Text 45: Thereafter the art of literary expression, uṣṇik, was generated from the hairs on the body of the almighty Prajāpati. The principal Vedic hymn, gāyatrī, was generated from the skin, triṣṭup from the flesh, anuṣṭup from the veins, and jagatī from the bones of the lord of the living entities.
Text 46: The art of writing verse, paṅkti, became manifested from the bone marrow, and that of bṛhatī, another type of verse, was generated from the life-breath of the lord of the living entities.
Text 47: Brahmā’s soul was manifested as the touch alphabets, his body as the vowels, his senses as the sibilant alphabets, his strength as the intermediate alphabets and his sensual activities as the seven notes of music.
Text 48: Brahmā is the personal representation of the Supreme Personality of Godhead as the source of transcendental sound and is therefore above the conception of manifested and unmanifested. Brahmā is the complete form of the Absolute Truth and is invested with multifarious energies.
Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā
Praised, connected with sinews. "Anuṣṭup snāvāni" (Anuṣṭup is connected with sinews) according to the Vedas. || 45 ||
In the great kalpa, Brahma became the form of sound, as stated. Showing that, he describes the origin of letters. With "Sparśa" and a half. Sparśa means the five groups beginning with ka. Svara means the vowels beginning with a. || 46 ||
Ūṣman means the four śa, ṣa, sa, ha. Antasthā means ya, ra, la, va. The seven svaras are ṣaḍja, etc. By vihāra means through play. || 47 ||
Therefore, due to the sound nature of Brahma, the Supreme Lord is eternally manifest, he says. Vyaktā means vaikharī, avyaktaḥ means praṇava. Para means the Supreme Lord of that Brahma. How is he? Full of Brahma. There, in the unmanifest form, he shines as the all-pervading Brahman. In the manifest form, he shines as Indra and other deities, augmented by various powers. || 48 ||
Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā
From the sinews of that Brahma, from the network of nerves pervading all limbs. He cites the Vedic text about the origin of Anuṣṭup: "Anuṣṭup". The meaning of the Vedic word is: snuto bhavati iti snāvān, due to Vedic usage, there is vṛddhi in matup. Gāyatrī is a chandas type with 6 syllables, uṣṇik with 7, anuṣṭup with 8, triṣṭup with 11, jagatī with 12. Anuṣṭup śruti stands for other śrutis like uṣṇig etc., as anuṣṭup is most well-known in the world, so it alone is mentioned. || 45 ||
Majjā is a special kind of fluid inside the bones. Paṅkti is a chandas type with 10 syllables, bṛhatī with 9. Prāṇataḥ means from the five prāṇas etc. Śabdarūpaḥ means having a body made of sound. Mahākalpe means for as long as Brahma exists, i.e. always. As stated in the Vedas, that very sound-form mentioned in the Vedas. Some say "Brahmā śabdarūpo'bhavat" (Brahma became the form of sound) is itself a Vedic statement. Ka is the first of the four letters ca, ṭa, ta, pa, that is the five groups beginning with ka. The term varga is known to be prescribed in grammar as ku, cu, ṭu, tu, pu varga. In the sūtra also, u after ka etc. is meant to include five letters, as only that is suitable. As Bhartṛhari said: "The fifth letter after a is said to represent the group of five. The u there is well-known, no other can be suitable." Otherwise one would say ka, ca, ṭa, ta, pa varga. Enough of this. Akārādiḥ refers to the 16 mātṛkās. || 46 || 47 ||
Therefore, because it is the origin and abode of all letters. There, between the two forms. Since praṇava is the essence of Brahman in unmanifest form, the expansion of praṇava is indeed appropriate, and that is expressed by the word praṇava as "I am Brahman". The manifest form, being the collection of letters in vaikharī form, shines as the various deities like Indra denoted by those letters in vaikharī - this is the meaning. By this, it is understood that the Supreme Lord alone is to be worshipped and known as superior to the Vedas in praṇava and vaikharī form, not anything else. And that Supreme Self, though one in essence, has become many through his powers - this is the purport. || 48 ||
Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā
Snāvān is derived from snāyu. || 45 || * * This itself is the form of sound. Here, by referring to touch etc., the origin of letters should be understood as opposite in the view of the effect and cause being non-different. || 46 || || 47 || * * Therefore, due to being the producer of letters, he is spread out, pervading between the manifest and unmanifest. || 48 ||
Śrīmad Vīrarāghava Vyākhyā
