Vamana Purana — Saptasarasvata Tirtha, Shloka 49
Harihara Revelation and the Tirtha-Glorification of Saptasarasvata in Kurukshetra
ततो ऽनुपश्यामि करात् क्षतोत्थं निर्गच्छते शाकरसं ममेह तेनाद्य तुष्टो ऽस्मि भृशं द्विजेन्द्र येनास्मि नृत्यामि सुभावितात्मा
tato 'nupaśyāmi karāt kṣatotthaṃ nirgacchate śākarasaṃ mameha tenādya tuṣṭo 'smi bhṛśaṃ dvijendra yenāsmi nṛtyāmi subhāvitātmā
“随后我见到此事：从我的手上、从一处伤口中，涌出一团‘沙迦罗’（如糖晶之物）。因此今日我极为满足，噢二生中最尊者；正因如此我起舞——我之自性变得吉祥而被提升。”
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FAQs
Śākara literally denotes sugar or sugar-crystals. In Purāṇic storytelling, such a detail can function both literally (a wondrous exudation from the body due to tapas) and symbolically (the ‘sweet fruit’ of austerity manifesting tangibly). The verse’s emphasis is on the unmistakable sign (nimitta) that his tapas has reached fruition.
The hand is the organ of action (karma) and giving (dāna); a wound suggests the body’s extremity under austerity. The emergence of a ‘sweet’ crystalline mass from a site of pain dramatizes reversal: suffering transmuted into a ‘fruit’—a narrative way to mark tapas as transformative rather than merely punitive.
It indicates an inner state refined by sustained discipline—mind and self ‘well-cultivated’ or ‘made auspicious.’ The dance is not frivolity but an embodied expression of that uplifted state upon witnessing the tapas-phala.