Vamana's Three Steps — Vamana’s Three Steps and the Binding of Bali
तत्र त्वां नरशार्दूला हृष्टाः पुष्टाः स्वलङ्कृताः पुष्पदीपप्रदानेन अर्जयिष्यन्ति यत्नतः
tatra tvāṃ naraśārdūlā hṛṣṭāḥ puṣṭāḥ svalaṅkṛtāḥ puṣpadīpapradānena arjayiṣyanti yatnataḥ
Di sana, wahai harimau di antara manusia, orang-orang yang bersukacita, makmur, dan berhias indah akan dengan tekun memuliakanmu melalui persembahan bunga dan pelita.
{ "primaryRasa": "adbhuta", "secondaryRasa": "shringara", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
In Adhyāya 65 the discourse is embedded in the Vāmana–Bali setting; ‘naraśārdūla’ is a conventional royal honorific and most naturally fits Bali as the exemplary king in Sutala. However, the act described—offering flowers and lamps—also functions as devotion directed to the Lord who remains connected to Bali’s realm; Purāṇic narration can allow this devotional ‘double address’.
Offering flowers (puṣpa) and lamps (dīpa) is a standard, accessible form of pūjā. Dīpa-dāna in particular is repeatedly praised across Purāṇas as a meritorious act associated with auspiciousness, clarity, and the dispelling of darkness—both literal and spiritual.
The description frames the festival as a social and religious ideal: prosperity (puṣṭi) and adornment (alaṅkāra) are presented as outward signs of inner joy and dharmic order, reinforcing the Purāṇic link between devotion/ritual and communal well-being.