SB 2.7.5-8

 Text 5: To create different planetary systems I had to undergo austerities and penance, and the Lord, thus being pleased with me, incarnated in four sanas [Sanaka, Sanatkumāra, Sanandana and Sanātana]. In the previous creation the spiritual truth was devastated, but the four sanas explained it so nicely that the truth at once became clearly perceived by the sages.

Text 6: To exhibit His personal way of austerity and penance, He appeared in twin forms as Nārāyaṇa and Nara in the womb of Mūrti, the wife of Dharma and the daughter of Dakṣa. Celestial beauties, the companions of Cupid, went to try to break His vows, but they were unsuccessful, for they saw that many beauties like them were emanating from Him, the Personality of Godhead.

Text 7: Great stalwarts like Lord Śiva can, by their wrathful glances, overcome lust and vanquish him, yet they cannot be free from the overwhelming effects of their own wrath. Such wrath can never enter into the heart of Him [the Lord], who is above all this. So how can lust take shelter in His mind?

Text 8: Being insulted by sharp words spoken by the co-wife of the king, even in his presence, Prince Dhruva, though only a boy, took to severe penances in the forest. And the Lord, being satisfied by his prayer, awarded him the Dhruva planet, which is worshiped by great sages, both upward and downward.

Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā

He speaks of the Kumāra avatāra. From the penance (tapas) that I performed in the beginning, O Mayi, due to my penance (mattapasaḥ), for the sake of my penance (svatapasaḥ), he became Hariśratuḥ Sanaḥ, known by the four names beginning with 'Sana' - Sanatkumāra, Sanaka, Sanandana, and Sanātana. How did he arise from his own penance? From Sanāt, meaning uninterruptedly. Alternatively, from Sanāt meaning giving (dānāt), offering (samarpaṇāt) his own penance. The root 'paṇu' means to give. And he properly spoke (samyag jagāda) about the tradition of the self (ātmatvam) which was lost or cut off (vinaṣṭam uchinnam) during the dissolution (pralaye) at the end of the previous kalpa, here in this kalpa. He shows the correctness. The sages directly saw in their minds only as much as was said (yaditam) about the self. (5)

He speaks of the Nara-Nārāyaṇa avatāra. Nārāyaṇa was born as Nara in the two forms (mūrtidvayena) to Dharma's wife, Dakṣa's daughter named Mūrti. How? He whose power of penance is unique (svaḥ asādhāraṇaḥ tapaḥ prabhāvaḥ). He says the same. The army (pṛtanā) of Anaṅga, the celestial damsels (devyaḥ apsarasaḥ) like Urvaśī and others who are replica of themselves, having seen (stṛṣṭvā) from the presence of the Lord, were not able to cause (sādhayitum) the transgression (avalopaṃ) of his vow (niyama), the breaking of his observance. Alternatively, having seen the transgression of his vow which is in the form of destruction of penance, they were not able to cause that to the Lord. And this story will be in the eleventh canto. (6)

Where even anger, the conqueror of lust (kāmavijayī), is afraid, what to speak of lust not prevailing there. He says 'kāmam iti'. The accomplished ones (kṛtinaḥ) like Śrī Rudra and others burn lust with an angry look. They do not burn anger which burns oneself, by whom are they not overpowered? Certainly, oh! That anger which, entering the interior, the middle, quickly becomes afraid. Alternatively, whose interior is the mind. How? Entering the pure, untainted mind which is of the nature of pure sattva. (7)

He indicates another avatāra by conduct itself. Dhruva, pierced by the words spoken by the co-wife of his mother, which were like the arrows of a bird, went very close to King Uttānapāda to perform penance for attaining the permanent state (dhruvagatiṃ), the permanent position (dhruvapadam). The divine seven sages (saptarṣayaḥ) who are in heaven praise that which is situated above, below which are situated [the worlds]. Alternatively, above are Bhṛgu and others, below are the seven sages. (8)

Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā

Considering the well-known unbroken meaning of the word sana, [the author] says: Or. The context is as follows - In the beginning, first from sana, his name became 'sanātsanātanatama' (the most ancient of the ancient), as heard in the Viṣṇusahasranāma. ॥ 5 ॥ * *

Here, according to Bhāguri's opinion, in the word avalopam, when the letter a is dropped and compounded again with naya, avalopam is accomplished. Considering the possibility of a different meaning, [the author] says: Or. There, that transgression of rule in the Lord. ॥ 6 ॥

The meaning is [as follows]. The implication is that anger is stronger than desire. ॥ 7 ॥ * *

