Vamana Purana — Portents at Bali's Sacrifice, Shloka 98

Portents at Bali’s Sacrifice and the Kośakāra’s Son: The Power of Past Karma

Devanagari script

सुश्रोणी तनुमध्या च वणिक्पुत्रप्रिया शुभा नाम्ना चन्द्रावली नाम समुद्घाट्याथ पञ्जरम्

Transliteration

suśroṇī tanumadhyā ca vaṇikputrapriyā śubhā nāmnā candrāvalī nāma samudghāṭyātha pañjaram

Translation

Ia berpinggul elok, berpinggang ramping, membawa pertanda baik, dan dicintai putra saudagar. Namanya Candrāvalī; lalu ia membuka sangkar itu.

Speakers

• Narrator (first-person voice) continues; broader frame-speaker not given in excerpt.

Key Themes

• Introduction of a named character (Candrāvalī)
• Domestic scene (opening a cage)
• Social setting (merchant family milieu)

Verse Rasa (Emotional Flavour)

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

FAQs

What is the significance of naming (Candrāvalī) in Purāṇic narrative units?

Naming often marks a shift from generic description to plot-relevant agency. Once a character is named, she typically becomes a causal node for a vow, transgression, boon, curse, or a meritorious act that later ties back to tīrtha-phala (the ‘result’ of pilgrimage) in the surrounding māhātmya.

What does ‘vaṇikputrapriyā’ imply socially?

It indicates association with a mercantile household—either as wife/lover/beloved of a merchant’s son—suggesting an urban or trade-linked social milieu. Purāṇic tīrtha narratives frequently include such householders to universalize access to merit beyond royal/ascetic circles.

Does ‘pañjara’ suggest a specific motif?

Yes. A cage commonly signals a bird/pet motif, often used to introduce a messenger, a captive being, or a moral contrast between bondage and liberation—themes that can later be mapped onto tīrtha-based purification or release.