From the hair of Brahmā came the meter called uṣṇik (uṣṇig); from the skin of the mighty Brahmā came the gāyatrī meter; from the flesh came the triṣṭup meter; from the sinews came the anuṣṭup meter; from the bones of Prajāpati Brahmā came the jagatī meter. || 45 || * * From the marrow arose the pati; from the life-breath came the bṛhatī meter. Brahmā's jīva is touch - the effect is metaphorically attributed to the cause. Similarly, further on, the body is the vowel - from the body arose the vowel. The sense organs arose from the sense organs, the sibilants from the soul of Brahmā, and the semivowels from strength. This means they arose from that. The consonants from ka to ma are sparśa (stops), the vowels are svara, śa ṣa sa ha are ūṣman (sibilants), ya ra la va are antaḥstha (semivowels) - thus the terms sparśa etc. are used as per grammatical convention. Through the sport of Prajāpati, the seven notes ṣaḍja, ṛṣabha, gāndhāra, madhyama, pañcama, dhaivata, and niṣāda came into being. || 46 || || 47 || * * Having thus described the origin of letters, now as stated in the śruti "From that this Brahman, name, form and food are born", just as the Brahman in the form of meaning is spread out in the form of Vedas etc. in Brahman which is of the nature of the world of words and meanings, similarly the word-Brahman consisting of the collection of letters beginning with a etc. born from Brahman is also spread out - this is stated starting with "śabda" etc. The word-Brahman, whose body is sound, and from which the manifestation of the word-Brahman occurs, being its body, the word-Brahman is also its body - with this intention it is said "of the word-Brahman". Manifest and unmanifest because of the presence of 24 principles even in the four-faced body. O dear one! Different from the meaning-Brahman, the word-Brahman is also spread out in the form of śruti, smṛti, itihāsa etc., in the form of prakṛti, pratyaya, word, sentence etc., and in the form of six languages, expanded by various powers. Here the term "power" refers to the functions like denotation, indication, metaphor etc. based on meaning, analogy, and capacity. Expanded by various powers like denotation etc. || 48 ||
Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā
He describes the manner of creation of the seven meters from the hair etc. of that Brahmā. Here there is an inversion of order, in accordance with the śruti "tasya uṣṇig lomāni" etc. and conformity with the cause. [45]
He describes the manner of manifestation of the fifty letters also from Brahmā. The sparśa consonants: The sparśa consonants from ka to ma manifested from that Brahmā's individual consciousness. Due to the eternality of the letters, there was only manifestation. The vowels starting with a manifested from the body. The ūṣman consonants śa, ṣa, sa, ha manifested from the sense organs like ears etc. They say the antaḥstha consonants ya, ra, la, va manifested from the strength of Brahmā's self. Here the use of the same case is appropriate as per the statement "That which is born from whichever limb should be named after that limb", with the first case used in the sense of the fifth. How is it stated here when there is possibility of difference of place of articulation in other texts, like throat etc. for a, ka, ha, visarga? This objection should be resolved by "The sparśas arose from his life, the vowels were born from the body. The ūṣmans from the senses, and the antaḥsthas from the strength of the Lord." [46]
"Niṣāda, ṛṣabha, gāndhāra, ṣaḍja, madhyama, dhaivata and pañcama - these seven notes arise from the strings and throat." These seven notes came into being by the movement of Prajāpati, by the special movement in the body - this is the connection. Since the notes have seven special forms, how does he who possesses that collection have the ability to produce them? To that he says śabda: Since Brahmā has the nature of śabdabrahman, he is denoted by all words. As it is said "Except for names like Nārāyaṇa etc., he is the object of all words", he has the ability to produce them as he is the object of the entire collection of words like Veda etc. except for names like Nārāyaṇa. How can the limited Brahmā be the object of the eternal Vedas composed of eternal letters which are all-pervading? To this he says vyakta: "The manifest is said to be the cosmic egg, the unmanifest is mahat etc. Brahmā is said to have the nature of manifest and unmanifest because he pervades them." Thus being all-pervading, it is appropriate for him to be their object. It is said "of the Lord" because he has the power of pervasion elsewhere also apart from what was stated. [47]
Having stated the creation from Brahmā's body and its parts, now he states creation from him in another way. Brahmā: Brahmā, taking up the later power of creating male and female from the previous one, set his mind on creation - this is the connection. How can the dependent Brahmā have creation under his control? To this it is said anubhāva: Expanded by the influence, filled with the nectar of grace of the supreme Brahman. Or brahmānubhāvavitata can be one word meaning expanded by the influence of the supreme Brahman, specially empowered by the favorable disposition of Hari. Hence endowed with various powers, filled with the ability to create various types of creation. [48]
Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā
Śabdabrahma: The manifest and unmanifest are vaikharī and praṇava. From all that has their nature, the supreme Lord alone shines in the Vedānta, and He alone is Brahman in His complete form. The reason for this is that He is not limited in His essential nature and His power is manifold. [48-56]
Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā
He states the origin of the meters. Tasya: From the sinews, meaning from the nerves covering the whole body. As per the śruti "anuṣṭup trāvān". [45]