Here, Viśvanātha speaks about the Pṛśnigarbha incarnation. Pierced, meaning a permanent special place of constant motion. The word muni does not only refer to the Seven Sages, so [the author] says regarding that: Or. This Pṛśnigarbha should be known as an incarnation of Vāsudeva. "In the previous creation, when Svāyaṁbhuva Manu existed, you alone were the earth. Then, I became your spotless son, known as Sutapā Prajāpati. I was remembered as Praśnigarbha," as heard in the Tenth Canto. However, here, due to the mention of birth, and since birth and deeds are mutually dependent, it is appropriate to combine them in one place. This is stated in Bhāgavatāmṛta, "By not mentioning the deeds and names of him here and there, due to mutual dependence, the combination in one place is proper." It should not be said that Nārāyaṇa himself came from Vaikuṇṭha for Dhruva's sake, and thus this is a separate incarnation dear to Dhruva. The same text states, "If incarnation were to be accepted merely by coming there, it would be applicable elsewhere also, imagining as one desires." However, some say that Śrī Vāsudeva incarnated for Dhruva's sake. It is indeed understood that he presides over Dhruvaloka. But due to attaining that world by meditating on the twelve-syllable mantra, his devotion alone [is emphasized], as stated "Dhruva, the son of Uttānapāda, was devoted to Kṛṣṇa." ॥ 8 ॥

Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā

From eternal, unbroken, thus. Here, sanāt is an indeclinable. 5-7.

Some avatāra (incarnation), thus. He who, being pleased with Dhruva, gave him the position of Dhruva, is the meaning of that avatāra. It should be known that this incarnation of Vāsudeva, who is dear to Dhruva, is Pṛśnigarbha. That has been said by Śrīmad Rūpa Gosvāmi Caraṇa in Śrī Bhāgavatāmṛta -

By the definite statement mentioned in Svāyaṁbhuva's avatāra (incarnation) here, and by the mention of yajña (sacrifice) and others there, by the evidence of exclusion, he is famously called Pṛśnigarbha. 8.

Śrīmad Vīrarāghava Vyākhyā

Kumāravātaramāha taptamiti. With the desire to create various worlds, I performed tapas (austerities), therefore due to great austerities, in the beginning, that Hari became caturṣanaḥ (having four Sanas), the fourth Sana. Sanaka is implied to be the second and third. Caturṣanaḥ means having four Sana words in names. In this case, in the beginning of the kalpa, sanāt modifies tapoviśeṣaṇam (special austerity), meaning unbroken. Alternatively, tapasaḥ can be in the genitive case, meaning "from the offering of austerities". The root ṣaṇu means "to give". And that born Hari, in the previous kalpa's dissolution, properly spoke the ātmatattva (the truth of the Self) whose tradition was destroyed and interrupted in this kalpa. The word samyak (properly) shows its correctness, that it is merely spoken. The sages directly saw in the ātman (self), in the mind, or the truth that was spoken in the ātman, the sages told it to others as well. (5)

Naranārāyaṇāvatāra is described with dharmasya. In the wife of Dharma, the daughter of Dakṣa named Mūrti, that Hari was born in two forms: Nārāyaṇa and Nara. He has svatapaḥprabhāva (the power of his own austerity). Alternatively, he has the prabhāva (power) of tapas (austerity) related to himself. In the absence of other means, only prabhāva is mentioned. The apasaras (celestial nymphs), the army of Manmatha, seeing the absence of transgression of niyama (rules) of the Supreme Self, Bhagavān, are unable to bring him under their control like an enemy. (6)

Moreover, they burn Kāma with an angry look, but they do not burn, do not overpower the anger that burns the self and is intolerable; rather, they are overpowered by it. This anger, when entering the mind of Bhagavān, truly fears to enter further. How can Kāma (Manmatha) even resort to the mind of one who has conquered anger, which is unconquerable even for the conqueror of Kāma? (7)

By conduct alone, he indicates another avatāra with viddha. Near King Uttānapāda, the very words of the co-wife of the mother, Suruci, were like arrows; pierced by them, even though a child, Dhruva, who went to the forests to perform tapas, to that Dhruva who went, pleased Hari gave dhruvagati (a permanent state) when he praised. So this is also an avatāra. He specifies dhruvagati: above and below that dhruvagati, divine sages such as Saptarṣi praise the glory of dhruvagati. (8)

Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā

In the beginning, it is connected in both ways. Here, in the beginning, I performed tapas (austerities) with the desire to create various worlds. Then, while I was performing tapas, "In the beginning, before the creation of the worlds, for our sake, he became known as Vishnu" is the meaning. And having descended, the sages saw that tattva (truth) in the self, in the heart-lotus. In this world, the self-tattva, which was destroyed and concealed by the dissolution of the previous kalpa (cycle) through submersion in water, he thoroughly proclaimed and taught to me. The statement "Brahma's tapas was first, and Vishnu, the wide-striding one, was born" also affirms this meaning. From eternal worship, characterized by propitiating and pleasing through excellent tapas, which is the means of knowledge and devotion, that worshipped God became four sages - Sanaka, Sanandana, Sanātana, and Sanat-kumāra - thus becoming four-formed. This is similar to what was previously stated. It should be understood that the purpose of this avatāra (incarnation) is the protection of the world, and the teaching of the self-tattva is incidental. With this intention, it has been said by the all-knowing ācāryas (teachers): "The one who always protects the worlds, the undefeated one, is the best of the victorious" and so on. (5)

