Vamana Purana — Shukra's Samjivani, Shloka 47

Shukra’s Saṃjīvanī, Shiva’s Containment of the Asuras, and Indra’s Recovery of Power

Devanagari script

ततो ऽसुरगणानां च देवतानां च युध्यताम् द्वन्द्वयुद्धूं समभवद् घोररूपं तपोधन

Transliteration

tato 'suragaṇānāṃ ca devatānāṃ ca yudhyatām dvandvayuddhūṃ samabhavad ghorarūpaṃ tapodhana

Translation

បន្ទាប់មក ខណៈកងអសុរៈ និងកងទេវតា កំពុងប្រយុទ្ធគ្នា បានកើតមានទិដ្ឋភាពដ៏គួរឱ្យភ័យខ្លាចនៃការប្រយុទ្ធជាគូៗ ម្នាក់មួយ—ឱ អ្នកសម្បត្តិនៃតបស្យា។

Speakers

• Narrator (traditional frame: a sage-narrator addressing an inquiring sage; vocative ‘tapodhana’ indicates the listener is an ascetic)

Primary Deities

• Shiva (implied in Andhaka cycle)
• Devas (collective)

Key Themes

• Deva–Asura conflict
• Dvandva-yuddha (heroic single combat)
• Epic battle aesthetics (ghora-rūpa)

Verse Rasa (Emotional Flavour)

{ "primaryRasa": "bhayanaka", "secondaryRasa": "raudra", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

What is the narrative function of ‘dvandva-yuddha’ here?

It signals a shift from massed battle to formalized hero-versus-hero engagements, a common Purāṇic/Itihāsa technique to highlight named champions and set up the ensuing list of combat pairings.

Who is addressed as ‘tapodhana’ and why?

‘Tapo-dhana’ is a respectful vocative for an ascetic interlocutor (a sage or seer). It marks the didactic frame: the battle account is being narrated to a spiritually accomplished listener.

Does this verse contain any tirtha or geographic data typical of the Vāmana Purāṇa?

No. Despite the Vāmana Purāṇa’s strong geographic/tīrtha orientation elsewhere, this line is purely martial narration and contains no place-names.