Text 25: When the great sages and thinkers who are residents of Janaloka, Tapoloka and Satyaloka heard the tumultuous voice of Lord Boar, which was the all-auspicious sound of the all-merciful Lord, they chanted auspicious chants from the three Vedas.
Text 26: Playing like an elephant, He entered into the water after roaring again in reply to the Vedic prayers by the great devotees. The Lord is the object of the Vedic prayers, and thus He understood that the devotees’ prayers were meant for Him.
Text 27: Before entering the water to rescue the earth, Lord Boar flew in the sky, slashing His tail, His hard hairs quivering. His very glance was luminous, and He scattered the clouds in the sky with His hooves and His glittering white tusks.
Text 28: He was personally the Supreme Lord Viṣṇu and was therefore transcendental, yet because He had the body of a hog, He searched after the earth by smell. His tusks were fearful, and He glanced over the devotee-brāhmaṇas engaged in offering prayers. Thus He entered the water.
Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā
gargharitaṃ (rumbling sound) that sound which imitates its species. Which uncertainly destroys one's own distress. Te (they) - this repetition is for emphasizing fame. With three purifying mantras from the Ṛg, Yajur and Sāma Vedas, they praised and extolled. (25)
He whose form is praised and expanded by the Vedas. Thus he recounts his own qualities, and that is their Brahman, having ascertained and known the uttered Veda. (26)
Describing how he entered, it is stated in two verses: With tail raised high. Moving through the sky. Hard. With a mane of rough, sharp hairs. Striking the clouds with his hooves. With white tusks. His gaze itself was his light. Then, due to the absence of other light, the mountain-lifter of the earth shone. (27)
Though appearing as a boar, he was actually the embodiment of sacrifice. Sniffing with his snout like an animal, looking up at the praising priests, he entered the water. (28)
Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā
The merciful one full of māyā (illusion), or full of knowledge, or from whom māyā, ignorance, disease comes - that excellent boar. (25)
Or, since the Vedas are the exhalation of the Lord, it is the manifestation of the Lord's breath entered into Brahmā's nose in the form of a boar as a play. In reality, even Brahmā is Viṣṇu, as stated: "He, Viṣṇu, entered that lotus-like world manifesting all qualities." Thus even his breath is Viṣṇu's breath. Hence, because his form is praised by the Vedas. (26-27)
"Appearing as a boar" - Like "bearing a pair of fruits appearing as breasts, like a golden creeper", this figure of speech called apahnutyalaṅkāra implies the reality of appearing as a boar, as per the definition "When the original is denied and something else is established, it is apahnutyalaṅkāra". (28)
Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā
Of the one full of māyā, full of mercy, of the nature of knowledge, or from whom māyā, ignorance, or disease comes - they are the previously mentioned, again they are well-known. (25)
Hence, because his form is praised and expanded by the Vedas. (26)
"In which there are" should be supplied, otherwise the meaning of the śa-pratyaya would not be expressed. Then, before creation. (27)
As per the definition "When the original is made to appear different, that is apahnutyalaṅkāra", like "This soft golden creeper bears a pair of fruits appearing as breasts", this is the apahnutyalaṅkāra figure of speech, by which the reality of being a boar is implied. (28)
Śrīmad Vīrarāghava Vyākhyā
Hearing the gargharitaṃ (rumbling sound) of the illusory boar's wondrous boar form, imitating that species' sound, they - the sages dwelling in Jana, Tapas and Satya lokas (the addition of 'su' is archaic) - how was the rumbling? Destroying their own distress, of the nature of removing one's own sorrow. Those sages praised and extolled with the three purifying Ṛg, Yajur and Sāma Vedic hymns. The repetition of 'te' (they) is to emphasize fame. (25)
Teṣām (their) - The Lord whose form is expanded by the Vedas, i.e. whose form is the sacrifice expanded by the Vedas. He recounts his own auspicious qualities to those sages like Marīci. Having ascertained that Brahman described in the Veda, hearing it, again rumbling, making the gargharitaṃ sound, for the prosperity of the gods like Brahmā, he entered the water. How was he? Like an elephant in his play. (26)