He states the origin of the letters in one and a half verses starting with sparśa. The five classes starting with ka are sparśa. The vowels start with a. The ūṣmans are the four śa, ṣa, sa, ha. The antaḥsthas are ya, ra, la, va. The seven notes are ṣaḍja etc. By vihāra means by play. [46] [47]
He says that Brahmā has greater brilliance only by the inspiration of the Supreme Lord. Śabdabrahma: He whose body is made of śabdabrahma, the Veda. Since the manifest vaikharī and unmanifest praṇava have his nature, the supreme Lord shines forth as the object of worship for that Brahmā. He is fully manifest. He who is Brahman as the object of pure knowledge without distinctions is the Lord endowed with various powers as the object of pure knowledge with distinctions. Thus it is established that he has no impurity arising from following women. [48]
Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ
Stutaḥ means from the sinews. [45]
It was said that in the Brahmā kalpa, Brahmā became the form of śabdabrahman. Showing that, he states the origin of the letters in one and a half verses starting with sparśa. The sparśa of that Brahmā, the group of letters from ka to ma, is jīva. The meaning is that the letters ka etc. were born from that. Similarly ahead also - the vowels start with a. The four ūṣman letters are śa, ṣa, sa, ha. The antaḥsthas are ya, ra, la, va. The notes are ṣaḍja etc. By vihāra means by play. [46] [47]
He states that he knows both Brahmans. Śabdabrahmātmanaḥ means having the form of śabdabrahman in the Brahmā kalpa, meaning having an unmanifest body. Again in the Padma kalpa, due to the connection with the manifest four-faced form, the adjective vyaktāvyaktātmana is used. For him who has both bodies in this way, nānāśaktyupabṛṁhitaḥ means endowed with various powers. Hence vitataḥ means existing as the effect in the form of many universes. Paraḥ means the Supreme Self denoted by the term supreme Brahman, to be known. Brahma means śabdabrahman which reveals that. Bhāti means shines. The meaning is that Prajāpati fully knows both Brahmans, hence he has no difficulty in assuming various bodies and creating various progeny. [48]
Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā
Having thus described the constituent elements, he now describes the body of śabda-brahman: "Its touch came into being" - The twenty-five sparśa (consonant) sounds, all combined together, became the jīva or ego-consciousness of śabda-brahman, which thinks "I am". The sixteen svara (vowel) sounds starting with 'a' became its body. "It is stated" is the authority. The four ūṣma (sibilant) sounds became the sense organs. "They say" is also an authority. The antaḥstha sounds ya, ra, la, va became the strength of that body. Thus the nature of the four-formed (caturmūrti) has been stated. Describing the external actions in the form of udātta etc., he states their origin through movement for the non-difference of cause and effect: "The seven notes through movement". The seven notes are ṣaḍja etc. "Through movement" means through playful motion. "Of Prajāpati" - The non-difference of this śabda-brahman has been described. (45)
Or the creation of the world is due to being of the nature of śabda-brahman. Concluding that very point, he says: "Of śabda-brahman". How can śabda-brahman be the creator of the world, since word and meaning are different, and the world of objects is produced by Brahman alone? To this he says: "Brahman shines forth". Even though the world of objects is produced, it does not manifest without names, hence it is said to "shine forth". This entire expanded world shines forth as Brahman alone. Brahman is vast (bṛhat) and all-expanding (bṛṃhaṇa). It is expanded due to vastness, and augmented with various powers due to expansiveness. Supreme Brahman does not manifest without śabda-brahman. Supreme Brahman, though self-luminous, is revealed by śabda-brahman alone. Its self-luminosity too is stated only by the Veda, according to the maxim "That which is not perceived is authoritative." Its non-perceptibility is from statements like "The senses are turned outward" etc. Even the self-luminous solar light is not seen due to fear of the day. No obstruction is required, as the senses themselves are non-grasping. There is no obstruction in perceiving space or in not perceiving taste with the eyes. Although obstruction is mentioned in "Something else became an obstruction between you", that too does not obstruct the self-luminous, all-pervading one that manifests in the mind, eyes and pot. If it is thought to be an obstruction even when connected, then let there simply be non-perception by the eyes as stated in scripture - what need for obstruction? "Something else between you" refers to desires for enjoyment etc. that have arisen, mentioned for censure, not an obstruction like a wall. What was earlier called illusory is also due to non-perception alone. Description as a cause is useful in the view of creation of something other than the Self, as different types of creation are described. Hence Brahman shines through words alone. "From which speech turns back" refers to speech in the form of senses and worldly words and mind, otherwise it would