Vamana Purana — Saptasarasvata Tirtha, Shloka 47
Harihara Revelation and the Tirtha-Glorification of Saptasarasvata in Kurukshetra
तं शङ्गरो ऽभ्येत्य करे निगृह्य प्रोवाच वाक्यं प्रहसन् महर्षे किं भावितो नृत्यसि केन हेतुना वदस्व मामेत्य किमत्र तुष्टिः
taṃ śaṅgaro 'bhyetya kare nigṛhya provāca vākyaṃ prahasan maharṣe kiṃ bhāvito nṛtyasi kena hetunā vadasva māmetya kimatra tuṣṭiḥ
شنکر نزدیک آ کر اس کا ہاتھ تھام کر مسکراتے ہوئے بولے—“اے مہارشی، تم کس جذبے میں رقص کر رہے ہو؟ کس سبب سے؟ آؤ، مجھے بتاؤ—یہاں تمہیں کیسی تسکین حاصل ہوئی ہے؟”
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FAQs
In Purāṇic narrative idiom, a deity’s close, tactile engagement (grasping the hand) signals both intimacy and scrutiny: Śiva is not merely observing but directly verifying the cause of the ascetic’s unusual behavior (dancing). It also frames the exchange as a personal, authoritative inquiry rather than a distant proclamation.
The wording ‘bhāvito nṛtyasi’ points to an inwardly ‘cultivated/uplifted’ state rather than a formal rite. The dance functions as an outward symptom of inner satisfaction (tuṣṭi) arising from tapas reaching a decisive result.
Episodes around Andhaka-vadha often foreground the power and peril of tapas—how austerities generate potency, boons, or transformations that affect cosmic order. This micro-dialogue highlights the moment when tapas yields a tangible sign, prompting divine attention.