Skanda Slays Taraka & Mahisha Shloka 79 - Vamana Purana | Portuguese | Vedapath

Vyasa

←Previous VerseNext Verse→

Vamana Purana — Skanda Slays Taraka & Mahisha, Shloka 79

Skanda’s Svastyayana and the Slaying of Taraka and Mahisha

Devanagari script

गदया मूर्ध्नि बाणं हि निजघान महाबलः वेदनार्त्तो मुमोचाथ सुचक्राक्षं महासुरः स चापि तेन संयुक्तो व्रीडायुक्तो महामनाः

Transliteration

gadayā mūrdhni bāṇaṃ hi nijaghāna mahābalaḥ vedanārtto mumocātha sucakrākṣaṃ mahāsuraḥ sa cāpi tena saṃyukto vrīḍāyukto mahāmanāḥ

Translation

Então o poderoso golpeou Bāṇa na cabeça com uma maça. Atormentado pela dor, aquele grande asura—de olhos como rodas bem lavradas—soltou um brado. E ele também, assim acometido, embora magnânimo, ficou tomado de vergonha.

Word by Word

गदयाwith a mace

मूर्ध्निon the head

बाणम्Bāṇa

हिindeed

निजघानstruck down/struck

महाबलःthe mighty one

वेदना-आर्तःdistressed by pain

मुमोचreleased/let go

अथthen

सुचक्राक्षम्Sucakrākṣa

महासुरःthe great asura

सःhe

चand

अपिalso

तेनwith him/by him

संयुक्तःjoined/associated

व्रीडा-युक्तःfilled with shame

महामनाःgreat-minded

Speakers

Narrator (Purāṇic sūta-style narration) describing the battle; direct interlocutors not specified in the given excerpt.

Primary Deities

Gaṇeśvara(s) (Gaṇa leaders/attendants of Śiva)

Key Themes

Deva–Asura conflictHeroic combat (yuddha-varṇana)Humiliation and retreat in battleGaṇa power and protection

Verse Rasa (Emotional Flavour)

{ "primaryRasa": "raudra", "secondaryRasa": "vira", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }

FAQs

Who is ‘Bāṇa’ here—does it refer to the famous Bāṇāsura of other Purāṇas?

The name ‘Bāṇa’ can denote different Asura figures across Purāṇic corpora. In this local battle narration, it functions as a combatant among the Daityas/Asuras; identification with the well-known Bāṇāsura (son of Bali in some traditions) is possible but not guaranteed without surrounding verses specifying lineage and setting.

What does the epithet ‘sucakrākṣa’ convey?

Literally ‘having beautiful/well-formed wheel-like eyes,’ it is a poetic marker of fierce brilliance and intimidating gaze. Such epithets often signal a warrior’s terrifying presence rather than a literal anatomical description.

Why is ‘shame’ (vrīḍā) emphasized in a battle verse?

Purāṇic battle descriptions frequently pair physical injury with moral-psychological states. ‘Vrīḍā’ here underscores loss of face and the warrior’s diminished standing, foreshadowing withdrawal or tactical retreat.