Skanda Slays Taraka & Mahisha Shloka 41 - Vamana Purana | Chinese | Vedapath

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Vamana Purana — Skanda Slays Taraka & Mahisha, Shloka 41

Skanda’s Svastyayana and the Slaying of Taraka and Mahisha

Devanagari script

यावत्पस्यामि तत्रस्थान् नानावेषाकृतीन् नरान् केचिद् गर्जन्ति घनवत् प्रतिगर्जन्ति चापरे

Transliteration

yāvatpasyāmi tatrasthān nānāveṣākṛtīn narān kecid garjanti ghanavat pratigarjanti cāpare

Translation

在我目力所及之处，有许多人站在那里，衣饰形貌各不相同。有的如雷云般咆哮，有的则回以咆哮相应。

Word by Word

यावत्as long as / while

पश्यामिI see

तत्र-स्थान्standing there

नाना-वेष-आकृतीन्of many disguises and forms

नरान्men

केचित्some (people)

गर्जन्तिroar

घनवत्like thunder

प्रतिगर्जन्तिroar back / respond with roars

चand

अपरेothers

Speakers

Same narrative voice as the surrounding report; speaker not named in the provided excerpt.

Key Themes

Battlefield atmosphereMultiplicity of forms (nānāveṣākṛti)Call-and-response challengeAuditory imagery

Verse Rasa (Emotional Flavour)

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

FAQs

What does ‘nānāveṣākṛtīn narān’ suggest—humans, demons, or divine troops?

Literally it says ‘men/people of varied attire and forms.’ In Purāṇic battle contexts this can include disguised warriors, mixed contingents, or even non-human beings described in anthropomorphic terms. The precise identification depends on the chapter’s cast (devas, asuras, gaṇas, etc.).

Why compare roaring to ‘ghana’ (a cloud)?

Ghana evokes thunderclouds; the simile conveys both volume and menace. It also frames the battlefield as a cosmic disturbance, a common Purāṇic aesthetic where nature-imagery amplifies martial intensity.

Is there a ritual or dharmic subtext here?

Indirectly: the reciprocal roaring (pratigarjana) is a formalized challenge motif, akin to announcing prowess before combat. It signals the transition from pursuit/flight to open confrontation.