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Srimad Bhagavatam — Tritiya Skandha, Shloka 20

Kardama Muni’s Mystic Opulence, Devahūti’s Rejuvenation, and the Turning Toward Fearlessness

हंसपारावतव्रातैस्तत्र तत्र निकूजितम् । कृत्रिमान् मन्यमानै: स्वानधिरुह्याधिरुह्य च ॥ २० ॥

haṁsa-pārāvata-vrātais tatra tatra nikūjitam kṛtrimān manyamānaiḥ svān adhiruhyādhiruhya ca

在那宫殿之中,处处有成群的天鹅与鸽子发出清雅的鸣唱;又有人工雕作的天鹅与鸽子逼真如生,使真天鹅误以为同类活鸟,屡屡飞起又落在其上;因此整座宫殿因群鸟之声而震荡回响。

हंस-पारावत-व्रातैःby flocks of swans and pigeons
हंस-पारावत-व्रातैः:
Karana (करण)
TypeNoun
Rootहंस (प्रातिपदिक) + पारावत (प्रातिपदिक) + व्रात (प्रातिपदिक)
Formपुंलिङ्ग, तृतीया (करण/Instrumental), बहुवचन; समासः—हंसानां पारावतानां च व्रातैः (determinative)
तत्रthere
तत्र:
Adhikarana (अधिकरण)
TypeIndeclinable
Rootतत्र (अव्यय)
Formअव्यय; देशवाचक अव्यय (locative adverb)
तत्रhere and there
तत्र:
Adhikarana (अधिकरण)
TypeIndeclinable
Rootतत्र (अव्यय)
Formअव्यय; पुनरुक्ति—‘here and there’ अर्थे
निकूजितम्resounding/filled with cooing
निकूजितम्:
Karma (कर्म)
TypeAdjective
Rootनि√कूज् (धातु)
Formभूतकर्मणि कृदन्त (क्त/PPP); नपुंसकलिङ्ग, प्रथमा/द्वितीया, एकवचन; ‘(स्थानं) निकूजितम्’
कृत्रिमान्artificial (ones)
कृत्रिमान्:
Karma (कर्म)
TypeAdjective
Rootकृत्रिम (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (कर्म), बहुवचन; ‘कृत्रिमान् (विहगान्/ध्वनिन्)’ इति
मन्यमानैःby those thinking/considering
मन्यमानैः:
Karana (करण)
TypeAdjective
Root√मन् (धातु)
Formवर्तमानकाले कृदन्त (शतृ/Present active participle); पुंलिङ्ग, तृतीया, बहुवचन; ‘मन्यमानैः (जनैः)’
स्वान्their own
स्वान्:
Karma (कर्म)
TypeNoun
Rootस्व (सर्वनाम-प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया, बहुवचन; स्वकीयान् (one’s own)
अधिरुह्यhaving mounted
अधिरुह्य:
Purvakala-kriya (पूर्वकालक्रिया)
TypeVerb
Rootअधि√रुह् (धातु)
Formक्त्वान्त अव्यय (Gerund/Absolutive); ‘having mounted’
अधिरुह्यmounting repeatedly
अधिरुह्य:
Purvakala-kriya (पूर्वकालक्रिया)
TypeVerb
Rootअधि√रुह् (धातु)
Formक्त्वान्त अव्यय; पुनरुक्ति—‘again and again mounting’ अर्थे
and
:
Sambandha (सम्बन्ध/connector)
TypeIndeclinable
Rootच (अव्यय)
Formअव्यय; समुच्चयार्थक निपात (conjunction)

FAQs

This verse shows the extraordinary, almost otherworldly beauty of Kardama’s residence—so lifelike that even the birds’ sounds seemed like crafted art, highlighting the splendor surrounding Devahūti’s new life.

Because the setting was so exquisitely arranged and astonishing that the birds and their cooing appeared like deliberate, man-made decorations rather than natural life.

It reminds a devotee that genuine spiritual culture can refine one’s environment and senses—beauty and order can be engaged in dharma without losing sight of devotion.