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Srimad Bhagavatam — Dashama Skandha, Shloka 19

Kṛṣṇa’s Daily Life in Dvārakā; the Captive Kings’ Appeal; Nārada Announces the Rājasūya

तत्रोपमन्त्रिणो राजन् नानाहास्यरसैर्विभुम् । उपतस्थुर्नटाचार्या नर्तक्यस्ताण्डवै: पृथक् ॥ १९ ॥

tatropamantriṇo rājan nānā-hāsya-rasair vibhum upatasthur naṭācāryā nartakyas tāṇḍavaiḥ pṛthak

在那里,王啊,诙谐艺人以种种滑稽情味取悦那位至上主宰;精通表演的艺师侍奉在侧,女舞者各自以有力的“坦达瓦”舞姿起舞。

tatrathere
tatra:
Adhikaraṇa (अधिकरण)
TypeIndeclinable
Roottatra (अव्यय)
FormAdverb (क्रियाविशेषण)
upamantriṇaḥattendant counselors
upamantriṇaḥ:
Karta (कर्ता)
TypeNoun
Rootupamantrin (प्रातिपदिक)
FormMasculine, Nominative (1st/प्रथमा), Plural
rājanO king
rājan:
Sambodhana (सम्बोधन)
TypeNoun
Rootrājan (प्रातिपदिक)
FormMasculine, Vocative (8th/सम्बोधन), Singular
nānā-hāsya-rasaiḥwith various humorous sentiments
nānā-hāsya-rasaiḥ:
Karaṇa (करण)
TypeNoun
Rootnānā (अव्यय) + hāsya (प्रातिपदिक) + rasa (प्रातिपदिक)
FormMasculine, Instrumental (3rd/तृतीया), Plural; समास: तत्पुरुष (‘various’ + ‘laughter’ + ‘flavors/rasas’)
vibhumthe Lord
vibhum:
Karma (कर्म)
TypeNoun
Rootvibhu (प्रातिपदिक)
FormMasculine, Accusative (2nd/द्वितीया), Singular
upatasthuḥattended upon, served
upatasthuḥ:
Kriyā (क्रिया)
TypeVerb
Rootupa-√sthā (धातु)
FormPerfect (लिट्), 3rd person (प्रथमपुरुष), Plural (बहुवचन)
naṭa-ācāryāḥmasters of dramatic art
naṭa-ācāryāḥ:
Karta (कर्ता)
TypeNoun
Rootnaṭa (प्रातिपदिक) + ācārya (प्रातिपदिक)
FormMasculine, Nominative (1st/प्रथमा), Plural; समास: तत्पुरुष (‘teachers of actors/dancers’)
nartakyaḥdancing girls
nartakyaḥ:
Karta (कर्ता)
TypeNoun
Rootnartakī (प्रातिपदिक)
FormFeminine, Nominative (1st/प्रथमा), Plural
tāṇḍavaiḥwith vigorous dances (tāṇḍava)
tāṇḍavaiḥ:
Karaṇa (करण)
TypeNoun
Roottāṇḍava (प्रातिपदिक)
FormNeuter, Instrumental (3rd/तृतीया), Plural
pṛthakseparately, in turn
pṛthak:
Kriyā-viśeṣaṇa (क्रियाविशेषण)
TypeIndeclinable
Rootpṛthak (अव्यय)
FormAdverb (क्रियाविशेषण)

Śrīla Viśvanātha Cakravartī points out that the word naṭācāryāḥ refers, among other things, to expert magicians. All of these different entertainers, one after the other, would perform for the Lord in the assembly of great kings.

K
King Parīkṣit
Ś
Śrī Kṛṣṇa

FAQs

This verse shows that Kṛṣṇa is served not only through formal worship but also through cultured offerings—humor, drama, and dance—performed as loving service meant to please Him.

In Kṛṣṇa’s royal city of Dvārakā, many associates attended Him in different ways; the narrative highlights how every role—artistic or administrative—becomes devotional service when centered on pleasing Kṛṣṇa.

Offer your talents—art, humor, music, organization, or teaching—as seva with a pure intention to please the Lord, making daily skills part of bhakti rather than mere entertainment or ego-display.