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Shloka 59

Adhyaya 23Ashvatara’s Vow for Madalasa and the Bestowal of Musical Science by Sarasvati

ततः कैलासशैलेन्द्र-शिखरस्थितमीश्वरम् ।

गीतकैः सप्तभिर्नागौ तन्त्रीलयसमन्वितौ ॥

tataḥ kailāsaśailendra-śikharasthitamīśvaram / gītakaiḥ saptabhirnāgau tantrīlayasamanvitau

Bấy giờ, hai Nāga ấy (tán thán) Đấng Chúa đang ngự trên đỉnh Kailāsa, bằng bảy khúc ca, đầy đủ nhạc dây và laya (nhịp điệu).

tataḥthen
tataḥ:
Kāla/Anantara (काल/अनन्तर)
TypeIndeclinable
Roottataḥ (अव्यय)
FormAdverb (क्रियाविशेषण), ‘thereupon/then’
kailāsa-śaila-indra-śikhara-sthitamsituated on the peak of Mount Kailāsa
kailāsa-śaila-indra-śikhara-sthitam:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootkailāsa (प्रातिपदिक) + śaila (प्रातिपदिक) + indra (प्रातिपदिक) + śikhara (प्रातिपदिक) + sthita (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Accusative (द्वितीया/2), Singular (एकवचन); qualifying ‘īśvaram’; meaning ‘situated on the peak of the lord of mountains, Kailāsa’
īśvaramthe Lord (Śiva)
īśvaram:
Karma (कर्म)
TypeNoun
Rootīśvara (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Accusative (द्वितीया/2), Singular (एकवचन)
gītakaiḥwith songs; by song-verses
gītakaiḥ:
Karaṇa (करण)
TypeNoun
Rootgītaka (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग), Instrumental (तृतीया/3), Plural (बहुवचन)
saptabhiḥwith seven
saptabhiḥ:
Viśeṣaṇa (विशेषण)
TypeAdjective
Rootsapta (प्रातिपदिक)
FormInstrumental (तृतीया/3), Plural (बहुवचन); numeral qualifying ‘gītakaiḥ’
nāgauthe two Nāgas
nāgau:
Karta (कर्ता)
TypeNoun
Rootnāga (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (प्रथमा/1), Dual (द्विवचन)
tantrī-laya-samanvitauendowed with stringed-instrument and rhythm
tantrī-laya-samanvitau:
Viśeṣaṇa (विशेषण)
TypeAdjective
Roottantrī (प्रातिपदिक) + laya (प्रातिपदिक) + samanvita (प्रातिपदिक)
FormMasculine (पुंलिङ्ग), Nominative (प्रथमा/1), Dual (द्विवचन); qualifying ‘nāgau’; ‘endowed with lute/strings and rhythm’
Narrative voice

{ "primaryRasa": "bhakti", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

Śiva
BhaktiŚiva worshipMusic as worshipKailāsa

FAQs

Art becomes sādhana when offered to God: refined musical order (tāla/laya) is redirected into devotion rather than display.

A devotional episode within narrative; not a pancalakṣaṇa classification.

Kailāsa symbolizes the summit of consciousness; ‘seven songs’ can resonate with seven notes or inner centers—devotion harmonizing the whole being.