From Dharma, in the daughter of Daksha, the son of Daksha, Nārāyaṇa was born with his own form, characterized by existence, consciousness, and bliss, with the name Nara. In whom there is the power of his own tapas and knowledge, he has the power of his own tapas. The power of his splendor and greatness, for the purpose of teaching the world, is the power of his own tapas or his splendor. Here, the essence is that Nārāyaṇa, Hari, and Krishna are the three direct incarnations of Vishnu. Among them, the one who descended as the inner controller with the name Nara is mentioned. It should be understood that for the purpose of teaching the world, while performing tapas, Nārāyaṇa and Nara reside together in the spring season, as stated in "Nara and Nārāyaṇa, Hari and Krishna" and other statements. The power of his own tapas is explained by saying "of the one who has seen the self." The celestial women, who are like the armies of the bodiless one (Kāmadeva), could not disrupt the regularity of tapas of the Lord Nara-Nārāyaṇa, whose own form is always directly perceived. Moreover, the women created by the Lord at that moment, who were abodes of beauty superior to his own, were embarrassed by seeing them and thus retreated. In this sense, the word "tu" is used, meaning "although the armies of the bodiless one stood there." (6)

Kāma (desire) gains a foothold in the mind only when there is anger. But in Hari, Kāma does not gain a foothold at all. Therefore, the means of that became ineffective. This is stated in "Kāma." Great souls like Śaṅkara burn Kāma with an angry glance. Indeed, this meaning is well-known. The word "uta" is used in the sense of "also." They do not burn the anger that burns them. The reason for this is given in the adjective "intolerable." That anger, intending to enter the mind of Madhusūdana (Krishna), fears to do so. The reason here is "amala" (pure), meaning that the mind is free from impurities such as attachment and aversion, which assist in the entry of anger. How can Kāma take shelter in the mind of Hari? It cannot in any way, due to the doubt of the entry of its assistant, anger. The word "punar" (again) is used in the sense of "even after gaining an opportunity." (7)

The son of Uttānapāda, being pierced by the sharp speech-arrows of his stepmother Suruci in the presence of the king, left the city as a child and went to perform tapas. There, following the procedure instructed by Nārada, he practices tapas. Directly seeing and praising Dhruva, who was performing tapas, Hari, becoming pleased with his tapas, took a special form named Vāsudeva and granted Dhruva an eternal abode. If it is questioned what other abode besides Vaikuṇṭha he granted, it is specified as "divyā" (divine). The sages traveling in the sky above and below that abode of Dhruva praise it. The doubt about the name of this avatāra is dispelled by statements like "This is an incarnation of Mahā-Viṣṇu, known as Vāsudeva." (8)

Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā

O son of Sanā (sanādi). The meaning is: the Lord is eternal (sanātana). From the Sahasranāma-stotra: "sanāt sanātanatama" (the most eternal of the eternal). [Verses 5, 6, 7]

Pierced (viddha). It is understood that Śrī Vāsudeva Himself descended to the earth, He who is the presiding deity of Dhruvaloka. And because he is a worshiper of the twelve-syllable mantra, he attained that realm. [Verse 8]

Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā

He describes the incarnation of Kumāra. From the austerity (tapas) performed by me (me), for the sake of that austerity, Hari became the four Sanas (sahas). He who has the four Sanas – Sanaka, Sanandana, Sanātana, and Sanatkumāra – in his name. That is why his name is Sanādi, he who pervades (atati) the word "Sana". From the Sahasranāma-stotra: "sanāt sanātanatama" (the most eternal of the eternal). In this kalpa, he thoroughly spoke the truth of the Self, which, as soon as it was spoken, the sages directly perceived in their own minds. (5)

He describes the incarnation of Nara-Nārāyaṇa. Born to the wife of Dharma in two forms as Nārāyaṇa and Nara. He whose extraordinary power of austerity is unsurpassed (svaḥ). The heavenly damsels (apsaras), the army of the bodiless Cupid, came to break their austerity. "Ātmanaḥ" denotes belonging to the same class. Seeing the absence of a breach in their vows due to their own reasons, they could not tolerate it. Paralyzed by fear of being cursed, they remained. According to the Bhāguri tradition, the elision of "a" in "avet" is established by the rule "nayāvalopah". Alternatively, seeing the absence of a breach in their vows from their own counterparts like Urvaśī and others in the presence of the Lord, they remained paralyzed with astonishment. [Verse 6]

