In this story from the Brahmavaivarta Purana,Indra defeats Vṛtrá and releases the waters. Elevated to the rank of King of the gods, Indra orders the heavenly craftsman, Vishvakarma, to build him a grand palace. Full of pride, Indra continues to demand more and more improvements for the palace. At last, exhausted, Vishvakarma asks Brahma the Creator for help. Brahma in turn appeals to Vishnu the Supreme Being.
Vishnu visits Indra's palace in the form of a Brahmin boy; Indra welcomes him in. Vishnu praises Indra's palace, casually adding that no former Indra had succeeded in building such a palace. At first, Indra is amused by the Brahmin boy's claim to know of former Indras. But the amusement turns to horror as the boy tells about Indra's ancestors, about the great cycles of creation and destruction, and even about the infinite number of worlds scattered through the void, each with its own Indra. The boy claims to have seen them all. During the boy's speech, a procession of ants had entered the hall. The boy saw the ants and laughed. Finally humbled, Indra asks the boy why he laughed. The boy reveals that the ants are all former Indras.
Another visitor enters the hall. He is Shiva, in the form of a hermit. On his chest lies a circular cluster of hairs, intact at the circumference but with a gap in the middle. Shiva reveals that each of these chest hairs corresponds to the life of one Indra. Each time a hair falls, one Indra dies and another replaces him.
No longer interested in wealth and honor, Indra rewards Vishvakarma and releases him from any further work on the palace. Indra himself decides to leave his life of luxury to become a hermit and seek wisdom. Horrified, Indra's wife Shuchi asks the priest Brihaspati to change her husband's mind. He teaches Indra to see the virtues of both the spiritual life and the worldly life. Thus, at the end of the story, Indra learns how to pursue wisdom while still fulfilling his kingly duties.

Legends of Kartikeya

, in the forest of Śankha, was born Shad́ánana or Kártikeya, Mars with six faces. Here he wished or formed the resolution of going to the mountains of Crauncha, Germany, part of Poland, &c. to rest and recreate himself after his fatigues in the wars of the gods with the giants. There, in the skirts of the mountains p. 170 of Crauncha, he flung his sword; the very same which Attila, in the fifth century, asserted he had found under a clod of earth. It was placed in his tomb, where it is probably to be found. The legend here alluded to is told at length in the Vámana Puráńa. Mahishásura, flying from the battle, in which Táraka had been slain by Kártikeya, took refuge in a cave in the Krauncha mountain. A dispute arising between Kártikeya and Indra, as to their respective prowess, they determined to decide the question by circumambulating the mountain; the palm to be given to him who should first go round it. Disagreeing about the result, they appealed to the mountain, who untruly decided in favour of Indra. Kártikeya, to punish his injustice, hurled his lance at the mountain Krauncha, and pierced at once it and the demon Mahisha. Another division of Krauncha is ascribed to Paraśuráma. Megha Dúta, Krauncha is also sometimes considered to be the name of an Asura, killed by Kártikeya; but this is perhaps some misapprehension of the Pauráńic legend by the grammarians, springing out of the synonymes of Kártikeya, Kraunchári, Kraunchadárańa, &c., implying the foe or destroyer of Krauncha, occurring in the Amara, and other Koshas.

Extraction from Vishnu Puranam

Śrí, the bride of Vishńu, the mother of the world, is eternal, imperishable; in like manner as he is all-pervading, so also is she, oh best of Brahmans, omnipresent.

Vishńu is meaning; she is speech.
Hari is polity (Naya); she is prudence (Níti).
Vishńu is understanding; she is intellect.
He is righteousness; she is devotion.
He is the creator; she is creation.
Śrí is the earth; Hari the support of it.
The deity is content; the eternal Lakshmí is resignation.
He is desire; Śrí is wish.
He is sacrifice; she is sacrificial donation (Dakshiná).
The goddess is the invocation which attends the oblation; Janárddana is the oblation.
Lakshmí is the chamber where the females are present (at a religious ceremony); Madhusúdana the apartment of the males of the family.
Lakshmí is the altar; Hari the stake (to which the victim is bound).
Śrí is the fuel; Hari the holy grass (Kuśa).
He is the personified Sáma veda; the goddess, lotus-throned, is the tone of its chanting.
Lakshmí is the prayer of oblation (Swáhá); Vásudeva, the lord of the world, is the sacrificial fire.
Saurí (Vishńu) is Śankara (Śiva); and Śrí is the bride of Śiva (Gaurí).
Keśava, oh Maitreya, is the sun; and his radiance is the lotus-seated goddess.
Vishńu is the tribe of progenitors (Pitrigana); Padma. is their bride (Swadhá), the eternal bestower of nutriment.
Śrí is the heavens; Vishńu, who is one with all things, is wide extended space.
The lord of Śrí is the moon; she is his unfading light.
She is called the moving principle of the world; he, the wind which bloweth every where.
Govinda is the ocean; Lakshmí its shore.
Lakshmí is the consort of Indra (Indrání); Madhusúdana is Devendra.
The holder of the discus (Vishńu) is Yama (the regent of Tartarus); the lotus-throned goddess is his dusky spouse (Dhúmorná).
Śrí is wealth; Śridhara (Vishńu) is himself the god of riches (Kuvera).
Lakshmí, illustrious Brahman, is Gaurí; and Keśava, is the deity of ocean (Varuna).
Śrí is the host of heaven (Devasená); the deity of war, her lord, is Hari.
The wielder of the mace is resistance; the power to oppose is Śrí.
Lakshmí is the Kásht́há and the Kalá; Hari the Nimesha and the Muhúrtta.
Lakshmí is the light; and Hari, who is all, and lord of all, the lamp.
She, the mother of the world, is the creeping vine; and Vishńu the tree round which she clings.
She is the night; the god who is armed with the mace and discus is the day.
He, the bestower of blessings, is the bridegroom; the lotus-throned goddess is the bride.
The god is one with all male--the goddess one with all female, rivers.
The lotus-eyed deity is the standard; the goddess seated on a lotus the banner.
Lakshmí is cupidity; Náráyańa, the master of the world, is covetousness.
Oh thou who knowest what righteousness is, Govinda is love; and Lakshmí, his gentle spouse, is pleasure.

But why thus diffusely enumerate their presence: it is enough to say, in a word, that of gods, animals, and men, Hari is all that is called male; Lakshmí is all that is termed female: there is nothing else than they.