Vamana Purana — Shukra's Samjivani, Shloka 73

Shukra’s Saṃjīvanī, Shiva’s Containment of the Asuras, and Indra’s Recovery of Power

Devanagari script

परिनृत्यति देवेशे गणाश्चैवामरास्तथा नृत्यन्ते भावसंयुक्ता हरस्यानुविलासिनः

Transliteration

parinṛtyati deveśe gaṇāścaivāmarāstathā nṛtyante bhāvasaṃyuktā harasyānuvilāsinaḥ

Translation

جب دیوتاؤں کے مالک نے رقص کیا تو گن اور امر بھی اسی طرح جذبۂ عقیدت سے بھر کر ناچے، اور ہَر (شیو) کی حرکات کی خوش طبعی سے پیروی کرنے لگے۔

Speakers

• Narrator voice describing the collective response of Śiva’s retinue and the devas.

Primary Deities

• Śiva (Hara/Deveśa)
• Gaṇas
• Devas (Amaras)

Key Themes

• Collective devotional ecstasy
• Gaṇa theology (Śiva’s attendants)
• Divine play (līlā)
• Śaiva supremacy motif (Deveśa)

Verse Rasa (Emotional Flavour)

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

FAQs

What is the significance of gaṇas and devas dancing together?

It depicts a harmonized cosmos responding to Śiva’s presence: his attendants (gaṇas) and the broader divine community (devas) participate in a shared ecstatic order, emphasizing Śiva as Deveśa whose līlā draws all beings into alignment.

How should “bhāva-saṃyuktāḥ” be understood—emotion or devotion?

In Purāṇic poetics, bhāva includes both affective intensity and devotional disposition. Here it signals ecstatic participation—an inner state expressed outwardly through dance.

Does “anuvilāsinaḥ” imply imitation or accompaniment?

Primarily accompaniment with playful responsiveness: they follow Hara’s lead, echoing his movements as part of līlā, not as mere mimicry but as coordinated participation in his divine rhythm.