Again, describing how he entered: Utksịpta (raised) is stated in two verses. The boar is described: With raised tail, moving through the sky, hard, shaking his mane of neck hair, whose skin has rough hairs, striking the clouds with his hooves, with white tusks, whose gaze itself was his light and radiance, i.e. with shining eyes. The mountain-lifter, the uplifter of the earth, the Lord, shone. (27)
Moreover, ghrāṇena (with his nose) - Appearing as a boar, though himself the embodiment of sacrifice, like an animal sniffing the path of the earth with his nose, not searching. Though with frightful, muddy tusks, with un-frightening, gentle eyes, looking up at the praising priests, looking upwards, he entered ka, the ocean water. (28)
Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā
Having known "This is Hari", what did they do? To that he says: Niśamya (hearing) - Hearing the gargharitaṃ (rumbling), a particular sound of boars, of the illusory boar, the wish-fulfilling boar, which destroys one's own distress, the sages dwelling in Jana and other worlds praised that sacrificial person with the three faultless Vedas - this is the connection. Sma indicates praise following the qualities in order. Janastapaḥ ends in visarga to avoid breaking the meter or in imitation of Vedic usage. (25)
In the context of praise: Teṣām (their) - He whose form is explained by the expansion of the Vedas. Or, whose form is like the canopy of the Vedas, i.e. like an upper cloth for preventing falling debris. Or if read as yajñavitānamūrti, whose form is taken in the expansions of sacrifices. In which there is recounting of one's own qualities of knowledge, bliss, etc. Having ascertained the Veda characterized by praise of Brahman, he roared again. Bhūyaḥ (again) connects with both. Jalam (water) means the waters of dissolution. (26)
Since the nature of each being in its respective action is unavoidable, he states that nature in entering the water: Utkṣipta (raised) - That Lord, the mountain Nārāyaṇa, entered ka, the waters of dissolution - this is the connection. He is described: With raised tail, or with raised cheeks. As per the lexicon: "Vāla means tawny, thunderbolt, modesty, and long hair", so modesty or moving in the sky. Both are the same. With hard, firm mane, shaking thick hair. Or sata means a type of creeper. Whose skin has rough hairs. Or hairy picumanda tree. On which is the rough skin of picumanda. Striking the clouds with his hooves. Or horns striking the clouds. With white tusks or white horns. The rest is clear. Whose eye's light, pupil, star shines, i.e. shining with the flame of the fire called sight. (27)
Sniffing with his nose organ, appearing as a boar for the sake of the gods' work, not an actual boar, but himself the embodiment of sacrifice, Lord Nārāyaṇa. Earlier the tusk was mentioned in comparison to a mountain, but here to show ferocity, so it is not repetition. Or whose limbs like kuśa grass etc. are the means of sacrifice. As Yādava says: "Apadeśa means indication, cause or pretext." (28)
Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā
Māyā here is grace alone. (25-26) * One whose skin has rough hair. (27) * * Krīḍā-padeśaḥ means under the guise of an ordinary boar. But He Himself, being a part of the sacrifice, has a supernatural boar form - this is the meaning. It is said that even His nature is shown to be like a boar's. With His nose, it is said. Though fierce in appearance to others, He is extremely gentle to devotees through His merciful gaze. This is expressed by "Karāla". (28-30)
Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā
Whether made of illusion, made of mercy, or made of knowledge; or from whom even illusion or ignorance is a disease; or who makes a grunting sound imitating that species; they praised Him who destroys their distress caused by uncertainty or by the earth's sinking. The famous sages like Bhṛgu etc. residing in Janaloka etc. praised with the three purifying mantras of Ṛg, Yajur and Sāma - this should be explained by reading "te" twice. (25) * * One whose form is the expanse of the Vedas, composed of all Vedas, not material. Since the Vedas are the exhalation of the Lord, it should be understood that the Lord's exhalation itself playfully entered Brahmā's nose in boar form. Therefore, having ascertained the Vedas to be Brahman, knowing the self-description of qualities by those sages to be the narration of His qualities. (26) * * Describes the meditation on Him entering the water. With tail thrown high. Khacara means He descended into the three worlds from Brahmaloka by the sky path. One whose skin has rough hair. Whose eyes are like the luminaries sun and moon. Mahīdha means uplifter of the earth or mountain-like. (27) * * Describes His play. "With His nose" - He Himself being the Veda in sacrificial form, under the guise of a boar. Just as in "The soft golden creeper bears fruit in the guise of breasts", the figure of speech apahnuty conveys that the boar form itself is real. According to the definition "Apahnutiḥ is where something else is established after negating what is presented." Ka means water. (28)
Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ
The irregular suḍ augment in jana is archaic. They, the residents of Jana, Tapas and Satya lokas, hearing the grunting sound imitating that species, which destroys the distress of the illusory boar whose illusion is a wonderful form of the Lord's will, the sages became absorbed in contemplation due to excessive joy - this is the meaning. Again they praised with the three Ṛg, Yajur and Sāma mantras. (25) * * Having ascertained and known the Veda as Brahman, of those residents of Jana etc., One whose form is expanded by the Veda through detailed description of His nature, qualities etc. (26) One with upraised tail. Kaṭhora means hard, invincible by gods and demons. Whose skin has rough hair and mane on the shoulders. Whose glance alone shone as light, due to absence of other light then. (27) * * Ka means water, for those praising. (28)
Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā
Therefore, it is said that Brahma became joyful - "brahmāṇam" (Brahma). "hari" means that is his nature. "tān" refers to the Mimamsakas. Brahma's joy is of two types, theirs is of one type, hence the different indication. The reason for the joy - "dvijottamān" (the best of the twice-born). Their joy is due to the sacrifice. He roared like that to dispel theft, so that it echoed in all directions. Hence it is said "kakubhaḥ pratisvanayatā svagargitena" (resounding in all directions with his own roar). If asked why he did so, it is said - "vibhur" (the all-pervading Lord). (25)
He describes the action of those who were delighted - "niśamya" (having heard). "dhamdhāritam" is an onomatopoeic word, meaning "house" in common speech. [He thought] "I will provide a house for everyone", or a house upon a house; or the body is the house. Therefore it destroys one's own distress. Everyone's foundation is on the earth itself, even for people etc. the food is produced from the earth. Or for uplifting his associates, or for removing the distress of the qualified, or by accepting his own deliberation. If asked how distress is removed by imitating an animal, it is said - "māyāmayasukarasya" (of the illusory boar). He took such a form through illusion to bewilder the demons. Being illusory means demonstrating extreme deception, because in the Veda, in the path of ritual, it causes extreme delusion.
In the path of animal sacrifice and in the form of sacrifice as well as in all narratives, delusion indeed arises in the Śruti. (1)
Even in the divine form, there is delusion in the gods. Just as there is a lowly understanding of oneself, even more so regarding the Lord. (2)
"sūkara" (boar) means "one who produces" from the root "pū" meaning to produce. All the Vedas were produced for liberation, they will uphold the state of lowliness while being impure, hence he is called sūkara (boar). (3)
The residents of Jana, Tapas and Satya are said to be of three types of sattva, that world is attained only by them. By the three purifiers, the three Vedas that purify, or by the Pavamana hymns etc. But their story is for establishing the Lord's fame. From reflection comes firmness of knowledge. "sma" indicates worldly fame. (26)
Having thus informed everyone, he did what he had descended for, as stated in "teṣām" (for them). "teṣām" refers to those who praise. "brahma" means the Veda, which describes the qualities of the Lord's sacrifice. "bhavadhārya" means having ascertained. One whose form is the elaboration of sacrifice described in the Veda, or one whose forms are the elaborations of the Veda. Due to the Lord's infinite forms, there are infinite branches. "satām" gives the reason for doing so and for the knowledge. "vinananda" means he greatly delighted, delighting each one repeatedly. Lest one think the Lord will benefit the demons etc. like Brahma, it is said "vibudhodayāya" (for the prosperity of the gods). Only the gods prosper, not the demons. If asked why the all-pervading Lord who appeared in the nether regions did not bring up the earth, it is said "gajendralīla" (having the play of the king of elephants). One whose play is like that of the king of elephants. To imitate how the elephant king entered the water and played, or to declare the elephant king's devotion. For he performed only the Lord's play.
