Jabali on the Banyan Tree Shloka 57 - Vamana Purana | Burmese | Vedapath

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Vamana Purana — Jabali on the Banyan Tree, Shloka 57

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

Devanagari script

मृतकल्पा महाबाहो विश्वकर्मसुताभवत् तां मृतामिति विज्ञाय जग्मुः सख्यस्त्वरान्विताः

Transliteration

mṛtakalpā mahābāho viśvakarmasutābhavat tāṃ mṛtāmiti vijñāya jagmuḥ sakhyastvarānvitāḥ

Translation

အို မဟာဗာဟို၊ ဝိශ්ဝကර්မာ၏ သမီးသည် သေသကဲ့သို့ ဖြစ်လာ၏။ «သူမ သေပြီ» ဟု သိမြင်သဖြင့် မိန်းကလေးမိတ်ဆွေများသည် အလျင်အမြန် ထွက်ခွာသွားကြ၏။

Word by Word

मृतकल्पाas if dead / death-like

महाबाहोO mighty-armed one

विश्वकर्म-सुताdaughter of Viśvakarman

अभवत्became / was

ताम्her

मृताम्dead

इतिthus

विज्ञायhaving understood

जग्मुःwent

सख्यःfemale friends

त्वरा-अन्विताःaccompanied by haste

Speakers

Narrator to an addressed interlocutor (vocative ‘mahābāho’ indicates a heroic addressee; exact names not present in the given verses).

Primary Deities

Viśvakarmā

Key Themes

Apparent death (mṛtakalpa) and misrecognitionCompanionship and urgent responseNarrative causality leading to a forest episode

Verse Rasa (Emotional Flavour)

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

FAQs

Does mṛtakalpā mean actual death or a death-like state?

mṛtakalpā literally means ‘having the appearance/condition of death’. In Purāṇic narrative it often signals fainting, swoon, shock, or a suspended state rather than confirmed death—especially when subsequent verses show recovery.

Why is the addressee called mahābāho here?

mahābāho is a conventional epic-Purāṇic vocative used by narrators to address a heroic listener (often a king or sage). It marks the discourse style but does not itself identify the speaker without surrounding context.

What narrative function does the companions’ haste serve?

Their hurried departure sets up the next action—gathering fuel and bringing fire—indicating they intend funerary rites or a cremation response, which heightens dramatic tension before the later reversal (her regaining consciousness).