Vamana Purana — Daksha's Sacrifice & Kapalin Rudra, Shloka 5
Daksha’s Sacrifice and the Origin of Kapalin Rudra (Pulastya–Narada Dialogue)
सरस्सु पद्म गगने च तारका जलाशयेष्वेव तथा पयांसि सतां च चित्तं हि दिशां मुखैः समं वैमल्यमायान्ति शशङ्ककान्तयः // वम्प्_2.4 ए तादृशे हरः काले मघपृष्ठाधिवासिनीम् सतीमादाय शैलेन्द्रं मन्दरं समुपाययौ
sarassu padma gagane ca tārakā jalāśayeṣveva tathā payāṃsi satāṃ ca cittaṃ hi diśāṃ mukhaiḥ samaṃ vaimalyamāyānti śaśaṅkakāntayaḥ // VamP_2.4 e tādṛśe haraḥ kāle maghapṛṣṭhādhivāsinīm satīmādāya śailendraṃ mandaraṃ samupāyayau
En los lagos, los lotos se iluminan; en el cielo, las estrellas resplandecen; en los estanques, aun las aguas parecen claras. Del mismo modo, el fulgor de la luna trae pureza—por igual en todas las direcciones—a la mente de los virtuosos. En tal momento, Hara (Śiva), tomando consigo a Satī, que moraba sobre la espalda de Maghā, se dirigió al soberano monte Mandara.
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FAQs
Purity is portrayed as both cosmological and psychological: moonlight ‘clears’ waters and also clarifies the minds of the virtuous. The ethical suggestion is that sattvic minds resonate with cosmic order, becoming naturally lucid and non-turbulent.
Primarily narrative (ākhyāna) and setting for a deity-focused episode rather than sarga/pratisarga. It supports dharma-oriented teaching indirectly by establishing auspicious time and sanctified space for ensuing events.
Moonlight (śaśāṅka-kānti) symbolizes cooling illumination—knowledge that pacifies. Mandara, a famed cosmic mountain in Purāṇic imagination, signals a transition from pastoral/natural description to a divine-līlā setting centered on Śiva with Satī.