Srimad Bhagavatam — Ashtama Skandha, Shloka 21

Bali Mahārāja’s Empowerment and Conquest of Indra’s City

Prelude to Vāmana’s Petition

Devanagari script

मृदङ्गशङ्खानकदुन्दुभिस्वनै: सतालवीणामुरजेष्टवेणुभि: । नृत्यै: सवाद्यैरुपदेवगीतकै- र्मनोरमां स्वप्रभया जितप्रभाम् ॥ २१ ॥

Transliteration

mṛdaṅga-śaṅkhānaka-dundubhi-svanaiḥ satāla-vīṇā-murajeṣṭa-veṇubhiḥ nṛtyaiḥ savādyair upadeva-gītakair manoramāṁ sva-prabhayā jita-prabhām

Translation

مِردنگ، شنکھ، آنک، دُندُبی، تال، وینا، مُرج اور شیریں بانسری کی آوازوں سے شہر بھر گیا تھا۔ رقص و ساز مسلسل تھے، گندھرو گاتے تھے؛ اندراپُری کی مجموعی رونق گویا خود حسن کو بھی مات دے دیتی تھی۔

Synonyms

• mṛdaṅga-śaṅkha-ānaka-dundubhi-svanaiḥ: with the sounds of drums, conches, kettledrums, and war-drums
• mṛdaṅga-śaṅkha-ānaka-dundubhi-svanaiḥ: Karaṇa (करण/Instrument)
• Type: Noun
• Root: mṛdaṅga (प्रातिपदिक) + śaṅkha (प्रातिपदिक) + ānaka (प्रातिपदिक) + dundubhi (प्रातिपदिक) + svana (प्रातिपदिक)
• Form: Masculine, Instrumental (3rd/तृतीया), Plural; समासः—तत्पुरुष (मृदङ्ग-शङ्ख-आनक-दुन्दुभीनां स्वनैः)

• satāla-vīṇā-muraja-iṣṭa-veṇubhiḥ: with cymbals, vīṇās, murajas, and delightful flutes
• satāla-vīṇā-muraja-iṣṭa-veṇubhiḥ: Karaṇa (करण/Instrument)
• Type: Noun
• Root: sa (प्रातिपदिक) + tāla (प्रातिपदिक) + vīṇā (प्रातिपदिक) + muraja (प्रातिपदिक) + iṣṭa (कृदन्त from √iṣ) + veṇu (प्रातिपदिक)
• Form: Masculine, Instrumental (3rd/तृतीया), Plural; समासः—तत्पुरुष (तालैः सह, वीणाभिः, मुरजैः, इष्टैः वेणुभिः)

• nṛtyaiḥ: with dances
• nṛtyaiḥ: Karaṇa (करण/Instrument)
• Type: Noun
• Root: nṛtya (प्रातिपदिक)
• Form: Neuter, Instrumental (3rd/तृतीया), Plural

• sa-vādyaiḥ: together with musical instruments
• sa-vādyaiḥ: Karaṇa (करण/Instrument)
• Type: Adjective
• Root: sa (प्रातिपदिक) + vādya (प्रातिपदिक)
• Form: Neuter, Instrumental (3rd/तृतीया), Plural; समासः—तत्पुरुष (वाद्यैः सह)

• upadeva-gītakaiḥ: with songs sung by attendant deities
• upadeva-gītakaiḥ: Karaṇa (करण/Instrument)
• Type: Noun
• Root: upadeva (प्रातिपदिक) + gītaka (प्रातिपदिक)
• Form: Neuter, Instrumental (3rd/तृतीया), Plural; समासः—तत्पुरुष (उपदेवानां गीतकैः)

• manoramām: charming, delightful
• manoramām: Karma (कर्म/Object)
• Type: Adjective
• Root: manoramā (प्रातिपदिक)
• Form: Feminine, Accusative (2nd/द्वितीया), Singular; qualifies implied ‘purīm/devadhānīm’

• sva-prabhayā: by its own radiance
• sva-prabhayā: Karaṇa (करण/Instrument)
• Type: Noun
• Root: sva (प्रातिपदिक) + prabhā (प्रातिपदिक)
• Form: Feminine, Instrumental (3rd/तृतीया), Singular; समासः—तत्पुरुष (स्वस्य प्रभया)

• jita-prabhām: whose splendor was surpassed (by it)
• jita-prabhām: Karma (कर्म/Object)
• Type: Adjective
• Root: jita (कृदन्त from √ji) + prabhā (प्रातिपदिक)
• Form: Feminine, Accusative (2nd/द्वितीया), Singular; PPP ‘jita’ used adjectivally; समासः—कर्मधारय (जिता प्रभा यस्याः)

Characters & Entities

• Upadevas

FAQs

What is the meaning of Bhagavatam 8.15.21?

It describes a celestial, auspicious scene where divine music, dance, and Upadevas’ singing accompany an extraordinarily radiant figure whose beauty and effulgence surpass all others.

Who is speaking Bhagavatam 8.15.21 and to whom?

Śukadeva Gosvāmī is narrating this verse to Mahārāja Parīkṣit as part of the Skandha 8 account of the devas and asuras and the unfolding battle narrative.

How can this verse be applied in modern devotional life?

It highlights the devotional principle of honoring the Divine through sacred sound—kīrtana, instruments, and joyful celebration—recognizing that true splendor is spiritual and God-centered.