One play of the Lord produces various activities. He performed such a play for the complete happiness of the devotees. (1) (27)
He describes the Lord's form at that time along with the play in two verses, differentiating the description of the form and action. "utkṣiptabāla" means one whose tail is raised upwards. His tail represents initiation, and is the cause of leanness when long. This itself is the cause of elevation in sacrifice, to indicate this. "khacara" means moving in the sky, for he remains as if entered into all sacrificial objects without being attached. This is to indicate that sacrifice is established in animals and consists of action. (1) Due to being the cause of impurity, it is harsh, hard and cruel in nature. "khara" means one whose skin is hairy. Rough due to causing violence etc., hairy due to abundance of sacred grass. The skin is the upper part, but the form is well-known as such. "khurair āhatābhrāṇi" means one who struck the clouds with his hooves. The Lord's four feet united become the form of praise which consists of two pressings. There the animals and Soma, which has the form of all rain-producing actions, are killed, since everything is produced by the two pressings, done by the sacrifices. By which sacrifices the water was filled, the demons must certainly be removed, otherwise if the earth were established among them, the earth would be unstable. Even if placed between water and clouds, there would be flooding by the clouds. Since struck only by the hooves, they will cause rain elsewhere when situated elsewhere, so the clouds are not completely destroyed. "sitā daṃṣṭrā" means one with white tusks. "vīkṣaiva jyotir" means one whose mere glance is light. The tusks and glance are mentioned for the purpose of establishing and drying, and for overcoming death and for the purpose of a merciful glance. Thus it is indicated that overcoming death on earth itself and the Lord's mercy. "vabhāse" means praised by all authorities. "mahodha" means praised by all due to benefiting all by lifting the earth. For all the famous mountains are earth-bearers, but this Lord is the earth-bearer. Though endowed with lordly qualities etc., he bears the burden, hence his compassion. (28)
Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ
In "brahmāṇam", dvirūpa means having two forms: one for assisting himself in the sacrifice, and one for seeing with knowledge of the sacrifice. (25) In "niśamya", gṛhoparī means above the Lord's home, which is water. (26) In "utkṣipta", anena means by this form. (28)
Śrī Giridhara-kṛtā Bāla Prabodhinī
Explaining the purpose of the roar, it says "brahmāṇam". Vibhu (the all-pervading) Viṣṇu, making the directions (kakubhaḥ) resound with his roar, delighted Brahmā, those great sages like Marīci, and the best of the twice-born. (25) It says they, being delighted, praised the Lord in "niśamya". Hearing the dhardharita (roaring) sound of the Lord who had willingly taken the form of an illusory boar, those aforementioned beings led by Brahmā and other dwellers of Satyaloka who practice austerities, praised the Lord with the three pure hymns of the Ṛg, Yajur and Sāma Vedas. The reason for praise is explained as svakhedakṣayiṣṇu, meaning it is his nature to destroy their anxiety caused by worry about lifting the earth and uncertainty about the boar form. The 's' in "janastapa" is archaic usage. (26) Having thus revealed his form to all, it describes how he accomplished his incarnation's purpose in "teṣām". The Lord, whose form is the sacrifice elaborated by the Vedas, affirming the qualities of his devotees like affection and omniscience, and having heard that Vedic knowledge, roared again for the prosperity of those gods led by Brahmā, to benefit them by lifting the earth and killing the demon, and entered the water. To address the concern of great effort, it says gajendrālīla, meaning his play is like that of a lordly elephant. (27) Describing his form as he entered the water in "utkṣipta" and the next verse: His tail is raised high, he moves in the sky, has a hard body, shakes his mane, has rough hair on his skin, strikes the clouds with his hooves, has white tusks, his gaze is like light, meaning his eyes are shining. In this form, the Lord, the lifter of the earth, shone brilliantly. (28)
Hindī Anuvāda
Hearing the grunting of the illusory boar-form Lord, which dispelled their sorrow, the sages dwelling in Janaloka, Tapoloka and Satyaloka began to praise Him with the most sacred mantras from the three Vedas. (25)
The Lord's form is described in detail in the Vedas, so considering the praise offered by those great sages as Vedic, the Lord was very pleased and roared once again. Then, for the benefit of the devas, He entered the water, playfully like a great elephant. (26)
First, the Lord in His boar form raised His tail and leapt vigorously into the sky, shaking His mane and scattering the clouds with blows from His hooves. His body was very hard, with coarse hair on the skin, white tusks, and eyes emitting radiance. At that time, He looked very magnificent. (27)
Although the Lord Himself is the yajñapuruṣa (yajnapurusha; personified sacrifice), having assumed the form of a boar, He was sniffing with His nose to locate the Earth. His tusks were very hard. Thus, although He appeared very fierce, He gazed with a gentle look towards Marīci (Marichi) and other sages who were praising Him, as He entered the water. (28)
SB 3.13.25-28
