SB 3.21.1-10

 Text 1: Vidura said: The line of Svāyambhuva Manu was most esteemed. O worshipful sage, I beg you: Give me an account of this race, whose progeny multiplied through sexual intercourse.

Text 2: The two great sons of Svāyambhuva Manu — Priyavrata and Uttānapāda — ruled the world, consisting of seven islands, just according to religious principles.

Text 3: O holy brāhmaṇa, O sinless one, you have spoken of his daughter, known by the name Devahūti, as the wife of the sage Kardama, the lord of created beings.

Text 4: How many offspring did that great yogī beget through the princess, who was endowed with eightfold perfection in the yoga principles? Oh, pray tell me this, for I am eager to hear it.

Text 5: O holy sage, tell me how the worshipful Ruci and Dakṣa, the son of Brahmā, generated children after securing as their wives the other two daughters of Svāyambhuva Manu.

Text 6: The great sage Maitreya replied: Commanded by Lord Brahmā to beget children in the worlds, the worshipful Kardama Muni practiced penance on the bank of the river Sarasvatī for a period of ten thousand years.

Text 7: During that period of penance, the sage Kardama, by worship through devotional service in trance, propitiated the Personality of Godhead, who is the quick bestower of all blessings upon those who flee to Him for protection.

Text 8: Then, in the Satya-yuga, the lotus-eyed Supreme Personality of Godhead, being pleased, showed Himself to that Kardama Muni and displayed His transcendental form, which can be understood only through the Vedas.

Text 9: Kardama Muni saw the Supreme Personality of Godhead, who is free from material contamination, in His eternal form, effulgent like the sun, wearing a garland of white lotuses and water lilies. The Lord was clad in spotless yellow silk, and His lotus face was fringed with slick dark locks of curly hair.

Text 10: Adorned with a crown and earrings, He held His characteristic conch, disc and mace in three of His hands and a white lily in the fourth. He glanced about in a happy, smiling mood whose sight captivates the hearts of all devotees.

Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā

In the twenty-first chapter, the marriage arrangement of Kardama, Manu's son, with Vishnu's daughter, who was pleased by austerities and knowledge, is described. (1) They prospered and multiplied. The connection with the third is: as they protected dharma and the earth, so may they protect me and may I grow. (2) Of that Manu. (3) Endowed with the characteristics of yoga like self-control, etc. The meaning is: in how many ways did he spread his power, how many sons did he produce? (4) The meaning of "ca" is: and tell how, after obtaining Manu's daughter Mānavi as his wife, both in form and offspring, he created beings. (5) The meaning is: ten thousand years equal to ten thousands. (6) Then in that austerity, through the method of worship with ritual yoga, he served and approached the boon-giver for devoted followers. (7) He showed his self, bearing a form made of that Brahman which is one with sound. (8) The connection of the four is: Seeing him stationed in the sky, he (Kardama) fell prostrate on the ground and praised him with words. Him who has a garland of white lotuses and water lilies that bloom day and night. Him whose lotus-face has a multitude of glossy, dark curls. (9) Him whose plaything is a white water lily, whose glance and smile are mind-touching and joy-producing in the mind. (10)

Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā

Event composition. (1) (2) Highly esteemed and extremely excellent. They prospered, they increased, due to being of sage origin, not otherwise.

Of that Manu. devahūtī (Devahūti) here, the feminine ending is archaic. Sometimes there is also the reading "known as Devahūti". He says you are the remover of sin by sight etc. (3)

In that devahutī (Devahūti). That Kardama. This is the meaning. Sons means offspring, this is the sense. It should be known that the word "sons" is used here figuratively by the venerable master's feet. (4) (5)

Although the story of Manu's two sons should be told first here, following the needle and cauldron method, he begins to tell Kardama's story which is inseparable from Devahūti's story - prajā (progeny) etc. This is the meaning. "Ten years" - the accusative case is used for complete connection of time and space, this is the sense. The plural is used as per "Words like twenty are always singular." (6)

tataḥ (then) - the locative suffix tasil is used in the sense of the locative case. Hence the venerable master's feet say "in that penance". (7)

tāvad (then) - Until he attained, until then. It is indicated that when there is worship, His grace comes without delay. It is pure consciousness, not material or mental. (8)

That Kardama. virajāni (free from passion) - actions by which devotees' passion is removed. The lack of dental 'n' is archaic. One whose actions are such. (9)

Since conch etc. three are mentioned, it should be known that a white lotus is held in the fourth hand instead of a lotus. (10)

Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā

Viṣṇu, as the creator of Kiṣṇu, describes the arrangement of marriage, as stated by Maitreya - this is the remainder. Where in Manu's lineage (1) That is the method. (2) The alternative reading "devadūtī" should be rejected as it is not well-known. (3) The word "vīrya" is used figuratively to mean sons born of vigor, hence the statement of meaning is that many sons were produced with that characteristic. (4) That is Ruci's method of creation. (5) The plural in "sahasrāṇām" is archaic usage. Only the number one thousand is meant, just as the number is related to years, so too the years are related to the number, as the relationship applies to both. Thus the intended meaning is "ten thousand years". (6) "He served" should be connected with "the loving devotion that arose through worship performed with a mind focused in meditation". It is like "bhaktyā sañjātayā bhaktyā". (7) By that much time, measured as ten thousand years, he became one with that Brahman, the Supreme Brahman, taking on its essential form. (8) "Sa tam" refers to four things. As Vinatā was not born before Kardama's creation, it is implied that Garuḍa is eternally perfected. (9-12)

Śrīmad Vīrarāghava Vyākhyā

Having heard about these extraordinary aspects of creation, Vidura asks about the history of Svāyambhuva Manu and his lineage. He asks with five verses starting with "svāyambhuvam". Please describe the most excellent and virtuous lineage of Svāyambhuva Manu, in which progeny increased through procreation. (1)

Please narrate how the two sons of Svāyambhuva Manu, Priyavrata and Uttānapāda, followed dharma and protected the earth with its seven continents, without transgressing the duties of their varṇa (class) and āśrama (life stage). (2)

I have heard from you about his daughter named Devahūti, O learned one. You mentioned she became the wife of Kardama Prajāpati. (3)

How many ways did that great yogī Kardama, established in devotional yoga practice, beget children in Devahūti, who was endowed with qualities like self-control? Please tell me who wishes to hear about this. (4)

O learned Maitreya, please tell me how Lord Śāṇḍilya, who is full of the six opulences, and Ruci and Dakṣa, the sons of four-faced Brahmā, begot offspring after obtaining Manu's daughters Ākūti and Prasūti as wives. (5)

Thus asked, Maitreya, before narrating the history of Manu's children, first describes Kardama's austerities to obtain Devahūti as wife, in two verses: Lord Kardama, instructed by four-faced Brahmā to create progeny, performed austerities for ten thousand years on the banks of the river Sarasvatī. (6)

Then during those austerities, Kardama worshipped Hari, the bestower of boons to devotees, through devotional service with single-pointed meditation, karma-yoga befitting his station without attachment to results, and constant remembrance in devotion. (7)

O Kṣatta, at the end of ten thousand years of austerities in Satya-yuga, the lotus-eyed Lord, pleased by the austerities, revealed His transcendental form to Kardama - a form possessing unlimited auspicious qualities like fragrance, tenderness, beauty and youthfulness, beyond verbal description except through the essence of the five Upaniṣads. (8)

Describing that very Lord further, it is said in four verses starting with "sa" that Kardama saw Him: radiant like the sun, wearing garlands of white lotuses, with glossy dark locks of hair framing His lotus face, dressed in yellow garments, (9)

Wearing a crown and earrings, holding conch, disc and mace in three hands, and a white lotus for play in one hand, with a smile and glance that captivates the mind. (10)

Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā

What was previously stated - that one should worship Hari whether desireless, full of desires, or desiring liberation - is elaborated here through the story of Kardama over three chapters. There, Vidura asks Maitreya: "About Svāyambhuva". The word "ca" indicates reason. They prospered and increased (1).

Although Devahūti's story must be heard, mentioning first that she was Manu's daughter but not mentioning his sons could give the impression she had no brothers, which would make her less desirable to marry. So to please her, he mentions her brothers: "Priyavrata". The word "vai" emphasizes they were his own sons. This story should be told (2).

Having mentioned Devahūti had brothers, to hear the rest of the story he asks: "Of him indeed". Let her be Manu's daughter, then what? He says: "Of Prajāpati". The one you said would be Kardama Prajāpati's wife (3).

How many times did that Kardama cast his seed in her, and what was the nature of that seed-casting, characterized by yoga practices like yama, niyama, etc.? (4)

Next he says the story of Ruci and Dakṣa should be told: "Ruci" (5).

Although the story of Manu's two sons should be told first, since the stories of Ruci and Dakṣa were asked about next according to the needle and pot method, and since Devahūti's story is inseparable from Kardama's, Maitreya begins to tell Kardama's story with "Prajā". Ten thousand years (6).

Regarding what was this austerity about, he says "Then". Through kriyā-yoga combined with samādhi, through Vedic and Tantric methods, to the giver, the boon-giver (7).

He states the result of the means: "Those two". The self-illuminated one, the Vedic brahman known only through scripture, full of all qualities. The use of the word brahman is to show it is known through śruti: "Now why is it called brahman? Because the qualities in it are great." The beautiful form, not illusory (8).

He elaborates on the beautiful form: "He that" (9).

A plaything, an object of play, whose smiling glance touches the minds of viewers, him (10-11).

Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā

Some read devahūti (Devahuti) instead. (1-5) Regarding "offspring," if it were "ten thousand equal years," then due to the dual dependency of the relationship, it could also be "of thousands," etc. The plurality of thousands is for emphasis. (6-7) "For that long" means for the duration it took to properly approach. Bearing the form of the supreme brahman (Brahman), which is expressed by the verbal brahman (Brahman), meaning manifesting it. (8) "He him" forms one verse. His lotus face, which has glossy and dark locks of hair. (9-10)

Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā

In the twenty-first chapter, pleased by austerities and praised by Kardama, Hari speaks of the marriage arrangement. Manu also came there.

They prospered and increased. (1) "How they protected dharma without transgression, tell me that" connects with the third verse. (2) devahūtī (Devahuti) means devahūti (Devahuti). (3) "How many offspring did he produce through the characteristics of yoga like restraint and observances?" is the meaning. (4) mānavī (Manavi) means Manu's daughter Akuti and Prasuti. (5) "Equal years" means ten thousand years. (6) Even after performing austerities for so long, not attaining his vision through that austerity is the meaning. samādhi (samadhi) is one-pointedness of mind. Through kriyāyoga (kriyayoga), the mode of worship, to devotees who are pleased, the giver of boons. (7) "For that long" indicates there was no delay in his grace when worship was performed. Bearing a form consisting of the brahman (Brahman) known only through words - Śrī Svāmī Caraṇa says: manifesting a form of existence, consciousness and bliss, or nourishing with offerings of fragrance, garlands, food etc. given by Kardama. (8-9) After mentioning conch, discus and mace, it says he held a white lotus instead of a regular lotus in the fourth hand for play. "White" etc. His glance with a smile that delights the viewer's mind. He whose mind is naturally disposed to love. (10-11)

Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ

Having heard about the creation made by the four-faced one, which was thus left out, he asks about the lineage of Manu and other related matters. [About] Svāyambhuva, etc. (1) How they protected dharma and the earth - this is to be connected with the third [verse]. (2-3) With the characteristics of yoga, such as self-control, etc., how many and in what number did he create offspring? (4) Ākūti as wife, and Ruci and Dakṣa [created] Prasūti. (5) A thousand is equal to ten thousand years - this is the meaning. (6) Then, in that penance, with a mind united in concentration, through the practice of worship, and with supreme devotion, he served the giver of boons who had come to those who had taken refuge in him. (7) The Word-Brahman, knowable only through the Vedas, endowed with the qualities of the vast form, the supreme truth - that very one he describes. The Lord, bearing an non-material body, revealed himself to Kardama. (8) That Kardama, seeing the Lord, fell prostrate on the ground and praised him with words - this is to be connected with the four [verses]. Him whose splendor is like that of the sun, him who has a garland of white parrots, lotuses and water lilies, him whose face-lotus has clusters of glossy dark locks, him whose glance and smile are pleasing to the mind, him whose very nature is love, whose self is the mind - he praised, expressing his intention. (9-12)

Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā

In the twenty-first chapter, the fruitful path of dharma is described. This creation is called bhūtasarga (creation of beings) due to the act of refining beings. (1)

There are six types of forms, and three kinds of austerities, visions and praises. Three types are connected to the cause - statements, scriptures and prosperities.

