Vamana Purana — Nara-Narayana's Tapas, Shloka 53
Nara-Narayana’s Tapas, Indra’s Temptation, and the Burning of Kama: The Origin of Ananga and the Shiva-Linga Episode
गायन्ति नृत्यन्ति रमन्ति यक्ष वाद्यानि यत्नादपि वादयन्ति तवाग्रतो हास्यवचो ऽभिरक्ता भवन्ति ते योगयुतास्तु ते स्युः
gāyanti nṛtyanti ramanti yakṣa vādyāni yatnādapi vādayanti tavāgrato hāsyavaco 'bhiraktā bhavanti te yogayutāstu te syuḥ
Die Yakṣas singen, tanzen und ergötzen sich; ja, sie spielen sogar mit Anstrengung Musikinstrumente. In deiner Gegenwart werden sie von scherzhaften Worten angezogen; und wahrlich werden sie yogayuta, mit Yoga verbunden.
{ "primaryRasa": "hasya", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
FAQs
The text links joy, art (music/dance), and devotion with spiritual attainment: even beings known for worldly associations (Yakṣas) can be ‘yogayuta’ in the presence of sanctified devotion.
Carita/narrative phala-śruti style: it explains the downstream effects of a boon and thereby motivates observance and reverence; not primarily Sarga/Manvantara genealogy.
Humor and ecstasy (hāsya/unmāda) are reframed as sacred affect; the Yakṣas’ performance becomes an outward sign of an inward ‘yoga’—suggesting that devotion can transmute even playful or liminal emotions into spiritual potency.