Jabali on the Banyan Tree Shloka 28 - Vamana Purana | Malay | Vedapath

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Vamana Purana — Jabali on the Banyan Tree, Shloka 28

Jabali Bound on the Banyan Tree and Nandayanti’s Appeal at Sri-Kantha on the Yamuna

Devanagari script

ततो विसर्जयामास भृत्यान् भ्रातृन् सुहृत्तमान् शुक्रशिष्यानपि बली एकाकी नृप आव्रजत्

Transliteration

tato visarjayāmāsa bhṛtyān bhrātṛn suhṛttamān śukraśiṣyānapi balī ekākī nṛpa āvrajat

Translation

Kemudian Bali menyuruh pulang para pengiringnya, saudara-saudaranya, dan sahabat-sahabatnya yang paling dikasihi—bahkan para murid Śukra sekali pun—lalu sang raja kembali seorang diri.

Word by Word

ततःthen

विसर्जयामासdismissed

भृत्यान्servants

भ्रातॄन्brothers

सुहृत्-तमन्dearest friends

शुक्र-शिष्यान्disciples of Śukra

अपिalso

बलीBali (the mighty one)

एकाकीalone

नृपःthe king

आव्रजत्went/approached

Speakers

Narratorial voice describing Bali’s actions (listener not specified in the excerpt).

Primary Deities

Śukra (asura-guru, preceptor figure)

Key Themes

Secrecy/solitude before a decisive encounterKingship and private resolveGuru–disciple networks (Śukra’s śiṣyas)Narrative pacing toward a household/inner-chamber scene

Verse Rasa (Emotional Flavour)

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

FAQs

Why does the text emphasize that Bali dismisses even Śukra’s disciples?

It signals a deliberate withdrawal from counsel, surveillance, and ritual protocol. Mentioning Śukra’s śiṣyas highlights that Bali is stepping outside the usual guru-mediated sphere, preparing for a personal, intimate, or morally charged interaction.

Does ‘āvrajat’ indicate returning to a specific place?

Āvrajat commonly means ‘returned/went back,’ but the destination is not named here. The next verse’s domestic reception implies a return to a residence or inner quarters rather than a pilgrimage site.

How does this fit the Vāmana Purāṇa’s Bali material?

Bali is a recurring figure in Vāmana-centered traditions. Even when Vāmana is not explicitly present in a given śloka, the narrative often alternates between public court/ritual space and private household space to set up key moral and relational turns.