Shloka 20
Kṛṣṇa’s Arrival at Dvārakā
Dvārakā-praveśa and Bhakta-vātsalya
नटनर्तकगन्धर्वा: सूतमागधवन्दिन: । गायन्ति चोत्तमश्लोकचरितान्यद्भुतानि च ॥ २० ॥
naṭa-nartaka-gandharvāḥ sūta-māgadha-vandinaḥ gāyanti cottamaśloka- caritāny adbhutāni ca
Các nghệ sĩ kịch, vũ công, Gandharva, các sūta, māgadha và những người ca tụng đều hát lên những kỳ công trong hành trạng của Đấng Uttamaśloka, dâng hiến tài nghệ riêng và cứ thế tiến bước mãi.
It appears that five thousand years ago the society also needed the services of the dramatists, artists, dancers, singers, historians, genealogists, public speakers, etc. Dancers, singers and dramatic artists mostly hailed from the śūdra community, whereas the learned historians, genealogists and public speakers hailed from the brāhmaṇa community. All of them belonged to a particular caste, and they became so trained in their respective families. Such dramatists, dancers, singers, historians, genealogists and public speakers would dwell on the subject of the Lord’s superhuman activities in different ages and millenniums, and not on ordinary events. Nor were they in chronological order. All the Purāṇas are historical facts described only in relation with the Supreme Lord in different ages and times as well as on different planets also. Therefore, we do not find any chronological order. The modern historians, therefore, cannot catch up the link, and thus they unauthoritatively remark that the Purāṇas are all imaginary stories only.
FAQs
This verse shows that even professional performers and bards glorify Uttamaśloka by singing His wondrous deeds—highlighting kīrtana as a natural and revered expression of devotion.
Because He is the Supreme Lord whose qualities and pastimes are worthy of the highest poetry and hymns; He is the ultimate object of exalted praise.
Make regular space for hearing and singing Kṛṣṇa’s līlās—through reading, bhajans, or kīrtana—so daily life becomes connected to remembrance and devotion.