Three types are also said to be the result - the sage's words for prosperity. (2)

After hearing about the entire creation of Brahma in the previous chapter, he asks about its details, about the lineage of Manu, with five verses - The special nature of this is that it is produced through sexual union. The lineage of Svayambhu has been heard, and the lineage of Svayambhuva Manu is to be heard. The reason for this is that it is highly approved. It is extremely approved. And what is approved by all should be heard, because the birth of present beings is also like that. He says - "The progeny increased through sexual union." The address "O Lord" is for the purpose of knowledge, O Maitreya. (1)

After asking about this in general, he asks specifically about the two sons - "O Priyavrata". The two sons of Svayambhuva who were mentioned, Priyavrata and Uttanapada, they certainly protected the earth with its seven continents without transgressing dharma. Only their birth was heard, and their protection was logically inferred. The implication is that their lineage should be described. (2)

He asks about the lineage of the daughters with "tasya". About the middle one with two verses, about the other two with one verse. The middle one is praised as she is the root everywhere. Creation lasts only until her liberation. The address "O Brahman" is for steadiness. She is "sarvadevamayī" - consisting of all gods, or presided over by all gods. Or the invocation of gods is for their satisfaction. Or for enjoyment, they were attracted and invited by her form. In any case, she is especially renowned. Her marriage has also been heard. She is described as the wife of Kardama Prajapati. The address "O sinless one" indicates that no degraded feelings will arise in the heart. Only sinful people have such desires that are purified by worldly means. (3-4)

He asks about other daughters - "In her". Since he was a great yogi, and planting seeds is an obstacle to yoga, it is surprising that even such a person became the father of many children. She was also endowed with the characteristics of yoga. The seat of yoga is endowed with thirty-two characteristics, so Kardama's yoga was accomplished. She had the characteristics, but yoga was yet to be accomplished in her. Hence the question, as procreation was contradictory for both. And due to being a great yogi, there is no fault even in creation. "Vai" means certainly. The question is about the number and manner - "How many times did he deposit his semen in her?" The reason for the answer is "śuśrūṣava" - desirous to hear. "Vada" is a request. (4)

He also asks about the lineage of the remaining two - "Ruci". Ruci is known from previous kalpas as full of knowledge. "O Brahman" indicates the third daughter is skilled in understanding all meanings. "Bhūtāni" indicates various types of offspring among the daughters. "Mānavīm" means having obtained Manu's daughter as a wife, and also Brahma's command. (5)

Since only Kardama was useful in creation, the creation from Devahuti is described in four chapters. "The means and marriage, creation in two ways through division. In the emanation of all useful things beginning with dharma. Indeed the determination in creation is only for the purpose of all creation." (1)

Brahma is a form of the Lord, Kardama is also a form of the Lord, therefore he inspired Kardama for his own task of creation, as he was equal to himself. Sarasvati, who is useful for creation, has Brahma as her deity. He performed austerities for ten thousand divine years on her bank. By this much, four yugas had passed. Even for independent creation by Brahma, only a thousand years of austerity was needed, but this was even more, so he will state the reason for that. (6)

The Lord is pleased not only by austerity, but also by devotion, so he describes worship of the Lord - "Thereafter, endowed with samadhi". The Lord was manifested in samadhi. There, kriyā-yoga is service. Therefore it is said "with kriyā-yoga endowed with samadhi". Thus he properly took refuge through service. Then relief from the troubles of worship comes from the qualities of the object of worship. He says this with "Hari". Then supreme devotion. He took refuge even through that. Or the Lord became the giver of boons to those who have taken refuge, having done that. "Dāśuṣam" means to the giver. (7)

Then the direct vision of the Lord occurred, he says this with "tāvad". He became pleased after that much time. Or as long as he serves with love the giver of boons to those who have taken refuge, until the mind-filling service occurs; the meaning is that the Lord became pleased in the middle of that. The reason for the delay is "kṛte yuge". For he sat down to perform austerities in Satya-yuga. In Satya he became pure-minded through austerity, then in Treta he attained yogic perfection; but the austerity continued throughout. Then the manifestation of the Lord. Then in Dvapara service, then love in Kali. If he were to attain manifestation then, the creation arising in Kali would be inappropriate. Therefore, even though affection had arisen, he manifested in Kṛta-yuga as the giver of boons to those who have taken refuge, in order to not destroy that hope. But there was no delay in that, as indicated. "Tāvad" means until then. "Puṣkarākṣa" means producing satisfaction by sight. Taking the form accomplished by the Vedas, the verbal Brahman, the Lord who is the Veda-puruṣa, he manifested and showed himself. The address "O Kṣattṛ" is to remove doubt about the Lord's specific form, as the Lord manifests in many ways from the inner quarters. Although that is beyond the senses, the Lord himself showed it. For nothing is impossible for the Lord, who has made his own form manifest externally in many ways. (8)

Thus, he describes the form of the Lord seen in three verses beginning with "sa vam". First, he describes the form with its natural ornaments. That famous one, having seen him and become joyful, fell prostrate - this is the connection. For the purpose of creation and human goals, Hari is of fourteen kinds. (1) From that, creation is twofold, and from those two, fivefold. From that indeed are the ten offspring, as there is only one male. (2) In creation and in human goals, there is removal of faults by himself. The white Hari appeared first, beneficial to the good. (3)

First, he states the absence of faults with "virajam". It means there is no rajas quality, passion, or impurity. To indicate the absence of ignorance, darkness and inertness, he says "arkābham". Arka means the circle of deities and also Nārāyaṇa. One whose luster is like that of the sun. One who has a garland of white lotuses and blue lotuses. The Lord is described as having a multitude of groups with day and night blooming. One whose lotus face is surrounded by soft, dark locks of hair. By this, devotion accompanied by all happiness is manifested in him. Happiness is both worldly and otherworldly - thus the two adjectives for the locks. One whose garment is pure and spotless, grasped by the pure parts of the Vedas. By this, full knowledge and power are stated. Thus, by this, the absence of faults and three types of qualities are stated. (9)

Again, with the second verse he states the royal qualities and absence of faults with "kirīṭinam". Adorned with a crown, earrings, and conch, discus, etc. In Vedānta, the highest to be known, the strength of the knowable is declared. Sāṅkhya and Yoga are the means of knowledge, and the strength of the principles is from their effects. The three types of principles are proclaimed by the three weapons. (1)

Descended to earth and performing pastimes, he might have those respective faults - to refute that, abandoning even the fourth weapon, the lotus, and having only a white utpala lotus as his plaything, he was thus born. From the word "plaything", spinning is implied. When a lotus is spun, the whole world would be spun, but with an utpala, only ignorance; thus it is said that even his play destroys ignorance. His glance is accompanied by a smile that touches the mind, that is, charming. The Lord's illusory creation produces only a slight modification in the mind, not physical etc. By this it is also indicated that this son has not gone beyond yoga, devotion and knowledge. (10)

Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ

Now, desiring to explain the twenty-first chapter, due to the connections being previously mentioned, after describing them, this section being divided in two ways, and because of the presence of two meanings in each chapter, in order to avoid division of chapters etc. based on those, indicating that there is a cause-effect relationship between the two meanings, they state the meaning of the present chapter: In the twenty-first etc. Ama (path of dharma). They divide the meanings of this chapter into two: Paḍi etc. Kāraṇa (cause) means in dharma which is the cause of refinement of beings. Phala (fruit) means in the form of refinement of beings. Ṛṣivākya (sage's statement) means Kardama's words to Manu. Thus the entire meaning of the chapter is stated. The connection of Vidura's question should be understood as a consequential one.

In explaining the purport of Maitreya's words. With half of "means etc." the meaning of four chapters is stated. There, among the two types of creation, the creation of daughters is in the third, and the creation of sons in the fourth, this should be understood. In the twofold meaning of the chapter being stated, they mention where the meanings of which statements are relevant: Visarga (creation) etc. Tu is for removing doubt. Hi because, for the reason that the description is for the creation of all things, therefore certainly for the purpose of all creation. The reasoning there is stated by the second hi as being due to it being the main topic. In the subordinate examination of Maitreya's statement, everything is for the purpose of creation, as that is understood to be the subordinate topic from Vidura's question. The description of the relevant things should be understood as divided for the purpose of dharma etc. in dharma etc. They state the nature of that reason: Not only etc. (6)

In "Sa tam" etc. They state the purport of the fourteen adjectives of the Lord: For creation etc. After stating the total number with half, they divide and state further: From that Kardama, creation is twofold - either as with qualities and without qualities, or as female and male. Therefore, with two verses, again fivefold, five adjectives each in each. They state the seed for the singularity of the male: Only one etc. Just as there is plurality of puruṣas in other Sāṅkhya, that is not so here - to indicate this is the meaning. They state the purport of the number of adjectives mentioned in the third foot: In creation etc. Āyāḥ means women. Hitāḥ sagam indicates they are of the same creation. Thus, both in number and type of creation, the difference from other Sāṅkhya is intended. Two adjectives means: Here by the word snigdha, through the collective meaning, worldly happiness of the three forms is stated. And by the word nīla, through the derivation "that from which the base earth arises", otherworldly happiness is stated - to indicate this meaning, these two is the meaning. (9)

In "Kirīṭinam" etc. - In the lotus, ignorance means: Because the lotus blooms at night, by wearing it ignorance in the form of darkness would be removed far away, this is the meaning. Neṣyati means will lead. (10)

Śrī Giridhara-kṛtā Bāla Prabodhinī

Pleased with the penance, Hari appeared, gave a boon, and departed. In the twenty-first chapter, it is described how Manu came there. (1)

Thus, in response to the question "What did the lord of Prajāpati undertake?", after hearing about the different creations made by him, it is asked how Marīci, Manu and others created. The lineage of Manu and his deeds are inquired about again out of eagerness with five verses starting with "svāyambhuvasya". The word "ca" means "also". The meaning is: "You have narrated the lineage of Prajāpati, now please narrate the lineage of Svāyambhuva Manu as well." The address "Bhagavan" indicates omniscience. If one wonders "What is the use of hearing about that lineage for you, a devotee of the Lord?", the answer is given - "highly esteemed". The lineage of Manu is highly esteemed and worth hearing for the saintly, due to Manu's supreme devotion. With the intention of saying it is esteemed because it delights the listeners in different ways, it is stated - "yatra". In which lineage the progeny increased through the union of man and woman. (1)

The famous two sons of Svāyambhuva, Priyavrata and Uttānapāda, how they protected dharma as prescribed for the varṇas and āśramas, and the earth - that manner should also be described. If one wonders "What is the use of knowing how they protected somehow?", with the intention of saying that because of the greatness of the kingdom, their protection was very difficult and therefore the manner must certainly be heard, it is stated - "saptadvīpavatīm". (2)

Even while describing the topic of women, there is no possibility of transformation due to faultlessness - indicating this, he addresses "O sinless one". To the question "Why is that?", with the intention of saying it is due to strength, he addresses again - "O Brahman". That famous daughter of Svāyambhuva himself, named Devahūti, who was mentioned by you as the wife of Prajāpati Kardama. (3)

How many ways did that Kardama create progeny in Devahūti? How many children did he beget? Tell me who wish to hear that. Both questions are connected. To the query "How to hear that?", with the intention of saying that since both were devoted to the Lord after practicing yama, niyama etc., their children also must have been very powerful, so it is appropriate to hear about them, both are qualified - "great yogi" etc. The word "vā" is to remove doubt. (4)

He addresses again from the devotee's perspective - "O Brahman". The two adjectives "Bhagavān" (possessing opulence, prowess etc.) and "son of Brahmā" should be understood as applying to both Ruci and Dakṣa individually. Having obtained Ākūti and Prasūti, the daughters of Manu, as wives respectively, how they created beings (children), tell me that manner - this is connected with the previous. (5)

