Vamana Purana — Shukra's Curse on King Danda, Shloka 6

Shukra’s Curse on King Danda and Andhaka’s Challenge to Shiva

Devanagari script

ततो ऽनुपूजयामास श्रीकण्ठं गालवो मुनिः गायेते सुस्वरं गीतं यक्षासुरसुते ततः

Transliteration

tato 'nupūjayāmāsa śrīkaṇṭhaṃ gālavo muniḥ gāyete susvaraṃ gītaṃ yakṣāsurasute tataḥ

Translation

Kemudian resi Gālava memuja Śrīkaṇṭha dengan tertib menurut upacara. Lalu kedua-duanya—puteri kepada seorang Yakṣa dan seorang Asura—menyanyikan sebuah lagu dengan suara yang merdu.

Speakers

• Narrator; the forthcoming hymn/song is implied to be voiced by the two maidens (yakṣa–asura daughters).

Primary Deities

• Śiva (Śrīkaṇṭha)

Key Themes

• Pūjā (ritual worship)
• Stuti through song (gīta)
• Inter-class devotion (Yakṣa/Asura lineages participating in Śaiva worship)
• Ritual sequence (anu-)

Verse Rasa (Emotional Flavour)

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

FAQs

What does ‘anupūjayāmāsa’ add beyond simply ‘he worshipped’?

The prefix ‘anu-’ suggests worship performed in proper order and conformity with rite—after purification (snāna), entry, and then offering. It encodes the tīrtha-ritual grammar typical of Purāṇic pilgrimage sections.

Why highlight that the singers are ‘daughters of a Yakṣa and an Asura’?

It underscores the wide devotional reach of Śrīkaṇṭha: even beings outside the deva category participate in praise. In Purāṇic theology this often signals the deity’s universal sovereignty and the tīrtha’s power to draw diverse beings into worship.

Is the ‘gīta’ merely entertainment or a form of stuti?

In this context it functions as stuti: voiced praise that accompanies or follows pūjā. The narrative typically uses such songs to reveal the deity’s identity, the site’s māhātmya, or the boon/curse history connected to the geography.