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Vamana Purana — Skanda Slays Taraka & Mahisha, Shloka 87

Skanda’s Svastyayana and the Slaying of Taraka and Mahisha

Devanagari script

स पृष्ठतः प्रेक्ष्य शिकण्डिकेतनं समापतन्तं वरशक्तिपाणिनम् कैलासमुत्सृज्य हिमाचलं तथा क्रौञ्चं समभ्येत्व गुहं विवेश

Transliteration

sa pṛṣṭhataḥ prekṣya śikaṇḍiketanaṃ samāpatantaṃ varaśaktipāṇinam kailāsamutsṛjya himācalaṃ tathā krauñcaṃ samabhyetva guhaṃ viveśa

Translation

Обернувшись, он увидел того, чьё знамя — павлин, стремительно несущегося на него с превосходным копьём в руке. Оставив Кайласу, он достиг Химачалы; и, приблизившись к горе Краунча, вошёл в пещеру.

Word by Word
सःhe
सः:
कर्ता (Karta/Subject)
TypeNoun
Rootतद् (सर्वनाम-प्रातिपदिक)
Formसर्वनाम, पुंलिङ्ग, प्रथमा (1st/Nominative), एकवचन
पृष्ठतःfrom behind
पृष्ठतः:
क्रियाविशेषण (Adverbial)
TypeIndeclinable
Rootपृष्ठतः (अव्यय)
Formअव्यय; क्रियाविशेषण (adverb) ‘from behind/behind’
प्रेक्ष्यhaving seen
प्रेक्ष्य:
पूर्वकाल (Absolutive; prior action)
TypeVerb
Rootप्र-ईक्ष् (धातु)
Formक्त्वा-प्रत्ययान्त अव्ययकृदन्त (gerund), ‘having seen’
शिखण्डि-केतनम्the one with peacock-emblem
शिखण्डि-केतनम्:
कर्म (Karma/Object; seen)
TypeNoun
Rootशिखण्डिन् + केतन (प्रातिपदिक; समास)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; तत्पुरुष (षष्ठी) ‘whose banner/mark is the peacock’ (epithet of Kumāra)
समापतन्तम्rushing towards (him)
समापतन्तम्:
कर्मविशेषण (Object-qualifier)
TypeVerb
Rootसम्-आ-पत् (धातु)
Formवर्तमान कृदन्त; शतृ-प्रत्ययान्त (present active participle), पुंलिङ्ग, द्वितीया, एकवचन; ‘rushing/charging’ (qualifies शिखण्डिकेतनम्)
वर-शक्ति-पाणिनम्the one holding an excellent spear
वर-शक्ति-पाणिनम्:
कर्म (Karma/Object; apposition to previous)
TypeNoun
Rootवर + शक्ति + पाणि (प्रातिपदिक; समास)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; तत्पुरुष (बहु-षष्ठी-श्रृंखला) ‘having a hand with an excellent spear’ (epithet)
कैलासम्Kailāsa
कैलासम्:
कर्म (Karma/Object; left behind)
TypeNoun
Rootकैलास (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन
उत्सृज्यhaving left
उत्सृज्य:
पूर्वकाल (Absolutive; prior action)
TypeVerb
Rootउत्-सृज् (धातु)
Formक्त्वा-प्रत्ययान्त अव्ययकृदन्त (gerund), ‘having abandoned/left’
हिमाचलम्Himācala (Himālaya)
हिमाचलम्:
कर्म (Karma/Object; left behind)
TypeNoun
Rootहिम + अचल (प्रातिपदिक; समास)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन; तत्पुरुष ‘snow-mountain’
तथाalso/likewise
तथा:
सम्बन्ध/क्रियाविशेषण (Connector/Adverb)
TypeIndeclinable
Rootतथा (अव्यय)
Formअव्यय; क्रियाविशेषण/समुच्चयार्थ ‘also/likewise’
क्रौञ्चम्Krauñca (mountain)
क्रौञ्चम्:
कर्म (Karma/Object; approached/left)
TypeNoun
Rootक्रौञ्च (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/Accusative), एकवचन
समभ्येत्वhaving approached
समभ्येत्व:
पूर्वकाल (Absolutive; prior action)
TypeVerb
Rootसम्-अभि-इ (धातु)
Formक्त्वा-प्रत्ययान्त अव्ययकृदन्त (gerund), ‘having approached’
गुहम्a cave
गुहम्:
कर्म (Karma/Object; entered)
TypeNoun
Rootगुह (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया (2nd/Accusative), एकवचन
विवेशentered
विवेश:
क्रिया (Verb/Action)
TypeVerb
Rootवि-विश् (धातु)
Formलिट् (Perfect), प्रथमपुरुष (3rd person), एकवचन; परस्मैपद
Speakers
Narrator voice; the verse depicts the pursued asura observing Skanda’s approach.
Primary Deities
Skanda (Kumāra)Śiva (Kailāsa as Śiva’s mountain, implicit)
Key Themes
Sacred mountain network as narrative geographyPursuit motif (divine hunter vs fleeing asura)Kailāsa’s sacral aura in demon-flight episodesCaves as liminal refuges in Purāṇic topography
Verse Rasa (Emotional Flavour)

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

FAQs

The verse uses a chain of well-known sacred mountains to ‘map’ the chase. This is characteristic of Purāṇic geography: narrative motion is anchored in recognizable topographic nodes, turning mythic pursuit into a sacral itinerary.

It is an identifying epithet of Skanda: his emblem/banner bears the peacock (śikhaṇḍin). Combined with ‘vara-śakti-pāṇin’, it unmistakably marks the pursuer as Kumāra in his martial iconography.

Yes. Krauñca-parvata appears across Skanda-related lore (including the well-known ‘Krauñca-bheda’ motif in wider tradition). Even when the specific episode differs, the mountain functions as a Skanda-associated landmark within the Purāṇic sacred landscape.

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