स-रागम्: with melody
• स-रागम्: Visheshana (विशेषण)
• Type: Adjective
• Root: स (अव्यय) + राग (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, द्वितीया (2nd), एकवचन; अव्ययीभावः—‘रागेण सह’ = with melody/affection

• उपधाविष्टम्: pervaded/filled
• उपधाविष्टम्: Visheshana (विशेषण)
• Type: Adjective
• Root: उप√धा (धातु) → उपधाविष्ट (कृदन्त)
• Form: भूतकृदन्त (past passive participle), नपुंसकलिङ्ग, द्वितीया, एकवचन; अर्थः—‘आविष्टम्/आक्रान्तम्’ (pervaded/possessed)

• गीयते: is sung
• गीयते: Kriya (क्रिया)
• Type: Verb
• Root: √गै (धातु)
• Form: लट्-लकार (present), कर्मणि प्रयोग (passive), प्रथमपुरुष (3rd), एकवचन

• तस्य: of him/that
• तस्य: Sambandha (सम्बन्ध)
• Type: Noun
• Root: तद् (सर्वनाम-प्रातिपदिक)
• Form: पुंलिङ्ग/नपुंसकलिङ्ग, षष्ठी (6th), एकवचन

• वेश्मसु: in (his) houses/palaces
• वेश्मसु: Adhikarana (अधिकरण)
• Type: Noun
• Root: वेश्मन् (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, सप्तमी (7th/अधिकरण), बहुवचन

Speaker

Narrator (contextual; specific dialogue-speaker not identifiable from the single verse alone)

Philosophical Teaching

Concept: Devotional praise expressed through refined arts (gīta, tāla, rāga) is a legitimate and exalted mode of worship.

Application: Sanctify daily life by offering one’s skills—music, speech, craft—as worship; keep the heart ‘sarāga’ (with feeling) rather than mechanical ritualism.

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: shringara

Geographic Context

Type: celestial_realm

Visual Art Cues

Visual Art Cues: {"scene_description":"Inside a jeweled celestial palace, Siddhas hover in meditative poise while Gandharvas and Kinnaras perform an ecstatic yet disciplined concert. Vīṇā strings shimmer, hand-drums mark tāla, and swirling rāga-lines are visualized as ribbons of light rising toward the Lord’s unseen presence at the sanctum’s heart.","primary_figures":["Siddhas","Gandharvas","Kinnaras","Implied Vishnu (as the praised Lord)"],"setting":"Heavenly palace halls with crystal pillars, lotus-carved arches, incense haze, and floating garlands","lighting_mood":"temple lamp-lit","color_palette":["emerald green","ruby red","moonstone silver","saffron gold","deep ultramarine"],"tanjore_prompt":"Tanjore painting style: celestial musicians in ornate crowns and silk garments playing vīṇā and mṛdaṅga before a sanctum niche with Vishnu’s symbolic presence (conch and discus), heavy gold leaf on pillars and halos, rich reds/greens, jewel-like detailing, symmetrical composition.","pahari_prompt":"Pahari miniature style: intimate courtly concert with delicate brushwork, translucent veils, refined instruments, cool blues and soft greens, lyrical architecture, subtle expressions of rapt devotion, airy clouds beyond palace balconies.","kerala_mural_prompt":"Kerala mural style: bold outlines, stylized musicians with large eyes, rhythmic arrangement of instruments, warm red-yellow-green palette, ornamental borders, sacred performance as temple-wall narrative.","pichwai_prompt":"Pichwai cloth painting style: central devotional space framed by lotus and floral borders, musicians arranged in concentric rings like a mandala, peacocks perched on balustrades, deep blue ground with gold highlights, intricate textile patterns."}

Audio Atmosphere

Audio Atmosphere: {"recitation_mood":"celebratory","suggested_raga":"Desh","pace":"moderate-narrative","voice_tone":"authoritative","sound_elements":["vīṇā arpeggios","hand cymbals (tāla)","soft mridangam","anklet bells","distant conch"]}

Sandhi Resolution Notes

Sandhi Resolution Notes: तंत्रीलयनयोपेतं = तन्त्री + लय + नय + उपेतम्; सिद्धगंधर्वकिन्नरैः = सिद्ध + गन्धर्व + किन्नरैः; सरागमुपधाविष्टं = स-रागम् + उपधाविष्टम्

Characters & Entities

• Siddhas
• Gandharvas
• Kinnaras

FAQs

Who are the Siddhas, Gandharvas, and Kinnaras mentioned in this verse?

They are celestial classes of beings in Purāṇic cosmology: Siddhas are perfected or accomplished beings, while Gandharvas and Kinnaras are renowned as divine musicians and singers who perform in heavenly courts.

What does the verse indicate by mentioning rāga, laya, and tantrī?

It highlights a fully developed musical performance: melodically structured (rāga), rhythmically regulated (laya), and supported by stringed accompaniment (tantrī), suggesting refined celestial artistry.

What is the broader devotional or ethical implication of describing such singing in palaces?

The imagery elevates sacred sound and aesthetic devotion: refined music becomes a vehicle of praise and reverence, implying that beauty, discipline, and heartfelt expression can be offerings within dharmic culture.