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Varaha Purana 113.33: Adhyaya 113, Shloka 33

Hymn to Varāha and Pṛthivī’s Inquiry

Prelude to the Sanatkumāra Dialogue

अनन्तशयने देवं शयानं योगशायिनम् ।। ततः कमलपत्राक्षी नानाभरणभूषिता

Sanskrit recitationVaraha Purana 113.33

anantaśayane devaṃ śayānaṃ yogaśāyinam || tataḥ kamalapatrākṣī nānābharaṇabhūṣitā

Então ela contemplou o deus reclinado sobre Ananta, aquele que repousa em sono ióguico; em seguida, a deusa de olhos como pétalas de lótus, ornada com variados adornos, aproximou-se.

अनन्तशयनेon Ananta’s couch
अनन्तशयने:
अधिकरण (Adhikaraṇa/Location)
TypeNoun
Rootअनन्त + शयन (प्रातिपदिक)
Formनपुंसकलिङ्ग, सप्तमी-विभक्ति (Locative), एकवचन; तत्पुरुष (अनन्तस्य शयनम्)
देवम्the god (Vishnu)
देवम्:
कर्म (Karma)
TypeNoun
Rootदेव (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन
शयानम्lying
शयानम्:
कर्मविशेषण (Qualifier of object)
TypeVerb
Rootशी (धातु)
Formशतृ-प्रत्ययान्त वर्तमानकृदन्त (Present participle), पुंलिङ्ग, द्वितीया, एकवचन; ‘lying’
योगशायिनम्reclining in yogic sleep
योगशायिनम्:
कर्मविशेषण (Qualifier of object)
TypeAdjective
Rootयोग + शायिन् (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया-विभक्ति, एकवचन; तत्पुरुष (योगेन शायी)
ततःthen/from there
ततः:
क्रियाविशेषण (Adverbial)
TypeIndeclinable
Rootततः (अव्यय)
Formअव्यय; अपादान/क्रमसूचक (from there/then)
कमलपत्राक्षीshe whose eyes are like lotus-petals
कमलपत्राक्षी:
कर्ता (Kartā/Subject)
TypeNoun
Rootकमल + पत्र + अक्षि (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा-विभक्ति, एकवचन; बहुव्रीहि (कमलपत्रे इव अक्षिणी यस्याः)
नानाभरणभूषिताadorned with various ornaments
नानाभरणभूषिता:
कर्तृविशेषण (Qualifier of subject)
TypeAdjective
Rootनाना + आभरण + भूषित (प्रातिपदिक; क्त from भूष्)
Formस्त्रीलिङ्ग, प्रथमा-विभक्ति, एकवचन; तत्पुरुष (नानैः आभरणैः भूषिता)

Narrator (implicit; descriptive passage within the dialogue frame)

C
Classical Literature
V
Vaiṣṇava Iconography
P
Purāṇic Poetics
M
Mythic Cosmology

FAQs

It documents iconographic motifs (Ananta-śayana, yoga-śayana) that shaped later temple art and devotional literature, providing textual anchors for art-historical comparison.

No terrestrial location is specified; the setting is a cosmological/imaginal space associated with Ananta (Śeṣa).

Implicitly, it models disciplined approach—transitioning from distress to a composed, reverential encounter with the source of protection.

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