The Lord's conquest of lust is not surprising, because there, without becoming angry, he accomplished the conquest of anger, which is difficult for others, as stated in "kāmam" (lust). The accomplished ones, led by Śrī Rudra, burn lust with an angry glance, but they do not burn anger, which burns the self; they are overpowered by anger. Is it not amazing that this anger, entering in the midst of which, does not burn? Alternatively, whose interior (antaḥ) is the mind. Of what kind? Spotless (amalam). [Verse 7]

He describes the incarnation of Pṛśnigarbha in "viddha" (pierced). Dhruva, pierced by the arrows of words uttered by his stepmother Suruci, near (ante) King Uttānapāda. To perform austerity (tapase). To the one who praises (gṛṇaje). Dhruva's position is a specific permanent place. Which those situated above, the divine sages in heaven situated below, praise. Alternatively, those above like Bhṛgu and others, the seven sages below. This incarnation of Vāsudeva should be known as Pṛśnigarbha. In a previous creation, when Svāyambhuva Manu existed, you alone were the Prajāpati named Sutapā. I became your son, remembered as Pṛśnigarbha. From the Tenth Canto, because of the mention of birth here and the mention of deeds there, and because birth and deeds are mutually dependent, their combination is apt in one place. As stated in Śrī Bhāgavatāmṛta: "Because of not mentioning his deeds and name here and there respectively, and their mutual dependence, their combination is said to be apt in one place." It should not be said that Nārāyaṇa Himself came from Vaikuṇṭha for Dhruva's sake, so this incarnation is distinct, dear to Dhruva. As stated in the same text: "If descending there alone would make it an incarnation, it would lead to an undesirable conception elsewhere as one wishes." [Verse 8]

Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ

He speaks of the four Sana incarnations in "taptam iti". Due to my desire to create various worlds, the austerity that I performed, from the offering and dedication of that self-austerity to the primordial giver, Lord Himself, in the beginning, became the four Sanas - Sanatkumāra, Sanaka, Sanandana, Sanātana - the four names with the word Sana, meaning that the Lord Himself, pleased with the offering of austerity before the teachers of various worlds, was born as a teacher of the scriptures of liberation. In the Mokṣadharma, it is stated, "Marīci, Aṅgirā, Atri, Pulastya, Pulaha, Kratu, Vasiṣṭha - these seven are indeed mentally created by Him. They are the principal knowers of the Vedas, considered as the teachers of the world." After mentioning the teachers of the path of engagement, it is stated, "Sana, Sanatsujāta, Sanaka, Sanandana, Sanatkumāra, Kapila, and the seventh Sanātana - these seven are declared as the mental sons of Brahmā. They are self-realized, established in the dharma of disengagement. They are the principal knowers of yoga, skilled in Sāṃkhya knowledge. They are the teachers in the scriptures of liberation, the propagators of the dharma of liberation." The teachers who propagate the dharma of liberation are shown.

Although they are self-realized, in order to establish the supreme worthiness of their own tradition, they became disciples and propagated the tradition of disengagement, primarily focused on knowledge and devotion, through disciples such as the well-known Devarṣi in the Chāndogya and other texts, as stated in statements like "This much yoga was instructed by the Supreme Lord to my disciples like Sanaka." This very act of propagating the tradition is shown by "prāk iti". That Lord of the four Sanas, at the dissolution of the previous kalpa, in this kalpa, properly spoke the truth of the Lord Himself, the nature of His qualities, to His own disciples. Those sages, as famously mentioned in the scriptures, "Indeed, having heard from the sages, the knower of the self crosses over sorrow," and "O Lord, I am sorrowful. May the Lord take me across the ocean of sorrow," etc., the disciples of those sages, like Śrī Nārada and others, directly saw it in their own minds to whatever extent. || 5 ||

He speaks of the Nara-Nārāyaṇa incarnation in "dharmasya iti". In the embodied form of the daughter of Dharma, that Lord Nārāyaṇa appeared as Nara, in a dual form. What was He like? He had the power of His own austerity, meaning an excellent disposition in His own austerity and a desire to perform austerity. To teach His own people that austerity should be performed in this way, He manifested a pair of forms dedicated to austerity. He shows His dedication to austerity for the purpose of teaching His own people. The armies of the bodiless Kāma, the heavenly Apsaras, seeing the violation of His own restraint in the form of destroying His austerity, were unable to cause a breach of the Lord's vows. This will become clear in the eleventh canto. || 6 ||

Where there is not even a trace of contact with anger, which destroys lust, what to speak of even a trace of lust? This is stated in "kāmam iti". Lust, a portion of Vāsudeva, is burned, as will be mentioned later, "by Rudra and others with anger." Anger, which is intolerable and burns even oneself, one does not give. Aho! This anger is the conqueror even of those who have conquered lust. Entering into the mind of which Lord, it becomes greatly afraid. How can lust ever seek to enter the mind of this Lord? It cannot in any way. || 7 ||

