The Sarasvata Hymn to Vishnu (Vishnu-Pañjara) and the Redemption of a Rakshasa
स्रष्टा भूत्वा स्थितो योगी स्थितावसुरसूदनः तमादिपुरुषं विष्णुं प्रमतो ऽस्मि जनार्दनम्
sraṣṭā bhūtvā sthito yogī sthitāvasurasūdanaḥ tamādipuruṣaṃ viṣṇuṃ pramato 'smi janārdanam
namasye: “I bow/salute”; padma-kiraṇa: “lotus-rayed/lotus-beamed,” an epithet used in praise (commonly of a solar or Viṣṇu-like radiance; here a divine epithet within a litany); vaḍavā-mukha: “mare-faced,” a name associated with the submarine fire (Vaḍavānala) and also used as a fierce divine epithet; kārttikeya: Skanda, son of Śiva, commander of the gods; bāhlīka: “the Bāhlīka,” a proper name/epithet (also a regional designation, Bāhlīka/Bactria; in stuti-lists can denote a deity or revered figure bearing that epithet); śikhin: “the crested one,” a common epithet of Skanda (peacock-crested/with plume) and also of Agni in some contexts—here paired as a distinct salutation in the list.
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The stuti compresses multiple divine functions into one Lord: creation (sraṣṭā), sustaining presence (sthitaḥ), and the restoration of cosmic order through the defeat of asuric forces (asurasūdanaḥ). It is a theological synthesis rather than a chronological narrative claim.
Here ‘yogī’ indicates the supreme, perfectly self-contained consciousness—one who remains inwardly established while governing the cosmos. It highlights transcendence alongside immanence.
No. The verse praises Viṣṇu in a universal, cosmic register (Ādipuruṣa/Janārdana). In the broader Purāṇic setting, such stutis often frame or support avatāra narratives, but this śloka itself is not avatāra-specific.