contradict "I ask about the Upanishadic Person" and "That is to be grasped by the mind alone". Or both are for glorification. Both are known of śabda-brahman alone. With this intention he says: "of the manifest and unmanifest nature". The heart of that śabda-brahman is sometimes manifest, sometimes unmanifest, otherwise Brahman would be clearly known. In that case, the Lord alone would be the controller. So he says: "supreme". The reason for this is "augmented with various powers". Many powers exist in the Lord, so statements are made accordingly, otherwise those hidden powers would not be revealed. So it does not state a prohibition of manifestation, but describes the nature of the hidden powers. Therefore śabda-brahman, engaged for revealing Brahman, also reveals its effects. Brahman is revealed through action, and knowledge is revealed through the Veda. (46)
Having thus described the divine creation, he now describes the earthly sāttvika creation: "Then taking on another". He set his mind on creating a different kind of creation, taking on another body. If one objects that creation will happen through Marīci etc. alone, so what need for a different kind of creation, he says: "of the sages". Although they are of great virility. They are not more virile than me, or what can the five created by them do? The expansion of creation will certainly not happen by that much, as the method has not been produced. So he set his mind on doing the work through another body in order to create the method. (47)
Based on the principle "Only Hari exists in the impossible", earlier when a little penance was done, though pleased, the Lord again ordered penance. Similarly here too, although it was decided that a method should be created, he again pondered what method should be created, as stated in "He knew". He pondered in his heart again on that very form, knowing that when contemplated, the means should be created. "O Kaurava" indicates that one should not desist from action for the time being, but should perform action till the fall of the body, as done by Kuru. It expresses his thought: "Alas". Even if a method is created, it will not succeed without conformity to the Lord, otherwise the world would be completely filled by all those produced doing everything. Just as I alone have done, so too these Marīci etc. who are like seeds would do, then everything would be filled by that much, so there must be some obstruction. Knowing that by contemplation, he says with wonder: "Wonderful". The very Lord who ordered creation is obstructing it. Suspecting lack of cooperation with inferiors, he says: "Though engaged always". Even though I am always engaged, my offspring certainly do not increase. So in the absence of any visible obstruction, fate alone is the hinderer. (48)
Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ
In the word "śabda". Due to duality. Due to heterogeneity. Due to being produced. Due to being established. Thus, its own heterogeneity negates it being the material cause, and the otherwise established nature of the effect negates it being the efficient cause; therefore, how can it be the progenitor? This is the meaning. They establish the creatorship of the verbal Brahman by resolving both faults - "artha" etc. Thus, since it was previously stated "The universe is indeed Brahman alone", and since the procedure here has the same referent as the Vedic text, and since manifestation alone is meant by generation here, and since that has two forms as name and form, just as manifestation through form is as Prajāpati, so manifestation through name is as the Veda - in this way its world-creating nature is stated through its being the revealer. This is the meaning. If it is argued that creatorship is meant here only as being the revealer, what is the evidence for this? They say - "idam" etc. Thus its Brahman-nature is also revealed as having expanded nature and various powers, not merely as name; therefore it is meant in that way. This is the meaning. If it is argued that Brahman can also reveal in this way through name as well as form, why specify it as having the nature of verbal Brahman? They say - "śabdabrahma" etc. If it is argued that it is proper for verbal Brahman to reveal the world through name, but not to reveal the supreme Brahman also, since that is self-revealing, they say - "svaprakāśatvam" etc. If it is argued that this only establishes the Veda as revealing the attributes of Brahman, but not as revealing the possessor of the attributes also, they say - "anupalabdha" etc. Thus Jaimini in the Autpattika-sūtra stated the validity of verbal Brahman in the form of the Veda for an unperceived object. If Brahman were perceived on its own, the validity of the Veda that reveals it would be lost, therefore it should be considered as revealing the possessor of attributes also. This is the meaning. If it is argued that in case of conflict with the śruti stating self-revelation, Jaimini's view should be construed as pertaining only to the śruti revealing attributes, not to that revealing the possessor of attributes, according to the maxim "In case of conflict, assume an exception for a quality", they say in response - "parāñcī" etc. Thus that too should