He speaks of the Dhruva incarnation. Even in the presence of the king, his father, and that too, while still a child, by indicating the wickedness of women and eunuchs, it suggests that association with them should indeed be abandoned by those seeking liberation. Pierced by the words spoken by his stepmother Suruchi, which were like arrows, even though he was a child, Dhruva went to the forests to perform austerity. To him who was praising, the Lord, being pleased, granted the stable position of Dhruva (the polestar). The divine beings in heaven above, like the Mṛgavyādhas, and the seven sages situated below, praise that position which He granted. || 8 ||

Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā

The form of the adjective "kañjarathāṅgaśṛṅkhagadādhara" is explained by the word "tapta". These four, Sanaka and others, are in the form of the Lord's weapons. Although they are the essence of reality, the primary reality is the mace (gadā), the reality of water is the conch (śaṅkha), the reality of fire is the Sudarśana discus, and the reality of action is the lotus (padma). It is said that they are covered by fire and are the life airs. Their reality is in their very form. The form that is the reality of action is mentioned here. The state of being a weapon is not achieved merely by the essence of reality without the presence of action. It is stated how they become so. According to the statement "My heart is directly tapta," the means of the Lord is indeed austerity (tapas). It is indeed engaged in action. Holding the lotus and other weapons with the hands. The uniqueness of that austerity is also stated - the austerity that I performed earlier for the purpose of creating the four types of living entities. In the beginning, before the creation. When nothing was created even after that, then that austerity was offered to the Lord. Due to the eternal offering of that austerity. The root "ṣaṇu" means to give. Therefore, due to that offering, the Lord Himself became the four Sanas - in the form of Sanaka, Sanandana, Sanātana, and Sanatkumāra. This is also applicable in the case of possession. In the four forms, it is the one Lord who is possessed. The purpose of the incarnation is stated - to remove the destruction of the previous kalpa. Yajña (sacrifice), Sāṅkhya (philosophy), Yoga, and Jñāna (knowledge) are explained here. In the previous kalpa, there was complete destruction of self-knowledge. That was properly explained again in this kalpa. So that it becomes complete up to realization. The sages, who are engaged in contemplation, saw the self through the very means stated by Sanaka, not by the method of contemplation of the heard principles. Because they directly saw the self. The second case ending of "ātmani" is dropped. Or it is the seventh case. Then the meaning is that they saw the Lord within themselves. It is said that those who are qualified for the general path of devotion attain liberation by this method, according to the principle "those who were killed by the holder of the discus, O King." They were previously fit to reside in the abode of the Lord, so they were brought back there again. The purpose of remembrance is also mentioned by this. || 5 ||

With the words "prasannavaktram" (pleasant-faced) and "dharmasya" (of dharma), [the text] describes the origin of the form of the Lord, due to the distinction between grace (prasāda) and face (vaktra). What kind of grace of the Lord and what kind of face will be known here - the grace and face of the Lord manifest as dharma itself. In that too, grace is the portion of the father and face is the portion of sacrifice (yajña). That is said. He descended in the form of Mūrti, the daughter of Dakṣa related to dharma. Dakṣa is indeed in sacrifice. There, the power of action that is distinct from faith (śraddhā) and others, directly embodied, is mūrti. There, his two forms are stated - Nārāyaṇa and Nara. By the etymology "āpo nārā" (waters are nārā), the face of the Lord is established in water. Nara is the sūtra-self, the individual soul (jīva), the father of water. The two names of the same [Lord] are due to being the support of water and the progenitor of water. And the face is of that kind. Therefore, by being the support of water, it holds all flavors, and by being the sūtra, it engages in speech. Thus, the face consisting of both was manifested in the form of Nara-Nārāyaṇa. The quality that manifested such a face is stated by "svatapahprabhāva" (by the power of his own austerity). Indeed, austerity (tapas) is the austerity of the face itself, as per the Śruti statement "Tapas is supreme, not fasting." Therefore, austerity performed by another limb is not superior. Austerity is performed by speech and by fasting. Its power is in that face. One quality is austerity. The second is the power associated with it. And that is in the form of the absence of innate faults. Indeed, the innate fault that coexists with austerity is anger. The association with its complete absence is the power of austerity. Being desirous is an external fault. Its absence, however, is a quality, not a power. There, grace is the bestowing of boons on the perpetrators of faults. That will be explained in detail in the eleventh skandha. Here, [the text] mentions only the absence of faults. Therein, it first states the absence of external faults with "dṛṣṭvātmana" (having seen of the self). Indeed, this Lord is the Self. There is no desire in seeing oneself. Therefore, having seen the violation of the innate dharma, the rule, from the Self, the Lord himself. Violation is destruction by contrariety. Even the innate binding karmas become bestowers of liberation by the mere presence of the Lord himself. Still, these Apsarās, due to the proximity of the Lord, became deluded and angry with faults in their own selves. Therefore, their resolve was lost. It's not that these [Apsarās] are ineffective, but these goddesses, despite being in the form of deities, became transgressors of vows. By worshiping them from afar, the perfection of vows [is achieved]. Their power of action is stated by "śṛnaṅgapṛtanā" (armies of the limbless one). By the word "tu," the view that women are powerless and ineffective is refuted. The armies of the limbless one - he does not fear the destruction of the body. And they kill in a formless manner. Even such [Apsarās] could not obtain the object of association. There was no agitation whatsoever in the Lord who became a woman, is the meaning. || 6 ||

