Vamana Purana — Saptasarasvata Tirtha, Shloka 49
Harihara Revelation and the Tirtha-Glorification of Saptasarasvata in Kurukshetra
ततो ऽनुपश्यामि करात् क्षतोत्थं निर्गच्छते शाकरसं ममेह तेनाद्य तुष्टो ऽस्मि भृशं द्विजेन्द्र येनास्मि नृत्यामि सुभावितात्मा
tato 'nupaśyāmi karāt kṣatotthaṃ nirgacchate śākarasaṃ mameha tenādya tuṣṭo 'smi bhṛśaṃ dvijendra yenāsmi nṛtyāmi subhāvitātmā
तेव्हा मी पाहतो—माझ्या हाताच्या जखमेतून शाकर (साखरेसारख्या कणांचा) ढिग बाहेर पडतो. हे द्विजश्रेष्ठ, त्यामुळे आज मी फारच संतुष्ट आहे; म्हणून शुभभावाने उन्नत झालेल्या आत्म्याने मी नृत्य करतो.
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FAQs
Śākara literally denotes sugar or sugar-crystals. In Purāṇic storytelling, such a detail can function both literally (a wondrous exudation from the body due to tapas) and symbolically (the ‘sweet fruit’ of austerity manifesting tangibly). The verse’s emphasis is on the unmistakable sign (nimitta) that his tapas has reached fruition.
The hand is the organ of action (karma) and giving (dāna); a wound suggests the body’s extremity under austerity. The emergence of a ‘sweet’ crystalline mass from a site of pain dramatizes reversal: suffering transmuted into a ‘fruit’—a narrative way to mark tapas as transformative rather than merely punitive.
It indicates an inner state refined by sustained discipline—mind and self ‘well-cultivated’ or ‘made auspicious.’ The dance is not frivolity but an embodied expression of that uplifted state upon witnessing the tapas-phala.