be in accordance with śruti only, so assuming otherwise is not proper. This is the meaning. If it is argued that in this way, if it is unperceived, there is loss of self-revelation and contradiction with the śruti stating that, they say - "svaprakāśam" etc. "It depends" means it depends for the purpose of non-perception. Thus even though it is unrevealed to us, there is no loss of its self-revelation, so there is no contradiction with śruti. This is the meaning. Fearing an objection that there is an obstruction for those with day-blindness due to darkness arising in the day, they give another example - "na hi" etc. Suspecting the consistency of the example even for space due to the strength of what is to be proved in the case of planets, they give yet another - "rasagrahaṇa". Thus even in the absence of obstruction, non-revelation of what is actually revealed is seen in these cases due to incapacity of the perceiver, so both are consistent. This is the meaning. If it is argued that non-perception should be accepted as due to obstruction only, in accordance with the mantra "They do not know him", since both self-revelation and non-perception are established by that much, therefore effort should be made only for absence of obstruction for revelation, but verbal Brahman will not reveal it, so one should remain silent about this - what is the use of establishing its revealing nature? To this they say - "yadapi" etc. "That also" means the obstruction stated in the sentence. Thus in that mantra, due to the mark "Who created these", it is an obstructor only of the form of the world-creator, not also of the material cause form; therefore establishing the revealing nature of verbal Brahman is necessary for grasping that. This is the meaning. If it is argued that due to absence of real difference between that and this, let that be an obstructor here also, in which case the effort to establish that is futile, they say - "atha" etc. "Connected" means connected with the eyes etc. "Non-perception" means the non-perception stated in "The senses are outward-turned". Thus here also if obstruction is accepted, since there is mention of both obstruction and non-perception in both cases, neither is futile, so the stated arrangement denying that alone should be respected. This is the meaning. If it is argued that in the mantra "The senses are outward-turned" also, from the word "inner self", only the incapacity of the senses to grasp the inner is understood, not incapacity to grasp what is connected, so the arrangement cannot be stated, they say - "anyad" etc. But "He first created" etc. mentions the difference of individual souls and ignorance produced elsewhere, established as desire for enjoyment etc., for the purpose of censure, from the word "became", not ordained as an obstructor like a wall etc. Therefore assuming it as an obstructor is futile, as its utility is only in dulling the capacity of the senses. This is the meaning. If it is argued that in this case, in the discussion of this śruti in the 7th chapter, how is there consistency with what was stated as another creation obstructing the material? In response to this query they say - "yadapi" etc. "From non-perception alone" means the obstructor. Thus since obstruction is not assumed separately, there is consistency from its being expressive of dulling of capacity alone. This is the meaning. If it is argued that like "became", "pierced" is also used in the past tense in both cases, so the outward-turned nature of the senses is also a restatement like the obstructor, in which case neither would have causality, and if so, the designation of "which" as causal would be contradicted, they say in response - "hetutvena" etc. "Is useful" means absence of capacity alone is useful. Thus in the view of separate causality, due to superfluity of one or the other, mutual subservience of both should be stated. Even there, on subtle examination, incapacity is not subservient to obstruction, but rather obstruction is subservient to incapacity alone. Therefore in the view of self-creation, ignorance is from Brahman alone, while in the view of separate creation, that too is subservient to this, so in both ways removal is by verbal Brahman alone. This is the meaning. They state the conclusion - "ata" etc. If it is argued that if verbal Brahman reveals the supreme, there is contradiction with the statement "From which speech returns", they say - "yata" etc. Thus since the meaning there is different, there is no contradiction. This is the meaning. In this view, due to dislike of the contradiction in the statement "The word also states the meaning spoken as negation of the revealer rooted in the self", they state an alternative view - "māhātmyārthaṃ vā dvayam". Thus the Veda also reveals according to its own capacity, but cannot reveal this completely in this way, so for revealing its greatness and for revealing its greatness in the form of having contradictory attributes, there are two contradictory statements, so there is no contradiction in its essence either. Due to having a manifest and unmanifest heart. The rest is clear. (46)
Thus ends the explanation of the 12th chapter in the Light of Subodhinī on the 3rd Skandha.
