Varaha Purana 73.46: Adhyaya 73, Shloka 46
Rudra’s Hymn: Vision of Nārāyaṇa, the Emergence of the Ādityas, and the Mutual Boon of Hari and Hara
Pūrva Bhāga · Pṛthivī-uddhāra (Varāha’s rescue of the Earth) — narrative passage
एवमुक्त्वा हरिर्मेघः स्वयं भूत्वा महेश्वरम् । उज्जहार जलात् तस्माद् वाक्यं छेदमुवाच ह ॥ ७३.४६ ॥
evam uktvā harir meghaḥ svayaṁ bhūtvā maheśvaram | ujjahāra jalāt tasmād vākyaṁ chedam uvāca ha || 73.46 ||
evamuktvA harirmeghaH svayaM bhUtvA maheshvaram | ujjahAra jalAt tasmAd vAkyaM chedamuvAcha ha || 73.46 ||
ครั้นตรัสดังนี้แล้ว พระหริทรงแปลงเป็นเมฆด้วยพระองค์เอง ยกพระมหेशวรขึ้นจากสายน้ำนั้น แล้วจึงตรัสถ้อยคำอันเด็ดขาดชี้ขาด।
Sandhi Notes
- हरिर्मेघः = हरिः + मेघः
- छेदमुवाच = छेदम् + उवाच
Varāha (Hari/Viṣṇu) — narrative voice implied
Action plus authoritative speech establishes cosmic structure; vāk is not mere description but a force that ‘cuts’ ambiguity and sets dharma/roles.
Pair compassion/aid with clarity: help others rise from ‘waters’ of confusion, then give unambiguous guidance.
Hari’s cloud-form lifting Maheśvara from water encodes the Lord as the ‘support’ (ādhāra) who raises consciousness (īśvara principle) from the undifferentiated waters (ap) of potentiality—an image of cosmic re-ordering after submergence.
Waters (ap) and cloud (megha) mirror the yajña-cycle: waters rise, become cloud, return as rain—like offerings circulating through cosmic ritual; ‘lifting from water’ evokes retrieval of order from primordial flood.
Sṛṣṭi-sthiti imagery: the Lord operates through elements while remaining transcendent; ‘decisive statement’ (vākyaccheda) hints at śabda as a creative/ordering power (logos-like function of vāk).
73.73.45 (cloud-form vow); 73.73.47-49 (classification of beings; creation and disappearance)
FAQs
It reflects a common Purāṇic narrative technique: cosmological imagery (water and cloud) and inter-deity interaction are used to frame theological and ethical discourse, while preserving a mythic account of restoration after inundation.
No explicit geographic toponym appears in this verse; the setting is described generically as “the waters” (jala), a cosmological motif rather than a named terrestrial site.
The verse primarily functions as narrative transition rather than explicit moral teaching; implicitly it foregrounds restoration and rescue—an archetype later used in Purāṇic literature to support themes of protection, stewardship, and recovery of the world from destabilizing conditions.
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