Thus, having dismissed the external fault, he refutes the internal fault by the maxim of kaimutika (how much more) - kāmaṃ dahantīti (they burn desire). These women have come together with the intention of either destroying the body or accomplishing a task. In the first case, the state of being a warrior of Anaṅga (the bodiless one, i.e., Kāma or desire) will be accomplished. In the second case, the state of being a warrior. Neither of those two has occurred. In that regard, if the first had occurred, Brahmā himself would have reconciled it. This is how I understand it. The conquerors of desire and so on are none other than desire and so on themselves. In that regard, the more junior they are among them, the more they are former conquerors. Therefore, those who burn desire burn it with an angry gaze. 'Desire is indeed burned by anger, not by them.' This statement is made with a purpose. They have given a place to anger, not giving a place to desire. Nanviti (surely) is a form of address for the purpose of agreement. With a gaze accompanied by anger. But desire pervades the heart. Anger, however, pervades knowledge. Therefore, when knowledge is destroyed, there is great loss, so they are not successful. Although both have the quality of destroying the next world, anger burns oneself. Therefore, they are utterly deluded, not burning the burner but burning the non-burner. The burning is also not slight. That anger, which is a conqueror of desire, entering one's interior, is afraid, thinking, 'I too will become bodiless like desire.' How could desire take refuge in his heart then? But anger enters into what is endowed with impurity. The interior of the Lord, however, is impurity. Therefore, entering it, it is afraid. For it will destroy even the impurity characterized by impurity. By this, it is established that things produced by desire and anger do not enter the mouth of the Lord. They do not become causes of grace. What more to say? It should be understood that as much calamity as there is for Nara and Nārāyaṇa, so much there is for the grace of their mouths. || 7 ||

Thus, having observed [Dhruva's] pleased face with lotus-like elongated eyes, [Maitreya] explains - "pierced". He whose eyes are elongated like a lotus, the length of the eyes is to be observed along with the simile. Here and there, the eyes of the Lord situated in Vaikuṇṭha. The length of it is the circle of light. For He, situated there, sees all. His lotus-like elongation is indeed to be contemplated upon. For it becomes elongated only when it has blossomed. There, the blossoming is like tapas (austerity). Just as a lotus situated in water blossoms by the sun, similarly, the eyes of the Lord blossom only when situated in the forest for a superior adhikārī (aspirant). For then He sees, this is the meaning. Even there, by the will of the Lord, He externally sees only that which is with desire, as it is. Even if the desire is causing affliction, if the tapas is illuminating the world, then it becomes of such a form - this is explained in the story of Dhruva -- "by the feathered [arrows] shot by the co-wife". There, unbearable pain is described. The co-wife of the mother. The arrows of speech were used by her near the king, "O child, the seat of the king..." etc. By them he was pierced. For the arrows of karma (action) pierce and differentiate. It is understood that the feathered [arrows] pierce by flying high, without resistance. By this, starting with discrimination, his lack of resistance is stated. The absence of external means is stated -- "of the king who is tired". Therefore, beyond this point, even the king is not to be spoken about. Because the piercing is seen by him alone. By this, wretchedness is expressed. This indeed is the seed for the vision of the Lord. The second seed is stated -- "a boy". He set out to the forests to do tapas for the sake of performing tapas, this is the qualification. The plural "to the forests" is for the sake of attaining the result, in order to proclaim the firm resolve that I shall perform tapas in all the forests. "Gave to him", the blossoming of vision. "The state of Dhruva", the stability of the result. "Pleased to the one who praises", the entry of the rays within. For He is not satisfied by tapas alone, but rather the boy offers a hymn. Otherwise, the statement "I shall make [you] return to your own abode" would be incongruous. It is not that the Lord is otherwise unable to make [him] return, but He is indeed capable. Satisfied with the hymn, He gave the state of Dhruva to the boy. If one were to object, what is the connection between the hymn and the state of Dhruva? Tapas, being the cause of enjoyment, could be apt to be so. To this objection, [Maitreya] says - "the divine ones praise". For He, distressed by the words of insult, did so and always gave the position of being praised. The divine Saptarṣis (Seven Sages), situated below, praise that position which is situated above. If this position were not attained by grace, [but] were to be attained by tapas or by insistence, then praise of the Lord would not be done. Even there the sages praise. Even there, they are fit to be envious, [seeing Him] situated above and they themselves situated below. Grace alone is the cause, thereafter even for Dhruva, tapas [became the cause]. (8)

Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ

In the phrase "taptam ityatra", the words "te iti" mean "kaṃja (lotus) etc.". "Mukhyatattvam" means the primary element, i.e., the proximate element. Similarly, "bhavantī" means they become absorbed in the effect. Now, if in the First Canto, their status as incarnations of the Lord has been mentioned, then how can their status as incarnations of weapons be justified? In response to this, they say "śravaśa ityādi". "Etat" refers to the form of weapons. And thus, since Dharaṇa is mentioned among the weapons, and since his entry is required for the purpose of sustenance, even in that case, the status of being incarnations of weapons is logically established. The phrase "yaśaḥ sāṅkhyaṃ ca yogaśca" refers to the three things mentioned in the previous four verses. "Pūrvakalpe ātmajñānasya" means "of the self-knowledge belonging to the previous kalpa". They explain the meaning of the word "mūlastha" in the original text by saying "yasmāt". Now, here, seeing one's own self through the path mentioned by Sanaka and others, and seeing the Lord within oneself, have been mentioned as the purpose of incarnation, not the act of killing enemies, etc. That being the case, how can one understand their status as incarnations of weapons? In response to this, they say "sādhāraṇā ityādi". And thus, by giving up the body, they attain liberation, hence they are called so. Now, weapons destroy enemies in that way, but they (incarnations) do so to devotees. So how can they be called so? In response to this, they say "te hī ityādi". And thus, even though there is a difference in the modes of intellect, due to the common feature of dislodging the position of ordinary people and enemies, their enabling of the same is quite apt, like a stick, etc., in bringing about the status of a weapon. "Smaraṇārthaḥ" refers to the nature of remembrance mentioned by the word "muni", pertaining to his path. (5)

In the phrase "dharmasya", "prasādakadharma-bhedād" means "due to the difference in the dharma of the mouth that bestows grace". "Yajñāṃśo mukham" means the mouth is a special part of the sacrifice, as eating is an activity akin to sacrifice. They derive the meaning of being a part of the sacrifice by saying "dakṣa ityādi". "Tatra" means in the form. And thus, the word "dakṣa" is used twice for this very purpose; otherwise, one would not say "dakṣa-duhitarī". "Tad-vidham" means the support of water and the producer of aquatic beings. "Sūtratvena vāgvyavahāraḥ" - in the Eleventh Canto, verbal communication is said to be its effect with the words 'sa eva jīvo vivaraprasūtir', hence it is so. "Tapo hī" refers to the internal activity that produces heat, while in the previous verse, it was mentioned as consisting of contemplation, thus there is a difference. They indicate that being secondary to the power is due to being distinct from the guṇas (qualities) by saying "sa ca ityādi". "Guṇaḥ eva" - even desirelessness is a form of austerity, as it consists of the absence of external faults like fasting. Thus, the conclusion of their being the mouth is due to the two dharmas, the power of austerity and the effect of austerity. "Tatra" means in Nārāyaṇa, who is in the form of the mouth. They clarify the cause of the absence of faults by saying "ayam ityādi". And thus, having seen through perceiving the self-form of the Lord, they could not bear to violate the rules. Since the meaning of being the Lord and being the self is established, considering the word "ātma" to mean "own", they state another purpose that is established in "śruta ityādi". "Śrutaḥ" means because the Lord has a distinct vision. "Svasahajadharmasya" means of the inherent dharma that deludes others. The opposite state of the said dharma is its ability to delude oneself. The destruction through such a state means the absence of perception as before, due to being deluded again. And thus, having done so, they could not unite again. Now, let there be no violation of rules due to the Lord being the self, but what is the cause of the violation of their own rules? In response to this, they say "ātmanaḥ ityādi". Still, "tathāpyetāḥ" should be construed as "tathā etāḥ api". And thus, the same reason applies here as well. "Vratatyāginyaḥ" means those who abandon the divine vow of truthful speech. Having said "we will either accomplish the task or give up the body" in the presence of Indra, they did not do so. And just as by the proximity of the self, there was a reversal of their nature and abandonment of vows, which is a fault. Even through the worship of the Lord in the form of singing, their vows were not fulfilled, hence their abandonment. The alternative reading "vaḥ" in "tādṛśā iti vaḥ" means "even though they are such devotees, being women, they are not husbands". In the phrase "kāmam", "āntaraṃ doṣam" means the subsequent mental fault of theirs. (6)