Śrī Giridhara-kṛtā Bāla Prabodhinī
From the hair of that all-producing capable Prajāpati Brahmā, the 28-syllable meter called uṣṇik (uṣṇik) arose. This "arose" applies throughout the following as well. From the skin, the 24-syllable gāyatrī (gayatri) meter arose. From the flesh, the 44-syllable triṣṭubh (trishtubh) meter. From the sinews, the 32-syllable anuṣṭubh (anushtubh) meter. From the bones, the 48-syllable jagatī (jagati) meter. || 45 || From the marrow, the 40-syllable paṅkti (pankti) meter arose. From the breath, the 36-syllable bṛhatī (brihati) meter came into being. From that Brahmā's life force came the sparśa (sparsha) consonants, the five classes beginning with ka. From the body, the vowels beginning with a are said to have arisen. || 46 || The sages say that from Brahmā's self, the sense organs arose, and from the sense organs, the ūṣman (ushman) consonants śa, ṣa, sa, ha (sha, sha, sa, ha). From strength, the antaḥstha (antahstha) consonants ya, ra, la, va arose. Similarly, through Prajāpati Brahmā's play, the seven musical notes named ṣaḍja, ṛṣabha, gāndhāra, madhyama, pañcama, dhaivata, niṣāda (shadja, rishabha, gandhara, madhyama, panchama, dhaivata, nishada) came into being. || 47 || Because Brahmā is of the nature of sound, the Supreme Lord is eternally manifest, as stated in "śabdāt" (shabdat). The Supreme Lord, whose essential nature is the sound Brahman, shines forth all-pervading. The vocative "tāta" (tata) is used to inspire confidence. The nature of sound Brahman is clarified: manifest as vaikharī (vaikhari) speech and unmanifest as praṇava (pranava). The Supreme Lord is distinguished as saguna and nirguna Brahman - the imperishable, attributeless Brahman and that endowed with various powers like lordship, etc. Or the acceptance of sound Brahman is explained: Because of being of the nature of sound Brahman, the Supreme Lord shines forth as all-pervading. The rest is the same. || 48 ||
Hindī Anuvāda
From his hair arose the uṣṇik (ushnik) meter, from skin the gāyatrī (gayatri), from flesh the triṣṭubh (trishtubh), from sinews the anuṣṭubh (anushtubh), from bones the jagatī (jagati), from marrow the paṅkti (pankti), and from breaths the bṛhatī (brihati) meter. Similarly, his life force became the sparśa (sparsha) consonants (the five classes beginning with ka-varga) and body became the vowels (beginning with a). || 45-46 || His senses are called the ūṣman (ushman) consonants (śa ṣa sa ha) (sha sha sa ha) and strength the antaḥstha (antahstha) consonants (ya ra la va). And from his play arose the seven musical notes - niṣāda, ṛṣabha, gāndhāra, ṣaḍja, madhyama, dhaivata and pañcama (nishada, rishabha, gandhara, shadja, madhyama, dhaivata and panchama). || 47 || O dear one! Brahmā is of the nature of sound Brahman. He is manifest as vaikharī (vaikhari) speech and unmanifest as Oṃkāra (Omkara). And beyond him, the all-pervading supreme Brahman, expanding through various powers, is appearing in forms like Indra, etc. || 48 ||
SB 3.12.45-48