Thus asked, Maitreya first describes the manner of Kardama's penance to obtain Devahūti as wife, in two verses starting with "prajā". Instructed by Brahmā to create progeny, the capable Kardama performed penance for ten thousand years on the banks of Sarasvatī. (6)

Since it is established in scriptures like "I am not attainable by penance or charity alone" and "I am attainable only by unalloyed devotion" that the Lord is difficult to attain by mere penance and easily attainable by pure devotion, therefore during that penance, Kardama worshiped Hari, the bestower of boons to the surrendered, with devotion through samādhi (one-pointedness of mind) combined with ritualistic worship. (7)

In Satya-yuga, pleased by that much penance for ten thousand years, the lotus-eyed Lord who removes all distress, manifested His transcendental form composed of eternal existence, consciousness and bliss as described in the Vedas, and showed Himself to Kardama. (8)

Seeing the Lord, Kardama became joyful and fell prostrate on the ground. Then with folded hands he praised Him with words. He describes the Lord he saw: With a pure effulgence like the sun, wearing a garland of white lotuses and blue lilies that bloom day and night, with soft, glossy dark locks of hair framing His lotus face, wearing spotless garments. (9)

Wearing a crown and earrings, holding a conch, disc and mace in three hands, holding a white lily for play in one hand, with a mind-enchanting smile and glance. (10)

Hindī Anuvāda

Kardama's Penance and the Lord's Blessing

Vidura asked: "O Lord! The lineage of Svāyambhuva Manu is said to be highly revered. In it, the population increased through sexual reproduction. Now please tell me that story. (1) O Brahman! You had said that Svāyambhuva Manu's sons Priyavrata and Uttānapāda righteously ruled the seven continents of the earth, and their daughter, who was famous by the name Devahūti, was married to Kardama Prajāpati. (2-3) Devahūti was endowed with the characteristics of yoga like yama (restraint) etc. How many children did the great yogi Kardama have with her? Please tell me all about that episode, I have a great desire to hear it. (4) Similarly, how did Lord Ruci and Brahmā's son Dakṣa Prajāpati, after marrying Manu's daughters, produce various offspring? Please also tell me all about their character. (5)

Maitreya said: "O Vidura! When Brahmā ordered Lord Kardama to produce offspring, he performed penance for ten thousand years on the banks of the Sarasvatī river. (6) With single-minded focus, he began to worship Śrī Hari, the bestower of boons to those who seek refuge, through loving devotional service. (7) Then, at the beginning of Satyayuga, pleased by his penance, lotus-eyed Lord Śrī Hari appeared before him in a form embodying His divine sound. (8)

The Lord's magnificent form was radiant like the sun. He wore a garland of white lotuses and water lilies around His neck, His lotus face was adorned with dark and glossy curls. He was dressed in spotless garments. (9) On His head was a glittering golden crown, in His ears were sparkling earrings, and in His lotus hands were weapons like the conch, discus, mace, etc. In one hand, He gracefully held a white lotus for play. The Lord's sweet smiling glance captivated the heart. (10)

SB 3.20.49-53

 Text 49: One day Brahmā, the self-born, the first living creature, felt as if the object of his life had been accomplished. At that time he evolved from his mind the Manus, who promote the welfare activities of the universe.

Text 50: The self-possessed creator gave them his own human form. On seeing the Manus, those who had been created earlier — the demigods, the Gandharvas and so on — applauded Brahmā, the lord of the universe.

Text 51: They prayed: O creator of the universe, we are glad; what you have produced is well done. Since ritualistic acts have now been established soundly in this human form, we shall all share the sacrificial oblations.

Text 52: Having equipped himself with austere penance, adoration, mental concentration and absorption in devotion, accompanied by dispassion, and having controlled his senses, Brahmā, the self-born living creature, evolved great sages as his beloved sons.

Text 53: To each one of these sons the unborn creator of the universe gave a part of his own body, which was characterized by deep meditation, mental concentration, supernatural power, austerity, adoration and renunciation.

Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā

When he thought (of creation), he created the Manus (49). To them he gave his own person, a city (body) in human form, and gave those Manus (50). What you have done is well done. They say it is well done. In this creation of Manu there are rituals like the agnihotra. Therefore, in this we all together eat food, the portions of offerings, O Brahman (51). After describing the creation of bodies, it describes the creation of sages. Through tapas, etc. Vidyā is worship, yoga here is āsana etc., susamādhi is endowed with detachment, prosperity etc. And endowed with that, Hṛṣīkeśa, with senses under control, the sage Brahmā created sages as offspring (52). What is that body, a part of which he gave? To this he says: That which has samādhi, yoga, prosperity, power, austerity, knowledge and detachment (53). Thus ends the 20th chapter in the commentary on the 3rd Skandha.

Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā

After contemplation, thinking "My creation is now complete", desiring to create a couple in his mind, when he felt joy from that, the Manus were born. They took on human form to complete creation - thus it says "He". "Manus" means among them Svāyambhuva Manu was seen manifestly by all then, the others should be understood to become visible in due course. By the word "atra" at the end, this creation of Manu should be understood as the very last. Therefore, even though the creation of sages mentioned next comes after this, it should be understood as prior to this. Here in the 10th, 12th and 20th chapters, the order of creations mentioned sometimes sequentially and sometimes out of order by the leapfrog and lion-glance methods should be understood as follows: First the five-fold creation of ignorance, then creation of trees and plants, then creation of animals, then creation of cows and buffaloes, then creation of Yakṣas, Rākṣasas, Asuras, Kinnaras, Kiṃpuruṣas etc., then creation of Sanaka and Marīci etc., then creation of humans, lastly creation of Manu. Then even though created before, it increased in the form of women and men (49-50). This act of Manu-creation done by you is well done, auspicious. May they be established - the meaning is that the Manus protect etc. Since this creation maintains rituals like the agnihotra, therefore in this creation of Manu. "He" is a separate word (51). Then it describes the human creation of Brahmā endowed with knowledge, through tapas etc. Sages means Sanaka etc. and Marīci etc. (52). To those sages he gave that which is endowed with samādhi etc. - this is the connection (53). Thus ends the 20th chapter of the Bhāvārthadīpikāprakāśa commentary on the 3rd Skandha of Śrīmad Bhāgavata.

Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā

It is said "as if" because the act has no ultimate reality. Lokabhāvanān means causes of origin of all worlds through karma (49). Ātmavān means the substratum of all, being the totality of individual souls. If the reading is ātmanaḥ, it means the manifestation place of the Supreme Self, as per the śruti "The Self is more elaborate in human form" (50). Therefore, because it is the substratum of established rituals (51). There is a scribal error - it should say "the creation work of the karma-performing creator Manus" (52). The connection is: He gave a part of his own body, namely samādhi etc., which is endowed with samādhi etc. (53).

Thus ends the 20th chapter of Śrīrādhāramaṇadāsagosvāmi's Dīpikā commentary on the 3rd Skandha of the Śrīmad Bhāgavata Mahāpurāṇa.

Śrīmad Vīrarāghava Vyākhyā

When that self-born one considered himself as if having accomplished his task, then at the end, at the end of the creation done by himself directly, he created with his mind the Manus, world-creators, progenitors (49). To those Manus, that Brahmā gave his own person, a city (body) in human form. The meaning is he made them endowed with human-shaped bodies like himself. The sense is: Previously in the form of human-shaped bodies, as endowed with that form. Since they were created as endowed with human-shaped bodies, therefore seeing the city (body) they praised the Lord of creatures (50). It states the praise itself: O Creator of the world! This human-shaped body made by you is indeed well made, in which human body rituals, actions that are means to heaven and liberation, are established - meaning all actions are to be done by the human body. Therefore together with the human body we would enjoy food, objects of enjoyment (51). Vidyā is worship of the Lord, tapas is the sevenfold means like discrimination etc. Endowed with those, the lord of the individual senses, with controlled senses, the sage Brahmā created through yoga - the knowledge-yoga of discerning the true nature of the self as distinct from prakṛti, and through samādhi - one-pointedness of mind, sages - offspring in the form of sages as desired (52). The unborn Brahmā gave each part of his own body, his form, to those sages. What is that body, each part of which he gave? To this he says: That body which is endowed with the previously mentioned tapas, knowledge, samādhi, yoga, prosperity - the powers like aṇimā etc., detachment - dispassion towards sense objects (53).

Thus ends the 20th chapter of Śrīmadvīrarāghavācārya's Bhāgavatacandracandrikā commentary on the 3rd Skandha of the Śrīmad Bhāgavata Mahāpurāṇa.

Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā

He describes the creation of Manu as being useful to all created beings through their authority over all actions. "Sa ātmānam" - When Brahmā, born from the self, considered himself as having accomplished his task, at that end he created the Manus, who increase the worlds, beginning with the mind. The supreme Puruṣa, Brahmā, emitted that body for them - this is the connection. He states that this creation is superior to all creation with this sense. "Tāṃ dṛṣṭvā" - The gods who were created before, seeing that creation of Manu, praised Prajāpati saying "Ho!". (49-50)

He elaborates on this: "Etat" - O creator of the world, this action of yours is well done, it is sufficient, there is nothing more than this - this is the meaning. With "bata", it indicates the Vedic passage "tā abruvan sukṛtaṃ bata" as authority. Moreover, he states the purpose for which ritual actions like yajñas are established in the creation of Manu: "Sākam" - We will eat food together with you, thus through our grace there will also be great increase of progeny for them. The purpose was indicated with the irregular form "adāmahe". The explanation that "Seeing the human creation, the gods said it was well done" refutes the misinterpretation that the Asuras who were created before praised Prajāpati seeing that creation, since the creation of gods is mentioned earlier. (51)

Although the creation of sages was done first, even before the creation of gods, he mentions that creation later to show it was common to gods, asuras, etc. "Tapasā" - Hṛṣīkeśa, the inner controller of Brahmā, endowed with tapas etc., created the sages, the desired progeny, at the very beginning - this is the connection. It should be understood that the name Hṛṣīkeśa, which is established only for Bhagavān, was used mainly to show that everywhere Śrī Nārāyaṇa alone is the creator as the inner controller of Brahmā, not another. If it is asked whether this could be with the intention of non-difference, no, because it is stated that Brahmā gradually took refuge in Viṣṇu for removing the disturbance of the Daityas. Where the name of Hari is used for another, "There the acceptance of the inner controller should be understood, not otherwise. Independence and inferiority are attributed even to the supreme. Like victory and defeat of one's own people for a smiling king." By this, when the primary meaning is not possible, the secondary meaning is established. (52)

The unborn Brahmā gave to those sages each part of that body which is composed of samādhi, yoga, perfections, tapas, knowledge and detachment - this is the connection. (53)

Thus ends the 20th chapter in Śrīmad Vijayaghvaja Tīrtha's Padaratnāvalī on the Third Canto of the great Purāṇa Śrīmad Bhāgavata.

Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā

"kṛtakṛtyam iva" - By the word "iva", the meaning is that the previous task was accomplished. "manūn" means human beings, "lokabhāvanān" means causes for the origination of all worlds through action, thus the progeny of Śrī Manu will be. (49)

"tebhyaḥ" means having the supreme as support. The reading "ātmanaḥ" is mostly seen. There "param" means the place of manifestation of the supreme self. (50-53)

Thus ends the 20th chapter of Śrī Jīva Gosvāmī's Kramasandarbha on the Third Canto of the great Purāṇa Śrīmad Bhāgavata.

Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā

After contemplation, when he desired to create a couple, thinking "My creation will be complete", then joy arose in him, from that the Manus came into being, and they took on a human form embodying the completion of creation - this is stated in two verses beginning with "sa ātmānam". Among them, Svāyambhuva Manu was now visibly seen by all, the others should be understood as becoming visible at the appropriate times. From the use of the word "ante" here, this creation of Manu should be understood as the very last. Therefore, even though the creation of sages mentioned after this is prior to this, it should be understood as such. Here in the 10th, 12th and 20th chapters, the order of the creations mentioned sometimes in sequence and sometimes out of sequence by the leaping frog method or lion's glance method should be understood as follows: First the fivefold creation of ignorance, then the creation of trees and plants, then the creation of serpents etc., then the creation of cows, buffaloes etc., then the creation of Yakṣas, Rākṣasas, Asuras, Kinnaras, Kimpuruṣas etc., then the creation of Sanaka and Marīci etc., then the creation of humans, at the very end the creation of Manu, after which even those created earlier increased in the form of women and men. (49)

He gave his own city, his human-shaped body. (50)

O creator of the world, in which creation of Manu ritual actions like Agnihotra would be established - the idea is by the protection etc. of the Manus. "sākaṃ" means together with, we all eat food, i.e. portions of offerings etc. "he" is a separate word. (51)

Then he describes the human creation of Brahmā endowed with knowledge. "tapasā" - Hṛṣīkeśa means having the senses under control, being so he created the sages like Sanaka etc. (52)

But what body did he give a part of? To answer this he says: That which possesses samādhi which is knowledge, yoga which is the eightfold system, perfections which are powers like aṇimā, tapas, knowledge and detachment. After this, the origin of Rudra and then the creation of Marīci etc. should be understood in the 12th chapter. (53)

Thus ends the 20th chapter, which is agreeable to the good, in the Sārārthadarśinī which gives joy to the hearts of devotees, on the Third Canto.

Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ

When he considered himself as having accomplished his task... (49)

To those Manus he very respectfully gave his own human-shaped city, i.e. body. Those Manus... (50)

This human-shaped body is created by you, in which actions that are means for enjoyment and liberation are established. Therefore in this, together we eat food, i.e. we partake of portions of offerings etc. O Brahmā! (51)

"tapasā-ādiyuktaḥ" - Hṛṣīkeśa means having controlled senses, i.e. endowed with detachment. Thus endowed with five qualities, he created five types of sages as progeny - this is the meaning. (52)

To those five types, he gave one by one a part of his body endowed with the five qualities of tapas etc., i.e. the distinction of each quality like tapas. What doubt? To answer what body he gave a part of, he says "yat" - That body which possesses samādhi, yoga, tapas, knowledge and detachment. (53)

Thus ends the illumination of the meaning of the 20th chapter in Śrī Śukadeva's Siddhāntapradīpa on the Third Canto of the great Purāṇa Śrīmad Bhāgavata

Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā

Having described the ninefold creation, he created a certain creation through his quality-transcending nature. He describes that:

"Sa ātmānam" - When the Puruṣa abides in his own quality-transcendent state, then he considers himself fulfilled. The word "iva" indicates it is through imagination, as that is its nature. The reason for this state is: "ātmabhūḥ" - born from the self, from the Lord. Then he created the Manus with the mind as the body. The fourteen main Manus are meant here, as well as many others of two types. At the end of his creation. There is no further creation by Brahmā after this, but the creation of sages is from the Vedic Lord. He describes their excellence: "lokabhāvanān" - they nourish the worlds through dharma etc. (49)

Then Brahmā gave them his ability, as stated in "tebhyaḥ". The city in the form of the cosmic egg. He divided and gave that to them over time, as he is the Puruṣa. For they will protect the city, while he himself will rest. Then many Manus became like Brahmā, so those created earlier became happy, as stated in "vān dṛṣṭuṃ". Those created before the Manus praised the Prajāpati. (50)

He describes the praise: "aho" - The creation is extremely wonderful, we too were created by him, as were these. Even though similar to the cause, they have become superior - this indeed is the good deed of the creator of the world. "Bata" expresses joy, as something superior to its cause was produced. He gives another reason: "pratiṣṭhitāḥ kriyā yasmin" - in whom actions in the form of dharma etc. are well established when created in the form of Manu. This indicates dharma and liberation are accomplished. "sākam annam adāmaha" refers to artha and kāma. Thus it is the means of accomplishing all human goals. (51)

He describes the creation through the supreme divine state: "tapase". Through knowledge, action and devotion, Lord Hṛṣīkeśa created the sages who promulgate all the Vedas etc., in the form of desired progeny. Here tapas is knowledge, vidyā is devotion. United through yoga means attaining the state of the Lord, or united through yoga culminating in samādhi. "By all" or by the Lord, as the creator has mastery over the senses. The sages with controlled senses are of three types: established in knowledge, established in action, and established in devotion. The sage is also Hṛṣīkeśa, meaning he is the form of the word and meaning Brahman. (52)

The six qualities of the Lord unified became the qualifiers of the agent, so he gave a portion to each of the created beings, as stated in "tebhyaḥ". This meaning is appropriate, as those created with a portion in mind should be given that portion. But it is not required for his own purpose, as he is unborn, so he will not become Vṛtra etc. in the future. He describes those portions: "yat tad" - whatever belongs to whomever, that very thing belongs to them. The six qualities like aiśvarya etc. should be included under samādhi, or explained as their essences, or separately. These are denoted by the word bhaga as relevant to the context. Samādhi is one-pointedness of mind, yoga is its means, ṛddhi is its fruit - these three form one category. Tapas is knowledge, vidyā is devotion, and vairāgya is the other. Or vidyā is fame, ṛddhi is prosperity, yoga is strength, samādhi is sovereignty. Samādhi is also yoga as it completely subdues enemies. The sages indeed accomplish each portion of the Lord. (53)

Thus ends the explanation of the twentieth chapter in the Subodhinī commentary on the Third Canto of the Śrīmad Bhāgavata, composed by Śrī Vallabha Dīkṣita, son of Śrī Lakṣmaṇa Bhaṭṭa.

Śrī Giridhara-kṛtā Bāla Prabodhinī

The construction is: When that self-born Brahmā considered himself as if fulfilled, then at the end he created through his mind the Manus who nourish the worlds by promulgating dharma etc. and protect all the worlds. (49)

To those Manus, that Brahmā gave his own person, a body in human form. He gives the reason for this: "ātmavān" - meaning he is the master of all those selves or souls. Seeing those Manus, those who were created before them, like the devas etc., praised that Prajāpati. (50)

He describes that praise: "aho". With the intention that this is indeed appropriate for you, they address him: "O creator of the world". This creation of human form is your good deed, well done. "Bata" indicates joy. They express wonder: "aho", meaning "You created us too, but we are not like this". They clarify why it is a good deed: "pratiṣṭhitāḥ" - in whom actions that are means to heaven, liberation etc. are established, meaning all actions are accomplished through the human body. Therefore, together with the human body, we too would enjoy food i.e. objects of enjoyment through sacrifices etc. (51)

The construction is: Possessed of tapas (knowledge), vidyā (devotion to the Lord), yoga culminating in perfect samādhi, Hṛṣīkeśa with controlled senses, the sage Brahmā knowledgeable in all means as the seer of the Vedas, created sages, progeny in the form of sages as desired by him. (52)

That aforementioned yoga culminating in samādhi which produces sages, and the siddhis like aṇimā etc. born from it, tapas which is knowledge, vidyā which is worship, and detachment - he gave a portion of each of these qualities to those sages. The meaning is he gave one out of devotion, knowledge, yoga etc. to each according to their qualification. That is why some are seen to be predominantly knowers, some devotees, some yogis. (53)

Thus ends the Bālaprabodhinī commentary on the Third Canto chapter describing the creation of liberation etc., composed by Śrī Giridhara, son of Gopāla of Śrī Vallabhācārya's lineage, servant at the feet of Śrī Mukunda, for attaining the bliss of devotion.

Hindī Anuvāda

Once Brahmājī felt as if he had accomplished his purpose. At that time, in the end, he created Manus from his mind. All these are meant to increase the progeny. (49) The thoughtful Brahmājī gave up his male form body for them. Seeing the Manus, the gods, gandharvas, etc. who were born before them began to praise Brahmājī. (50) They said, 'O Viśvakarmā Brahmājī! This creation of yours (of Manus) is very beautiful. All rituals like agnihotra (fire sacrifice) are established in it. With its help, we too will be able to receive our food (oblation portion).' (51) Then the primordial sage Brahmājī, endowed with sense control, austerity, knowledge, yoga and samādhi (deep meditation), created his dear children, the sages, and gave each of them a portion of his body composed of samādhi, yoga, prosperity, austerity, knowledge and detachment. (52-53)

20th Chapter Ends

SB 3.20.41-48

 Text 41: The ghosts and hobgoblins took possession of the body thrown off in the form of yawning by Brahmā, the creator of the living entities. This is also known as the sleep which causes drooling. The hobgoblins and ghosts attack men who are impure, and their attack is spoken of as insanity.

Text 42: Recognizing himself to be full of desire and energy, the worshipful Brahmā, the creator of the living entities, evolved from his own invisible form, from his navel, the hosts of Sādhyas and Pitās.

Text 43: The Pitās themselves took possession of the invisible body, the source of their existence. It is through the medium of this invisible body that those well versed in the rituals offer oblations to the Sādhyas and Pitās [in the form of their departed ancestors] on the occasion of śrāddha.

Text 44: Then Lord Brahmā, by his ability to be hidden from vision, created the Siddhas and Vidyādharas and gave them that wonderful form of his known as the Antardhāna.

Text 45: One day, Brahmā, the creator of the living entities, beheld his own reflection in the water, and admiring himself, he evolved Kimpuruṣas as well as Kinnaras out of that reflection.

Text 46: The Kimpuruṣas and Kinnaras took possession of that shadowy form left by Brahmā. That is why they and their spouses sing his praises by recounting his exploits at every daybreak.

Text 47: Once Brahmā lay down with his body stretched at full length. He was very concerned that the work of creation had not proceeded apace, and in a sullen mood he gave up that body too.

Text 48: O dear Vidura, the hair that dropped from that body transformed into snakes, and even while the body crawled along with its hands and feet contracted, there sprang from it ferocious serpents and Nāgas with their hoods expanded.

Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā

They call sleep that which causes a discharge of the senses. By that discharge of the senses, they harass the impure and make them confused. They call that group of bhūtas and others unmāda (madness). Thus the fourfold nature of the bhūtas and others is stated as causing drowsiness, sleep and madness, and the fourfold nature of the bodies as well. (41)

Powerful and invisible. (42)

From which is the creation of the self. With whatever body as the instrument of offering, the wise poets skilled in rituals give oblations through śraddhā etc. to the Sādhyas and Pitṛs in the form of their own ancestors. (43)

Though visible, by the power of concealment. (44)

With an individual body, the reflection of the self by the self, the observer of reflections, like the nodding of the head etc. of a beautiful person. Hence the constant pairing of those created by him through mutual respect. (45)

That in the form of a reflection. By deeds describing his prowess. (46)

Bhoga means expansion, the stretching of feet etc. With a body possessing that, not having attained growth, endowed with that enjoyment, anger etc. (47)

The hairs that fell from that body became snakes (ahi). From that moving by contracting its feet etc. came serpents (sarpa). Hence they are called nāga, meaning very swift. Having bhoga (hood), they have a wide neck with a hood. All these are cruel due to being associated with his anger. Their subdivisions are well-known in the treatise on snakes. (48)

Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā

From saying unmāda, people possessed by bhūtas, ghosts etc. are called mad. (41)

Sometimes he thought of the strength and invisibility of the Dhātā. From those two arose the Sādhyas and Pitṛs - this is stated in "powerful by two". (42-44)

Hence from self-respect alone. "Those created by him" means those created as reflections. (45)

That very creator himself. Upaṣi means early morning. (46)

"He contemplated much" means: "How will my creation succeed?" - with this thought, in the midst of contemplation, a certain discrimination arose, from which great anger was produced. After the anger, he emitted that body. (47)

Hence from moving by contracting the feet etc. The meaning is: They do not go, so aga; not aga is nāga. This meaning is obtained by the compound formation "supsupo" with the negative particle na. In the text called Sarpasiddhānta. (48)

Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā

They harass, so that group of bhūtas etc. is called unmāda (madness) due to causing madness. Tandrā etc. means: The fourfold nature of the bhūtas etc. as causing drowsiness etc., and likewise the fourfold nature of the bodies as forms of those states, is stated as an indication. (41)

By giving food and water to the Pitṛs, by their grace it happens, and by that food is given to oneself - with this intention it is explained as "possessing food". Or powerful, intending the production of Sādhyas alone, he states an alternative view. The Sādhyas are powerful, so by giving oblations to them, strength is obtained - this is the idea. With an invisible body he created the group of Pitṛs - this is the connection. (42)