In "viddha..." etc. They derive the state of being his avatāra in "sa hī..." etc. For he, residing there, abides in Vaikuṇṭha, in the light. Like tapas (tapaḥ iva), meaning just as tapas gives rise to enjoyment. Vikāśayati is used as a nominal verb, meaning "causes to bloom". Even there, by the will of Bhagavān, it became like that, meaning even while residing in the forest, it was so afflicted, with desire. Thus in form (evaṁ rūpa), meaning the ability to manifest lotus-like elongated eyes. Of the rays (kiraṇānām), here grace (prasādaḥ) should be understood as taking the place of rays. Otherwise (anyathā), if grace itself were the cause of tapas. He gave (dattavān), and thus, giving such a place, it indicates the giver to be his avatāra, that is the meaning. The cause of grace (prasāda-kāraṇa), meaning that of which grace is the cause. (7, 8)

Śrī Giridhara-kṛtā Bāla Prabodhinī

He speaks of the Kumāra avatāra - "By the offering of my own tapas (austerities), which I performed at the beginning of the kalpa with the desire to create various worlds, from that sam̐nat dāna (complete offering), listen, Hari became Catus-sana, having four names with the word 'Sana' - Sanatkumāra, Sanaka, Sanandana, and Sanātana." He describes their actions - "And in the previous kalpa's samplava (dissolution), he thoroughly taught the ātma-tattva (truth of the Self) here in this kalpa, which had its tradition destroyed and severed." He shows the correctness - "The sages, who are contemplative, directly perceived in themselves the ātma-tattva, which was merely spoken." (5)

He speaks of the Nara-Nārāyaṇa avatāra - "Nārāyaṇa and Nara were born to Dharma's wife, Dakṣa's daughter named Mūrti, in two forms." He describes their power - "He whose extraordinary power of tapas is such." He illustrates that - "Even the Apsaras, the armies of Anaṅga (Kāmadeva) capable of deluding all beings, seeing the violation of their own rules of tapas to delude their own Lord, were unable to make it happen." This will become clear in the eleventh skandha. (6)

He states the logical maxim that where even anger, the conqueror of Kāma (desire), is afraid, how can Kāma prevail there, what to speak of others - "The accomplished yogis, Rudra and others, burn Kāma with an angry glance, but they are not able to burn anger which burns the self. Rather, they are overwhelmed by anger itself." He states the reason for that - "It is unbearable." "Oh, how astonishing! That anger, entering whose inner mind, is afraid." He states the reason for that - "For in the minds of beings possessed with the impurities of attachment and greed, even anger finds entry. But the Lord's mind is pure, so entering it, anger fears thinking, 'Being of the nature of impurity myself, I may cause even my own destruction.'" If so, then how can Kāma resort to, i.e., enter, his mind? (7)

He indicates another avatāra by way of their conduct - "Dhruva, who, pierced by the words spoken by his mother's co-wife Suruci right next to King Uttānapada, like arrows, went to the forests to perform tapas, even as a child - to him who was praising, being pleased, he granted the permanent abode of Dhruvagati." He specifies Dhruvagati - "The divine sages situated in heaven above like Bhṛgu and others, and the seven sages situated below, praise that Dhruvagati." (8)

Hindī Anuvāda

Nārada! At the beginning of creation, I performed tapasyā (austerity) with the desire to create various worlds. Pleased with my uninterrupted tapas (austerity), they took avatāra (incarnation) in the form of Sanaka, Sanandana, Sanātana, and Sanatkumāra, endowed with the name 'Sana' meaning 'tapa' (austerity). In this avatāra, they properly instructed the ṛṣis (sages) about the self-knowledge forgotten in the previous kalpa (cycle) due to pralaya (dissolution), as a result of which those people immediately realized the supreme truth in their hearts. || 5 ||

Born from the womb of Mūrti, the daughter of Dakṣa and wife of Dharma, they appeared in the form of Nara-Nārāyaṇa. The effect of their tapasyā (austerity) is similar to them. The army of Apsarās, sent by Indra as Kāma's (god of love) forces, lost their nature as soon as they approached them! With their gestures and expressions, they could not obstruct the tapasyā of those self-realized Bhagavān (Lord). || 6 ||

Nārada! Great personalities like Śaṅkara burn Kāmadeva with their angry glance, but they cannot burn the unbearable anger that burns themselves. That same anger trembles with fear even before entering the pure hearts of Nara-Nārāyaṇa. How then can Kāma ever enter their hearts? || 7 ||

Sitting beside his father, King Uttānapāda, five-year-old boy Dhruva was pierced by the verbal arrows of his stepmother Suruci. Despite being so young, he went to the forest to perform tapasyā (austerity) out of that humiliation. Pleased with his prayer, Bhagavān (Lord) appeared and granted Dhruva the boon of the Dhruva-pada (the pole star). Even today, divine maharṣis (great sages) circumambulate above and below Dhruva, constantly singing his praises. || 8 ||