With whatever invisible body as the instrument of being a recipient of offerings. Thus piṇḍas should be given only to invisible Pitṛs, not to visible ones - this is the meaning. Hence when Śantanu extended his hand to receive a piṇḍa from Bhīṣma, Bhīṣma did not give it - this is well-known from other Purāṇas. The same should be understood for the Sādhyas also. (43)

He gave the power called concealment. The meaning is: The power of concealment arose in them. (44)

Hence from being born from the body of one possessing such self-respect. (45)

That very Brahmā himself. (46)

By much contemplation regarding creation. (47)

Hence from being born from a body that moves by creeping, even the falling of hair should be understood as consisting of this nature alone. In the text called Sarpasiddhānta. (48)

Śrīmad Vīrarāghava Vyākhyā

Drowsiness is fourfold: laziness, yawning, sleep and madness. Suggesting that laziness etc. are progressively the causes of the later ones, and describing the nature of sleep and madness, he states the fourfold nature of the bhūtas and piśācas with drowsiness as primary in one and a half verses beginning with "They took". They took up, accepted that body of the Lord Brahmā called yawning which was emitted by him. The mention of "called yawning" is to indicate the fourfold nature of drowsiness by its subdivisions. As discharge of the senses, dullness of the senses, disturbance of the senses is seen in the bhūtas by the state called yawning, they call that sleep - this is to be connected later. By that discharge of the senses they harass, i.e. tolerate (reflexive usage) the impure, that harassment they call unmāda (madness). The bhūtas and piśācas have this fourfold drowsiness as primary - this is the idea. (41)

The Lord, the unborn divine Brahmā, considering himself powerful, created the groups of Sādhyas endowed with qualities (compound in apposition not intending difference between quality and qualified) and the groups of Pitṛs invisibly. (42)

From which is the self-creation, the creation of the selves of the Sādhyas and Pitṛs, the Pitṛs obtained that form of Brahmā as powerful. Pitṛs also indicates the Sādhyas - they became powerful, this is the idea. Hence he says they are worshipped by those desiring strength. The wise skilled in rituals expand, i.e. worship through sacrifices, whatever power to the Sādhyas and Pitṛs. As stated in the 2nd Canto "One should worship the Sādhyas for accomplishing works, and the Pitṛs for progeny", they worship the Sādhyas and Pitṛs for obtaining strength for themselves through priesthood, progeny, increase etc. - this is the meaning. Or, considering them possessing ūrj meaning excellent life, sustained life, he created the Sādhyas etc. Hence they are worshipped by those desiring excellent life here and hereafter through priesthood, progeny etc. - this is the meaning. (43)

Brahmā created the Siddhas and Vidyādharas through his power of tirodhanāna (concealment), giving them the ability to be invisible to others. He gave them a wondrous and marvelous body called antardhāna. This means they became primarily endowed with the power called antardhāna (disappearance). (44)

The Lord Brahmā, looking at the reflection of the self, which is the semblance of the self, created the Kinnaras along with the Kiṃpuruṣas, bringing that self in the form of a reflection as the body through reflection. (45)

Those Kinnaras and others took on the body in the form of reflection that was abandoned by the Parameṣṭhin (Brahmā). Hence, those Kinnaras and Kiṃpuruṣas, pairing with each other, adopting the same pride as in the image and reflection, began singing at dawn to that very Brahmā with actions in the form of praising his deeds. If the reading is "looking at the self-luminous", then it means looking at the self-luminous space, considering that self as inseparable from his own attribute, he created with that reflection of the self. Hence, those created by him, considering themselves as non-different with mutual relation of quality and substance in the action called singing, became singers in pairs. (46)

Lying with a body endowed with pleasure and delicacy, with much thought, when creation was not increased or advanced, he cast off that body form of pleasure, anger, and much thought out of anger. (47)

O Vidura! The hairs fell from the body endowed with pleasure; those hairs became serpents. From his moving feet, etc., serpents were born from that body. Because they were born moving, they are called nāgas - "na gacchanti" (they don't go), meaning they are very swift. Being born from the body cast off in anger, they are cruel. Being born from one endowed with pleasure, they have bodies with pleasant touch and are long. Being born from one lying down, they have long necks. (48)

Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā

He describes the inherent nature of sleep. With sleep etc. Vikleḍa means distress, by which they harass the contaminated embodied beings, making them perform special activities etc. The knowledgeable call this special activity of madness. The rest is understood. "Brahmā previously abandoned the external body made of impurities, not his own. That deity Brahmā etc. attained the state of being the first among the gods." From this statement, it is known that Brahmā abandons only the external body of Prabhā etc., not his own body. Previously means at the time of creation. (41)

Satisfied by giving their suitable selves, the groups of Sādhyas etc. ward off the faults of ancestral spirits etc., so after their creation he speaks of the creation of the groups of Sādhyas etc. With ūrjasvantam. This shows that this is the main treatment for ghosts etc. Ūrjasvantam means full of essence and food. It is said: "Ūrj means essence-food, that alone is food for the ancestors." By name means indirectly, by body. That is why even now they offer piṇḍa etc. to ancestors etc. who are invisible to the eye, for their satisfaction. (42)

From whom there is creation of the self, that is ātmasarga, they spread that essence-food by distributing it through bali offerings etc. (43)

Because the Siddhas etc. are inferior to the Sādhyas etc., he speaks of their creation afterwards. With siddhān. By name means by concealment, by body means the self or body called antardhāna, which is another synonym for antardhāna. Because of being the cause of invisibility to others through boons etc., the specialty is that for these it is natural, due to the inconceivability of Hari's power. This is the idea. (44)

To mock his own awakening and to generate an idea of excellence in the creation of inferior persons near himself, he speaks of the creation of semblances of persons. With sakinnarān. As it is said: "Kim is used in questions, reproach, contempt, and the domain of false reasoning", so kinnarābhāsa means kimpuruṣa or semblances of persons. He created them with himself as the form, with body - this is the connection. The mood with which Brahmā creates objects, that mood characterized by activities etc. remains in them innately as long as their bodies last, so he shows that mood, saying: māneyan. Honoring himself, his own body, with mind etc., with fragrant flowers etc., looking at his own reflection in a mirror etc., he created - this connects with the previous. This principle should be applied before and after as well. (45)

Those Kinnaras accepted that form, nature and characteristic appearance abandoned by the supreme being - this is the connection. The lexicon states: "Rūpa means sound, animal, verse, text, meter, benefit etc., beauty, and inherent nature." He states their action: Becoming couples. They praise him, Brahmā, with deeds, with composed verses etc. By this the creation of birds is also explained, since only the faces of Kinnaras etc. have human form, there being no difference in being egg-born. (46)

He speaks of the manner of creating serpents etc. With dehena. Brahmā lying with a body possessing enjoyment, i.e. having the form of a serpent's body, when creation of offspring was incomplete, i.e. without adequate disposition, due to much anxiety, from the anger born from that, he emitted that body. The word hi indicates the reason. Because he created from anger, therefore slightly troubled and angry, they trouble all worlds. (47)

He speaks of the subdivisions among those born from one body. With ye. From that, from that body, the hairs that fell off, they became serpents - this is the connection. The finite verb has a case ending as in the Veda "from which horse, that horse". Because of varied creeping, properly creeping, they are serpents. He states their nature. Cruel because of quick anger. They do not go, so they are aga. They are not aga, so they are nāga, because of moving quickly. He states their characteristics. With bhogoru-kandhara. Those whose necks are large like enjoyment, they are thus. By the maxim of wall and lamp, the word uru should be connected to both. Having large enjoyment and large necks, they have large enjoyment and large necks. As it is said in the Jāṅgalika-tantra: "May we know the one of large enjoyment, may we meditate on the one of great neck. May that serpent inspire us." (48)

Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā

With jagṛhur etc. Therefore he speaks of non-difference. And sleep called yawning. Due to intending the predominance of dharma itself, the possessive suffix is not used here. That stupefaction of the senses which they call madness, madness also occurs there, so by non-difference with that, they indicate that also - this is the meaning. (41)

Ūrjasvantam means possessing enthusiasm etc. characterized by sattva through granting boons. (42)

Te iti. Knowing that to be suitable for them, they give to them, by which characteristic body itself as the cause. (43-47)

Ye iti. The falling of hair should also be understood as consisting of this mood only. (48)

Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā

By which sleep, in beings like humans etc., there is moistening of the senses like the mouth etc., by which non-moistening as the cause they harass those who are contaminated, they call that harassment madness. Therefore people harassed by bhūtas, pretas etc. are called mad. (41)

Sometimes he contemplated his own strength indirectly, and from those two the Sādhyas and ancestors were born, and they became receivers of havi and kavya offerings - he says this in two verses. Ūrjasvantam means full of sattva, by that sattva the groups of Sādhyas, and indirectly the groups of ancestors. (42)

Those Sādhyas and ancestors, that body means suitable - this is the meaning. Because they spread, they offer havi food to the Sādhyas and kavya food to the ancestors through śrāddha etc. - this is the meaning. (43)

Sometimes he contemplated disappearance, and from that the Siddhas and Vidyādharas were born - he says this with siddhān. (44)

He contemplated his own reflection, and from that the Kinnaras and Kiṃpuruṣas were born - he says this with sakim. By reflection means by image, honoring himself with himself thinking "I am beautiful", ātmābhāsam means beautiful. (45)

That reflection became mutual seeing between male and female, so they also accepted that - he says this with te tu. (46)

He abandoned the body lying with the mind alone, and that became snakes etc. - he says this with dehena. Possessing bhoga means possessing expansion, i.e. with limbs spread out. By much anxiety when creation was incomplete, thinking "How will my creation be successful?" Then in the midst of anxiety some lack of discrimination occurred, from which great anger arose. After the anger, he emitted that body. (47)

From that, from that body, the hairs that fell off became serpents. From that body moving by contracting limbs etc., the hands, feet etc. that fell off became snakes. And those that were bald-necked etc. became nāgas. What kind? Because of being born with enjoyment, having large, expansive hoods and necks. And all are cruel due to connection with anger. Their subdivisions of species are well-known in the science of snakes. (48)

Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ

That tandrā (drowsiness) released by the Lord was seized by those bhūtas (spirits) and others. They call that drowsiness which causes the senses to become slack and discharge fluids in humans and others jṛmbhaṇā (yawning). Due to that slackening of the senses, those bhūtas and others harass and confuse humans who are impure. They call that slackening of senses unmāda (madness) or the group of bhūtas and others. (41)

Ūrjasvantam (full of vigor), producing invisibility, powerful. Indirectly, in an invisible form. (42)

Ātmasarga (self-creation), their own progenitor. That by which body as the recipient, sages perform and offer oblations in śrāddha rituals etc. (43)

By tirodhāna (concealment), the power of disappearance. (44)

By pratyātmya (reflection), by reflection. Ātmābhāsa (semblance of self), reflection. (45)

That form consisting of reflection. Him, the supreme being. By karmas, descriptions of His prowess. (46)

When creation was not yet advanced, with much anxiety, with a body prone to sleep due to enjoyment, lying down He angrily cast off that body suited for that purpose. (47)

O Aṅga! Vidura, the hairs that fell from that body full of anxiety and prone to sleep became serpents. The snakes were born from the quickly moving body at the time of emission. The immobile nāgas (serpents) were born from the cast off immobile body. Being born from the body of enjoyment, they were born with long bodies and thick, elongated necks. Those born from the portion of anger were especially cruel. (48)

Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā

He states the application of one of them - jagrhuḥ iti. The bhūtas and piśācas took her. By the connection of viśeṣeṇa sṛṣṭā visṛṣṭā, the previous division is also indicated. Visṛṣṭā means abandoned. To differentiate between the two, he states the name of the first - nṛmbhaṇākhyām iti. Indeed, when laziness and sleep arrive together, yawning occurs. The reason for accepting even the improper one is prabhoḥ iti. He now describes the second, previously uncertain one - nidrām iti. Sleep itself is the second body, while the first is called yawning. He defines the characteristic of that divine sleep through its effect - indriyavikledo yayā bhūteṣu dṛśyate iti. Indeed, by sleep all the senses become dormant and flow due to sleep. By that very divine (sleep), effects like eye discharge also occur. Therefore, the threefold effect is expressed by the word indriyavikleda. He states those who took her - yenocchiṣṭān iti. That group is characterized by madness, by which she was taken, as is understood from the context. Otherwise, there would be pointlessness in the description. How did they get the name of madness? He explains - yena kāraṇena ucchiṣṭān. They become defiled by eating, excretion, etc. They violate them. For that reason, they call that group unmāda. One whose intoxication is elevated. Indeed, only the mad violate the inattentive. Therefore they call that group unmāda. Or, the bhūtas and piśācas themselves took the sleep called yawning and (the other) sleep. And they took the group produced by the second body of sleep as an instrument for violation. In that case, that group should be understood as included among the piśācas themselves. The piśācas violate - the knowers declare. (41)

He states the rajasic creation - ūrjasvantam iti. The words iḍa and ūrja denote particular powers. The power residing in the self that gives the senses special ability to grasp objects and is the cause of deliberation is expressed by the word ūrja. But the power that increases hunger and thirst is expressed by the word iḍ. Therefore the branch (says) "In cutting, these two desired" - "iṣe tvā ūrje tvā". These two powers belong to the Lord alone, established in the living being, herbs and plants. "Ūrjā food-eating curds", "Ūrg or udumbara", and "Iṣe for prāṇa, ūrje for apāna". One who is endowed with ūr is ūrjasvān. When such pride of Brahmā arose. The word bhagavān indicates the connection to the root. Aja is the reason for the pride, otherwise the omniform Lord does not consider himself thus. Then he created the Sādhyas and groups of Pitṛs with an indirect nature. All that is unseen is indirect. Therefore the Sādhyas became partakers of the extra portion, and the Pitṛs partakers of the inverted portion, as per the śruti "The gods are partakers of the indirect". Thus the creation of both was done through the unseen alone. Prabhuḥ indicates the capability in such creation. (42)

He abandoned that body too - tam tv ātmeti. Therefore both of them, considering it their own creation, primarily the Pitṛs, obtained that body which was the effect of Brahmā. The Pitṛs are extremely well-known in the world. He states the application of both through that body - sādhyebhyaḥ pitṛbhyaś ceti. And by which body the worlds are sustained, and by the extra śrāddha. (43)

Again he states the third creation of the three guṇas - siddhān iti. These are sāttvika. The Siddhas are those accomplished in knowledge, the Vidyādharas those accomplished in action. He created both of these together without opposition. He created them with that state which is in the form of the knowledge of concealment. And he did not abandon that body as before, but gave it to them, as he says - tebhya iti. He did not give himself as the body. To remove doubt, he states its name - antardhānam ity ākhyā yasya. Adbhutam iti is the reason for giving it himself. (44)

He states the rajasic - sa kinnarān iti. The Kinnaras and Kimpuruṣas are divine singers. He created them through his own reflection. Prabhuḥ iti as before. Their creation was not by mere reflection, but with honor, as he says - mānayann iti. He created them honoring himself in reflected form with his original form. People also consider themselves highly when seeing their face in a mirror. Moreover, not just with mere honor, but looking at the semblance of himself. He created them with that reflection accompanied by the vision and honor. (45)

He states that thereby a threefold nature arose in the effect - te tv iti. This form was indeed abandoned by Brahmā, since he is Parameṣṭhin, having attained the highest state, as per the śruti "Thereby he went to the highest state". Then he states what was born from that - mithunībhūyeti. Both of them were born in male and female form. This is the nature of honoring. And in the morning, having become couples through the karma-s done by Brahmā which are the cause of excellence, for the sake of manifesting rasa, they sang to that very Brahmā. The singing was done with vision. (46)

He states the tamasic creation - dehena iti. With a gross body endowed with enjoyment. Enjoyment is sensory enjoyment; one possessing that certainly becomes gross. This is well-known in the world, so vai (indeed) is stated emphatically. Due to much anxiety he became recumbent, meaning he fell and remained. The reason for the anxiety - sarge 'nupacita iti. When desire was unfulfilled, anger arose. And from anger he emitted serpents. (47)

He states that creation occurred from the abandoned body - pe 'hīyanta iti. The hairs that fell from that body. By this it is understood that he even pulled out his own hair due to anger. Those very hairs became serpents. Ahayaḥ means all types of serpents, nāgas etc. are subtypes. "Some are active without hoods, others have hoods. Nāgas and ajgaras are said to be the middle ones with poison." Since they fell (ahīyanta), they are called ahayaḥ (serpents). The ones that were emitted from anger became sarpas (crawlers). The ones born from the fallen, actionless (body) became nāgas. Since they were born from the gross, actionless body, they have large hoods and bodies. They have a large body (bhoga) and wide neck (uru kandhara). Kandhara means the place of the hood. Due to the use of uru in the middle, it relates to both. Or uru-kandhara for the sake of enjoyment (bhoga), or in relation to the body. (48)

Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ

On ūrjasvantam. Therefore, etc. By providing strength to the senses and increasing it, sānnāyya is considered as the vigor of the senses. Thus, in that tantra, for purification, the branch cutting prescribed by "ipetvetiśākhāmācchinatti" is meant. For being established in both, they cite as evidence: agrkheti etc. (42)

On siddhān. Third means: divided into rājasa-rājasa, rājasa-sāttvika, and rājasa-tāmasa types. (44)

On te tv. This means: (1) Taking form through femininity and masculinity. Darśana-kṛtam means darśana-dharma. The reflection-dharmas are kinnaras. Kimpuruṣas and the state of coupling are indicated as the effects of the three honors of one's own reflection. (46)

Thus ends the explanation of the twentieth chapter in the Subodhinīprakāśa of the Third Canto.

Śrī Giridhara-kṛtā Bāla Prabodhinī

The body that was abandoned by the Lord, who is capable of renouncing and accepting, was then seized by bhūtas, pretas, etc. Its fourfold division should be understood as: drowsiness, yawning, sleep, and insanity. Among these, drowsiness is laziness. Yawning is well-known. That by which the senses become slack and powerless in beings is called sleep. That particular defect by which bhūtas etc. overwhelm and confuse beings who have eaten leftovers mixed with excreta and urine, the wise call insanity. (41)

Then the glorious Lord, possessed of sovereignty etc., and thus the capable and unborn Brahmā, considering himself powerful, invisibly created the Sādhya groups and the groups of Pitṛs. (42)

Those Sādhyas and Pitṛs accepted that body created by Brahmā for their own creation. It is that body through which wise men skilled in rituals offer oblations (havya and kavya) to the Sādhyas and Pitṛs through śrāddha etc. (43)

Then that Brahmā, though visible, created the Siddhas and Vidyādharas, special types of gods, with a concealed form. To those Siddhas etc. he gave the miraculous body called antardhāna (disappearance). (44)

The Lord Brahmā, seeing his own reflection and honoring himself through that reflection, admiring his own beauty, created the Kinnaras along with the Kimpuruṣas through that reflection. (45)

That reflected form abandoned by the supreme Brahmā was seized by those Kinnaras. Therefore, they sing about his exploits in the morning, coupling as male and female. (46)

When creation was not increasing, wondering how it could grow, he lay down with a gross body full of desires. Out of anger at unfulfilled wishes, he abandoned that angry form. (47)

O Aṅga, the hairs that fell from that body became serpents. From that body moving by contracting its feet etc., snakes were born. Nāgas are those who do not move, extremely fast. Being born from one with a hood, they have a wide neck with a hood. Being born from anger, they are cruel. Their sub-divisions are well-known in the doctrine of serpents. (48)

Hindī Anuvāda

The bhūta-piśācas (demons and goblins) took possession of that yawning body abandoned by Brahmā. This is also called nidrā (sleep), which is seen to bring laxity to the senses of living beings. If a person sleeps with an unclean mouth, bhūta-piśācas and others attack him; this is called unmāda (madness). (41)

Then Lord Brahmā contemplated that he was full of tejas (radiance) and created the Sādhyas and Pitṛs (ancestors) from his invisible form. (42)

The Pitṛs took possession of that invisible body which was the place of their origin. Keeping this in mind, learned people offer kavya (piṇḍa) and havya to the Pitṛs and Sādhyas respectively through śrāddha and other rituals. (43)

Through his power of concealment, Brahmā created the Siddhas and Vidyādharas and gave them his wondrous body called antardhāna (disappearance). (44)

Once, Brahmā saw his own reflection. Considering himself very beautiful, he created Kinnaras and Kimpuruṣas from that reflection. (45)

They took possession of that reflection-body when Brahmā abandoned it. That is why they all sing about Brahmā's qualities and deeds together with their wives at dawn. (46)

Once, Brahmā became very worried due to the lack of growth in creation. He lay down with his limbs spread out, and in anger, the hair that fell from him became ahis (snakes). The cruel-natured serpents and nāgas were created from the contraction and movement of his hands and feet, whose bodies are greatly expanded near the shoulder in the form of a hood. (48)

SB 3.20.31-40

 Text 31: Adorned with dark tresses, she hid herself, as it were, out of shyness. Upon seeing that girl, the asuras were all infatuated with an appetite for sex.

Text 32: The demons praised her: Oh, what a beauty! What rare self-control! What a budding youth! In the midst of us all, who are passionately longing for her, she is moving about like one absolutely free from passion.

Text 33: Indulging in various speculations about the evening twilight, which appeared to them endowed with the form of a young woman, the wicked-minded asuras treated her with respect and fondly spoke to her as follows.

Text 34: Who are you, O pretty girl? Whose wife or daughter are you, and what can be the object of your appearing before us? Why do you tantalize us, unfortunate as we are, with the priceless commodity of your beauty?

Text 35: Whosoever you may be, O beautiful girl, we are fortunate in being able to see you. While playing with a ball, you have agitated the minds of all onlookers.

Text 36: O beautiful woman, when you strike the bouncing ball against the ground with your hand again and again, your lotus feet do not stay in one place. Oppressed by the weight of your full-grown breasts, your waist becomes fatigued, and your clear vision grows dull, as it were. Pray braid your comely hair.

Text 37: The asuras, clouded in their understanding, took the evening twilight to be a beautiful woman showing herself in her alluring form, and they seized her.

Text 38: With a laugh full of deep significance, the worshipful Brahmā then evolved by his own loveliness, which seemed to enjoy itself by itself, the hosts of Gandharvas and Apsarās.

Text 39: After that, Brahmā gave up that shining and beloved form of moonlight. Viśvāvasu and other Gandharvas gladly took possession of it.

Text 40: The glorious Brahmā next evolved from his sloth the ghosts and fiends, but he closed his eyes when he saw them stand naked with their hair scattered.

Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā

Holding (gṛhantī) with the edge of her garment (vastrāñcalena), covering (āvṛṇvānām). She who has a multitude (stoma) of dark (nīlānām) curls (alakānām). O Dharma, seeing that woman from afar (vidūra), having thought... (31)

He describes the process of imagination of the confused ones. "Aho" etc. (32)

Having respectfully approached (abhisaṃbhāvya). Out of affection (praṇayāt). Those foolish ones (kubuddhayaḥ) asked her... (33)

"Who are you?" in three verses. Who are you by birth (jātyā)? Whose daughter? O passionate one (bhāmini), angry one, beauty alone is wealth, that alone is the commodity. We are not troubling you by not offering that. (34)

What is the use of asking about caste, family, etc. Whoever you may be, it is fortunate that we have seen you. But you are merely agitating our minds. (35)

The speech of those with agitated minds is not steady, saying: O praiseworthy one (śālini), it is not steady in one place, or it excels in various movements and graces. The falling moth, the bouncing ball. Your slender waist is drooping, tired from the weight of your large breasts. Your beautiful mass of hair spreads out slowly like a flame. In another reading: "Arrange the mass of your beautiful scattered hair." Here, the setting sun is the falling moth, the parting clouds are the drooping waist, the starry gaze is the eyes, and darkness is the hair - this should be inferred. (36)

Thinking her to be a woman acting like a passionate woman, they seized her. (37)

Smiling, killing herself with her own beauty. The smile and self-smelling are transformations indicating the experience and skill of beauty. (38)

The moonlight in the form of moonbeams. Those very groups of Gandharvas etc., with Viśvāvasu as their leader. (39)

Due to his own drowsiness (tandrā), having seen them with loosened hair, he closed his eyes. (40)

Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā

Vibhāvanā means special imagination, prattling of lust and delusion. By using "iva" it is actually indicated that she was lustful. (32)

Conjecturing - is she attracted to us, or is she a goddess, a human woman, or a celibate woman pretending to be a bull? Thus wondering. (33)

Alternatively: You trouble even unworthy unfortunate ones like us, wishing to bind us to yourself. Or: You do not buy us - alas for us unfortunate ones! - this is the meaning. (34)

Considering her mere sight as supreme, they say "What is your caste?" etc. "O weak one" means "O strong one" by reverse implication. (35)

Since the meaning of jayati as "to be steady" is not well-known, he says "alternatively". In the alternate reading "suśikhāḥ samūhaḥ", to convey the stated meaning he says "Here in the evening context". (36)

Evening indeed causes the appearance of women for lovers. So she appeared to them as a woman manifesting in it, and was described as such even by the great sage - this should be understood, he says "Thus". (37)

When Brahmā's beauty came to mind, then the Gandharvas etc. arose from it, and that beauty became moonlight which they seized, he says "Smiling". The transformation indicating the experience and skill related to beauty means the signs of relishing beauty. Smiling in a way that would express deep emotion and hint at her inclination. By her beauty (kāntyā) means by the beautiful one, using metonymy between beauty and the beautiful person. (38-39)

Sometimes Brahmā became lazy, from that ghosts and spirits arose. That laziness took the form of yawning and sleep, which they seized, he says "Having created". "Digvāsasaḥ" means naked. (40)

Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā

The iva word in the middle indicates her coquettish nature. (32)

"Vitarkayantaḥ" means imagining. (33)

Here "in our presence" is the meaning. "Durbhagān" means those devoid of fortune to offer the price. "By not offering that" means by not giving the sight of your beauty. There is contrary implication in using "coward" for "hero". (34)

"Kulādi" etc. includes other aspects. "Merely" means you are not giving your company. (35)

Since steadiness is not well-known as its meaning, he says "alternatively". "Manthara iva" means as if whirling. In the alternate reading without visarga, "samūha" is in compound. Here in the evening context, "vicchedaḥ" means separation from each other. By "etc." the density and binding of that is indicated. (36)

"Thinking her a woman" means: At the time of heightened desire, the appearance of a woman arose in it. She was experienced by them as non-different from that, so even the sage described her thus - this should be understood. (37)

"Smiling in a deep emotional way hinting at her own inclination" means smiling in a way that would express the pride born of beauty, which is the emotion here, profoundly, so that there would be not looking at them, gazing etc. "Killing herself with her own beauty" means experiencing excessive fragrance in herself due to excessive self-love. Since beauty is a property residing in the body, he explains how smiling and self-smelling can be its actions: "Smiling" etc. By the maxim "Where there is form, there qualities reside", beauty's effect is skill, whose transformation or effect is smiling and self-smelling. So these are attributed to beauty, like "The sword cuts". In the reading "saundaryanubhava", it should be explained as "signs of experiencing and skillfully relishing beauty". (38)

She abandoned that smile and self-smelling which indicated her absorption in experiencing her own beauty. But not the direct abandonment of that mental state, as explained earlier by the masters. In abandoning the state, she produced moonlight - this is the meaning. "Kāntimatīm" means beautiful. "Those very ones" refers to those mentioned as arising from that in the next verse. The meaning is they became endowed with beauty etc. (39)

Although by etymology tandrā means drowsiness which is the effect of laziness, still following the subsequent explanation that drowsiness, yawning and sleep are causes of madness, by metonymy drowsiness is meant here even for laziness. This also implies yawning, sleep and madness, as they are successively effects of drowsiness. (40)

Śrīmad Vīrarāghava Vyākhyā

Seeing the woman who was covering herself with the edge of her garment out of shyness and modesty, and who had a mass of dark curly locks, all the asuras became confused, O Dharma, O Vidura! (31)

He describes the delirious speech of the confused asuras in five verses starting with "Aho". Aho expresses wonder. Her form, stability, grace, youth - though she does not desire, she moves among us who are desiring, as if desiring. (32)

Speculating in many ways about her qualities of form, thinking "her form etc. is like this and like this", the foolish asuras respectfully approached that twilight imagined in female form, and out of affection asked her: (33)

He describes their questions in three verses. Who are you? Are you a goddess or a human woman or someone else? To whom do you belong, O woman with thighs like plantain stems? O passionate one, what is your purpose here among us? Your beauty alone is wealth and merchandise. By offering that, you torment us unfortunate ones. (34)

What need is there to ask about birth, family etc.? Whoever you may be, O delicate one, it is our good fortune to see you. You steal away our minds as we gaze at you, as if playing with a ball. (35)

The speech of those with agitated minds: O beautiful one, your lotus foot does not remain in one place as you repeatedly strike the bouncing ball with your hand. Your slender waist sinks down, afflicted by the weight of your large breasts. Your gaze moves slowly, tired. Your beautiful mass of hair is disheveled. Here one can imagine the setting sun as the ball, the parting clouds as the sinking waist, the stars as the gaze, and darkness as the hair. (36)

Thinking in this way that the evening twilight behaving like a woman was a tempting, alluring woman, the foolish asuras with deluded minds seized her. Indeed, how could those attached to shadows and light, who had abandoned what was obtained from Brahmā, identify with the form of the twilight period between day and night? For time cuts off shadows etc., and is distinct from them. It is true that shadows etc. are delimited by the periods of day, night and twilight. Therefore, due to non-difference between the delimited and delimiter, night is referred to as radiance, day as desire, and twilight without distinction. But in reality, whatever dharma he took up to create various things, those things became predominated by that dharma. Because the special times like night etc. are causes of effects like sleep, darkness etc., according to their qualities they took up those special times for worldly affairs - this is the purport. (37)

Lord Brahmā, smiling deeply with a particular intention, sniffing himself with his own body, created groups of gandharvas and apsaras with beauty. The smiling and self-sniffing were transformations indicating the experience and skill of beauty. (38)

He emitted that radiant, beloved form which was the previous twilight. Those very groups of gandharvas and apsaras, with Viśvāvasu as their leader, lovingly took up that form. (39)

Lord Brahmā, having created the bhūtas and piśācas with the drowsiness of the self, seeing these bhūtas and piśācas with disheveled hair and naked, closed his eyes. (40)

Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā

Nīlālakavaruthinī - one who has a mass of dark locks. Seeing her, the woman who had appeared, or alternatively, with reference to that form, they became confused. (31)

Here "confusion" does not mean fainting, but speculation caused by agitation - this is the sense of "Aho rūpam" etc. (32)

Then what did they do? To this he says "vitarkayantaḥ" etc. (33)

O radiant one! Beauty alone is wealth and merchandise fit for purchase. By that you torment us who are unfortunate, lacking the fortune of union and enjoyment with you. (34)

Implying that the mere sight of you is sexual activity for us, they say "yā vā". Even so, this ball game of yours distresses our minds, they say with "uddhunosi". (35)

He describes the special nature of this ball game compared to others: "naikatra" etc. O wife! Your lotus foot does not remain in one place as you strike the rising and falling ball. Your waist sinks down, breaking. Your braid of hair, the mass of locks, is loosened and freed. From the root "mala bandhana" (to bind). (36)

Implying that women are causes of bondage in all states, he describes the asuras' seizing of her: "iti". He distinguishes the twilight as "sāyantanīm" (evening), since the morning twilight is a cause of merit. "Pralobhayantīm" - producing desire in oneself. (37)

After the creation of the devas and asuras, he describes the creation of the gandharvas etc. which was more honored: "prahasya" etc. "Bhāvagambhīram" modifies the action - how can the amorous gestures be known? He indicates this by "jighrantyātmānamātmanā". By radiance, i.e. by form. (38)

"Jyotsnām" - delightful like moonlight, or another name. "Priyām" - pleasing to the mind and eyes. (39)

He describes the creation of the bhūtas etc. after the gandharvas etc., since the bhūtas etc. are of divine origin: "sṛṣṭvā" etc. Ātmatandrī is that which produces drowsiness characterized by yawning etc. in the embodied self. By that body known as yawning. (40)

Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā

The cause of tormenting: durbhagān - those lacking the wealth to purchase this. (34-36)

"Iti" - Twilight indeed produces the appearance of women for those who desire. Thus the woman appearing to them was understood by them as non-different from twilight, and described accordingly by the sage. This should be understood. (37)

Bhāva means pride in beauty. "Gambhīram" means in such a way that there would be not looking elsewhere etc. Smiling and sniffing himself due to excess of self-love and experiencing excess of fragrance, with a radiant form. (38-39)

Ātmatandriṇā - with a body possessed of the self's drowsiness. This is indicative, as their yawning, sleepiness etc. is the sequential effect of that very thing. (40)

Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā

He describes their lustful and deluded prattle. Aho [32]. Wondering whether this goddess is attracted only to us or to others as well, whether she is human or divine, or a celibate woman, they respectfully approached her [33]. Beauty alone is priceless wealth, that alone is the commodity for purchase. With that you torment us unfortunate ones unworthy of being your servants, binding us and desiring to take us into your company. Or you torment us by not purchasing us - alas for us unfortunate ones! This is the meaning [34]. Whom do you churn and agitate? With the ball game - the setting, unsteady sun is imagined as a red ball [35]. They describe the ball game. O praiseworthy one! The falling, fluttering ball does not win or become steady in one place. In the other sense, the setting sun. Due to thinness, the pure gaze sinks, outwardly desireless but inwardly full of desire - this is the meaning. Tired, indicating exhaustion from the ball game, therefore scattering the beautiful mass of hair. In the reading "suśikhāsamūha", "su" is an indeclinable, separate word. And then the meaning is: the mass of hair and the top-knot are beautiful [36]. Thinking her to be a woman behaving playfully, they seized her [37]. Her beauty arose in memory then, therefore gandharvas etc. came into being, and that beauty became moonlight, which they seized - this is stated. Smiling - with a radiance that deeply expresses her longing, as if smelling herself with herself. Due to the unity of the radiant and radiance, the smiling, smelling etc. are signs of enjoying her own beauty [38-39]. Sometimes Brahmā became lazy, and from that bhūtas, piśācas etc. came into being, and that laziness in the form of yawning, sleep etc. was seized by them - this is stated. By drowsiness - laziness which has drowsiness as its effect [40].

Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ

She who has a multitude, a mass of dark locks. O Dharma! O Vidura! [31-32] Approaching - treating her with all honor, out of trust and affection [33]. Beauty alone is wealth, with that as commodity suitable for transaction, to be offered - this is the meaning [34]. Whom do you churn and agitate? [35] O praiseworthy one! Your lotus feet do not win in one place, but excel in various graceful movements. Your pure, clear gaze wins as if tired and slow. Your beautiful mass of hair wins. Striking with your hand the bouncing ball resembling a falling insect, your large breasts' weight frightens your waist which sinks. Here, the setting sun is the ball. Since the early part of twilight is swallowed by day and the later part by night, the brief time in between is like a sinking waist. The sun's rays, free from excessive heat, are like a clear, tired gaze. The mass of clouds then is like the mass of hair - this should be understood [36-37]. The glorious four-faced one, with a deep inner feeling, smiling as if smelling himself with himself, with a radiant splendor indicating his surpassing self-experience through smelling [38]. Those very hosts of gandharvas etc. [39]. Who - by their own laziness [40].

Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā

Having described her form with two verses, he now describes her feminine nature - concealing herself with modesty. Here, the self has taken on the nature of Śrī; by whatever gesture she appears hidden, she makes such a gesture out of modesty - this is the meaning. Some say she conceals her visible limbs with a garment. Just as external objects are conceived by the intellect, so too modesty here. And she has a mass of dark-colored locks. By this her characteristic marks are described. Some describe her as spiritual. The tinkling of anklets is the sounds of birds etc.; the rising and setting of meaning are the moon and sun as eyes; reddish clouds are her hair; the sky itself is her garment; the horizons are shores; the desires of lover and beloved are her breasts, or cakravāka birds; her excellent nose is parrots, her teeth are jasmine etc., or birds due to association with "excellent twice-born"; her loving smile indicates connection with a man; her glance is accompanied by playfulness at that time. The emotions of passionate women, or of bees etc. on blooming flowers. The disappearance of twilight each moment is the seizing; modesty is the good deeds at that time; darkness is the mass of hair. These qualities are only indicators, not the full meaning, otherwise the sentence meaning would be contradicted and all statements opposed. Therefore describing these as indicators alone is appropriate. If the goddess were not thus, such states would not occur in the world at twilight. Having thus described her, he states the effect of seeing her - Upalabhya. The address "O Dharma" to Vidura is to prevent delusion. The meaning is "O Dharmarāja". The partial address is because he is not currently a king, indicating only his existing dharma. All the asuras became completely deluded. The cause of delusion is femininity alone, therefore it is described at the end [31]. He states the words expressing the state of those who saw her and were enchanted by her nature - Aho rūpam. After praising her form, its wonderful nature is affirmed. "Aho dhairyam" is similar. Her desire is indicated to be great by her gestures, yet she who is not greedy, therefore her steadiness is wonderful - this is the meaning. Lest one think these two are not causes for wonder in one who has enjoyed pleasures or is elderly, he says - Aho asyā navaṁ vaya. New means unused, or freshly blossomed; wonder is affirmed regarding her youth. Thus her three faults producing the symptoms of desire - how is she desireless? Her special gliding indicates her desirelessness, the main stupefaction is expected. She is indeed desireless since emotions etc. are visible. Moreover, not only are her inner faults thus, but also outer ones - he says madhye kāmayamānānām. We are all desirous, therefore since desire is necessary and encompassing, how could she be desireless in the midst? This is the meaning [32]. If one objects "due to lack of acquaintance", then "we will make her acquainted through conversation" - with this intention they made an effort for conversation, as he states - vitarkayantaḥ. They questioned in many ways the twilight in the form of a young woman, conjecturing - this is the connection. "In many ways" is for the purpose of nature, connection etc., not doubt about her femininity or suitability for enjoyment; rather the questions that are asked are in the form of doubt. Conjecture is for knowledge from oneself before questioning. One from whom there is great intoxication. And she is a goddess in female form. Approaching respectfully, having praised her, and asked about her welfare etc. - this is the meaning. Out of trust - out of confidence that "she will resort to us". All around - with distinctions of name, family etc. Foolish - due to not knowing her divine nature, for a goddess is not to be enjoyed. She is only to be seen, not touched - this is the meaning [33].

They ask three questions: "Who are you?" - a question about caste and family. "Whose are you?" - a question about relatives, father and husband. "What is the purpose of your coming here?" - this is the third question. These questions are only for the sake of courtesy, there is no purpose in knowing the answers. "O beautiful one" is praise. "O noble lady". It is immediately known that you are great, your task is great. But there is one impropriety of yours, that you trouble us poor people with the merchandise of your beauty and wealth. Beauty itself is wealth like gold etc., and that itself is the merchandise, obtainable for much money. And we are unfortunate, without the money to pay for it, therefore you trouble us. Some ignorant people, not knowing the means, have spoken thus. (34)

Others say: "Who or what are you?" You are someone or other. "Vā" indicates disregard. "Svid" indicates conjecture. There is disregard in relation or conjecture. By addressing "O weak one", it is indicated that service should be done for one without strength, that we will do foot massage etc. It is certain that we are not unfortunate, but fortunate, since your appearance has occurred. This is by good fortune. They speak with guilt - "You excite". You are entirely a deity; they also suggest that worship and vision of a deity does not occur with little fortune. You excite our minds with your ball game, just as Soma is purified with stones, you press our minds upwards, from where it rises upwards. The ball game involves moving the body, in which there is contraction and expansion of the limbs. Therefore the mind that desires to see becomes agitated moment by moment - this is the distress of the mind. (35)

Others who are sattvic, thinking "She is not to be reproached, but praised, therefore she will be pleased by praise", composed a praise: "Not in one place". For in the Kama Shastra, the beloved herself is the deity, as per the statement "We praise them". Describing supernatural beauty is itself praise through describing greatness. He says this: "O graceful one, charming one, or endowed with modesty, your lotus feet are victorious not in one place." The well-known lotus is beautiful only in water, but yours everywhere - this is the distinction. The term "lotus feet" also indicates devotion. Not victorious in one place, but everywhere. "Not in one place" or in many places. He states the reason for the movement of the lotus feet: "Repeatedly striking". Again and again, striking falling insects with the palm of the hand. Going for the ball, striking bees that come in the middle with the palm. They also become falling insects. The singular is used with reference to the species. Or due to their sattvic nature, they consider it to be the sun itself - the setting sun is struck by the evening rays. To remove distress that "the middle sinks", the meaning is that we should support the two water pots. There is distress due to thinness. Thinness of the waist is also a characteristic of the highest woman, otherwise no bonds would fit in the third position. The reason for the distress: "Due to the weight of the large breasts". "Frightened" means not only distress, but also fear that there will be a break. The meaning is that one should remain lying down. Moreover, your gaze has become as if tired, full of emotion and endowed with languor. Fatigue of the body is from external actions, languor is of the mind. "One whose hair is nicely arranged". Therefore the meaning is that lying in the lap should be done. (36)

Having praised her thus, when she remained silent, knowing that "What is not prohibited is approved", they all seized her, it is said. The evening, western twilight, behaving like a woman and enticing with herself, arousing desire. If a woman has become enticing, then knowing that success has occurred, they seized, embraced her, since these are of foolish intellect. The statement is thus because even the sons of Brahmā do not know the truth. Then what happened? He says: They all embraced her, when she had entered into them, like those possessed by spirits, they smelled themselves with themselves. At first satisfied as if embraced by her, after a moment not seeing her, thinking "She has disappeared to deceive us", smiling deeply as it happens, afterwards knowing themselves to be women, not seeing the determining form etc., thinking her to have the fragrance of a lotus, they smell to know through the nose. (38)

Having thus spoken of the threefold creation in one way first, he speaks in a second way: "He created with beauty". Beauty is loveliness. This is the sattvic creation. Some say it is rajasic, (but) the Sādhyas and Pitṛs are sattvic. That should be considered. "The Lord" indicates returning to the source, since the begun qualities have ended. "Groups of Gandharvas and Apsaras" means subdivisions of intermediate species. "He emitted": He also emitted that body, it became moonlight, since it was made of radiance. The reading "radiant" also means the same. For she is dear to Brahmā, or to the Gandharvas and Apsaras; for they delight only in moonlight. Therefore those groups themselves took her. And material moonlight too, from the "and". Viśvāvasu is the chief in the Veda, as per the śruti "Viśvāvasu stole", and the statement of glory "Viśvāvasu, Pūrvacitti of the Gandharvas and Apsaras". (39)

"Having created": Tandrī is sleepy languor, with that he created beings and Piśācas. And this creation is not only this much, but there is more also - to indicate this, the ktvā suffix is used in "sṛṣṭvā". And the opening of the eyes is an intermediate action in sleepy languor. The created Piśācas were naked and with loose hair. Seeing those inauspicious ones, he closed his eyes. And by closing, the group of the insane was produced. And two bodies were abandoned. (40)

Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ

On "gṛhantīṃ brīḍayā": They state Śrīdhara's view: "Being seen" etc. Again they state Śrīdhara's view, this is of others. "Some" etc. To explain the essence of the Tantras, they say: "These" etc. They are indeed indicators of such a divine form, not merely figurative statements. If this is not accepted, then the literal meaning of Śrī Rūpa's words would be impossible and contradicted, and there would be contradiction with the descriptions of delusion, steadiness, grasping etc. in the following verses. (31)

On "addo iti": "Special slithering" means concealing one's own form. (32)

On "naikatra": Intending compound with the word "na", they say "or in many places". On "kāntyā": "In one way" etc. Having spoken of the tamasic-tamasic, tamasic-sattvic, tamasic-rajasic way, he speaks of the sattvic-sattvic, sattvic-tamasic, sattvic-rajasic way - this is the meaning. "Sattvic": Because the body that produced this is luminous and dear, this effect is also sattvic - this is the meaning. "Rajasic" etc: This is not Śrīdhara's view. They state a flaw in the other view: "To be considered" means it should be considered due to lack of reasoning. (39)

On "sṛṣṭvā": "Abandoned" means closed. (40)

Śrī Giridhara-kṛtā Bāla Prabodhinī

She was adorned with a mass of dark curls, hiding herself out of shyness and covering her body with the edge of her garment. O Dharmarāja, the asuras became infatuated upon seeing her. (31)

They exclaimed about her appearance: "Oh, what a wondrous form and beauty! Oh, what youthful age! Oh, what composure! She moves about as if indifferent among us who are filled with desire." The use of "as if" suggests that although outwardly she showed no signs of desire, inwardly she possessed desire due to being female. (32)

Therefore, confident that she would favor them, they approached that evening twilight in the form of a beautiful woman, honored her with greetings, and questioned her in various ways. In case one wonders how a divine form could be suitable for those asuras' enjoyment, it is explained that this was merely their delusion due to lust. (33)

He shows their questioning with three verses. Indicating the arousal of desire in their minds, they address her: "O Rambhoru!" Then, suggesting she should not be angered, they address her again: "O passionate one!" "Who are you?" is a question about her identity. "Whose are you?" is a question about her relations like father or husband. "What is your purpose in coming here?" After asking about her background, they express their distress: "You torment us poor unfortunates, unable to pay the price, by displaying your beauty which is priceless wealth and merchandise." The meaning is that she pains them by arousing desire. (34)

By addressing her as "O immovable one," they suggest her power lies only in arousing desire, not physical strength. What need for questions about caste and family? Be whoever you are. We are fortunate to see you, but you agitate the minds of us onlookers with your ball game, churning us with aroused desire. (35)

Praising her, thinking everyone is pleased by praise, they describe her ball game: "O graceful one, your lotus feet excel in various playful movements. As you repeatedly strike the bouncing ball with your palm, your slender waist sinks weary from the weight of your full breasts. Your pure, unwavering gaze spreads slowly. Your beautiful mass of hair is lovely." If read as "suśikhāḥ samūhe", it means "gather your scattered beautiful hair." (36)

Speaking thus, the foolish, deluded asuras seized the evening twilight, thinking her a woman behaving like a passionate lady and thus enticing them by arousing desire. (37)

She smiled deeply in a profound, inscrutable way, and disappeared while seeming to inhale her own body. If read as "jighran", it is an easily understood descriptor of Brahmā. Then Lord Brahmā created groups of gandharvas and apsarases from his radiance and beauty. (38)

He (Brahmā) abandoned that dear, radiant, beautiful form. The gandharvas led by Viśvāvasu joyfully took up that abandoned form which became moonlight. (39)

From his drowsiness, Lord Brahmā created bhūtas and piśācas. Seeing them naked and disheveled, he closed his eyes. (40)

Hindī Anuvāda

That delicate maiden, adorned with dark blue locks of hair, seemed to shrink into her own veil out of shyness. Bidurji! Seeing that beauty, all the asuras became enchanted. (31)

"Oh! What a strange form, what extraordinary patience, and what a novel state she is in. Look, how carelessly she moves among us who are afflicted by desire." (32)

In this way, those evil-minded demons, after discussing various arguments about the twilight in the form of a woman, then respectfully and lovingly asked her: (33)

"Beautiful one! Who are you and whose daughter are you? O charming lady! What is the purpose of your coming here? Why are you tantalizing us unfortunate ones by showing this priceless bargain of your unparalleled beauty?" (34)

"O delicate one! No matter who you are, it is our great fortune to have seen you. You churn the minds of us onlookers by bouncing your ball up and down." (35)

"O beautiful one! When you pat the bouncing ball with your palm, your lotus feet do not stay in one place, your waist region seems to tire from the weight of your full breasts, and even your clear gaze begins to show fatigue. Oh! How beautiful is your hair!" (36)

In this way, that evening twilight, manifested in female form, made them extremely lustful, and those fools, mistaking her for some jewel of a woman, accepted her. (37)

Then Brahma, laughing deeply, created gandharvas and apsaras from his radiant form, which seemed to savor its own beauty. (38)

He abandoned that radiant, beloved body in the form of moonlight. The gandharvas, led by Vishvavasu, gladly accepted it. (39)

After this, Lord Brahma created bhūtas (bhūta; spirits) and piśācas (piśāca; goblins) from his drowsiness. Seeing them naked and with disheveled hair, he closed his eyes. (40)