Text 5: By hearing these topics from the sage [Nārada], the son of King Uttānapāda [Dhruva] was enlightened regarding the Personality of Godhead, and he ascended to the abode of the Lord, placing his feet over the head of death.
Text 6: This history of the fight between the Lord as a boar and the demon Hiraṇyākṣa was heard by me in a year long ago as it was described by the foremost of the demigods, Brahmā, when he was questioned by the other demigods.
Text 7: Diti, daughter of Dakṣa, being afflicted with sex desire, begged her husband, Kaśyapa, the son of Marīci, to have intercourse with her in the evening in order to beget a child.
Text 8: The sun was setting, and the sage was sitting in trance after offering oblations to the Supreme Personality of Godhead, Viṣṇu, whose tongue is the sacrificial fire.
Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā
He shows that very thing. By which story? Dhruva, the son of Uttānapāda. By the sage Nārada. When Dhruva was still a child, when Sunanda and others brought a celestial chariot for him, thinking his body should be abandoned as death was near, even though death was imminent he did not abandon his body. Rather, using it like a staircase and placing his foot on death's head, he ascended the chariot and rose to Viṣṇu's abode. Indeed, it will be said: "Having circumambulated and worshipped the best of abodes, and having the benedictions performed by the brahmins, he desired to mount that divine golden chariot." (5)
He begins the historical account to explain the cause of their battle. Thus: The historical account described by Brahmā to the inquiring gods was heard by me. (6)
To introduce the gods' questions, he first mentions the context of Hiraṇyākṣa and Hiraṇyakaśipu's birth, from "Diti" until the end of the chapter. Kaśyapa, the son of Marīci. Afflicted by hṛcchaya (desire), she thus desired him at twilight. (7)
That too in the fire sacrifice hall, even there absorbed in meditation. Whose tongue is fire, the lord of the Yajur mantras and sacrifices, the Supreme Person Śrī Viṣṇu. (8)
Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā
That very ability to cut the noose of death. By "child" his youthfulness is meant, due to proximity. Otherwise, ruling the kingdom, fighting the Yakṣas, begetting sons, etc. would not be consistent, that is the sense. Placing his foot on his head means even death bowed to him by bending him down, that is the meaning. (5)
Of those two, Varāha and Hiraṇyākṣa. "Atha" is auspicious. Here also in the battle of Varāha and Hiraṇyākṣa. (6)
To introduce the gods' questions means for the context of how the gods will ask questions, that is the meaning. Because she was afflicted by desire, for that reason. (7)
Indeed that even at twilight. Even there in the fire sacrifice hall. Samāhita means absorbed in meditation. Agnijihva because it will be said "The brahmin and fire are indeed the mouth of Viṣṇu, the Self of all gods." Nimlochati means has set. Payasa means with a milk product, like the usage "Anoint with ghee and cows" should be understood. If accepting the literal meaning, the fire would be extinguished. (8)
Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā
He states that very ability to cut the noose of death. By which means the instruction of the twelve-syllable mantra, etc. Thus childishness is mentioned, but by the influence of seeing the Lord, his eternal youthful characteristics became manifest from that time, this should be understood. Like a staircase means like a ladder. His means death's. (5)
Atha is for beginning. Here also in the question about the cause of the battle, "this was described" should be supplied. (6)
Thus because of being afflicted by desire. (7)
That indeed even at the prohibited time of sunset, even there in the fire sacrifice hall, samāhita means absorbed in meditation. (8)
Śrīmad Vīrarāghava Vyākhyā
Now, by which story of the Lord told by the sage Nārada, Dhruva the child son of Uttānapāda, placing his foot on death's head like a step, ascended to the abode of Hari with unwavering determination. The intention is that such a question about the Lord's story is most excellent. (5)
Thus approving the question, about to tell the account of Hiraṇyākṣa, he states the traditional nature of the account. Atha - Now then, O Vidura! Even regarding this matter asked by you, I heard this historical account. In response to the expectation "From where?", he says: It was formerly described by the god of gods, the four-faced Brahmā, to the inquiring gods. That very account was heard by me through tradition, that is the meaning. (6)
About to narrate that very historical account, he begins the introductory historical account with "Diti", etc. Diti, a daughter of Dakṣa named Diti, O Kṣattā, desiring offspring from her husband Kaśyapa the son of Marīci, afflicted by hṛcchaya (desire), for that reason desired him at twilight, that is the meaning. (7)
He states how she desired him. Having offered oblations to the Person who is the lord of the Yajur mantras and sacrifices, whose tongue is fire, i.e. whose body is fire, when the sun was setting, seated in the fire hall absorbed in meditation. (8)
Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā
Not only does the Lord's story cut the noose of death characterized by saṃsāra, but it also brings about worldly and spiritual perfection - he illustrates this. By which: By the sage Nārada, to the child of five years. The details of this will be told in the Fourth Canto. (5)
To generate excessive faith in the listeners, he tells the ancient event as an answer to Vidura's question. Atha: By the word atha he indicates that previously it was said Hiraṇyākṣa the son of Brahmā was killed by Varāha Hari, not that the same son of Diti possessed by an associate was killed - this special account is begun. By the word api he states that such a narration is possible because the killer is one and the same, and it is for bewildering the wicked. (6)
Who is this? He states: Diti. Dākṣāyaṇī means daughter of Dakṣa, named Diti. Marīci means son of Marīci; Kaśyapa is stated to distinguish from Mārīca the enemy of Rāma. Hṛcchaya means desire. (7)
He qualifies Mārīci: Having offered oblations. Agnijihva means he whose tongue is fire. Him who is the lord of the Yajur mantras, i.e. the master of the mantras found in the Yajurveda as their object. Nimlochati means sets. In the fire hall means in the fire house. (8)
Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā
By which means by whose influence, though always being a child, even at the time of death, making death's head like a step without abandoning the body, he ascended to Hari's abode. But childishness here should be understood as youthfulness. It is properly understood that he heard this after attaining kingship, since an age suitable for kingship is necessarily required. And because of hearing of the birth of sons, etc. (5-6)
Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā
He states the evidence that Hari's story alone is the savior of the world. By which story Dhruva, knowing the time of death's arrival, as soon as death approached, a celestial chariot was brought by Sunanda and others. Seeing death standing while searching for the steps to board, Dhruva said "This is auspicious" and placing his foot on death's head, without leaving his body, he ascended the chariot and went to Viṣṇu's abode. (5)
In connection with the gods who were questioning me. (6)
To introduce the gods' questions, he first relates the context of Hiraṇyākṣa and Hiraṇyakaśipu's birth. From "Diti" until the end of the chapter. Afflicted with desire, Diti longed for Kaśyapa, Marīci's son, at twilight itself, in the fire sacrifice hall itself, while he was absorbed in meditation, even as the sun was setting, i.e. at sunset. (To) the lord of sacrifices, Viṣṇu, who has Agni as his tongue. (7-8)
Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ
By which story narrated by the sage Nārada, Dhruva, the son of Uttānapāda, (reached) Hari's abode. (5) Here, regarding the slaying of the demons. (6) At the beginning of introducing the gods' questions, he relates the context of the demons' birth. Until the end of the chapter, "Diti desired". (To) the lord of sacrifices who has Agni as his tongue, as stated by the Lord Himself: "I am indeed the enjoyer and master of all sacrifices". (7-8)
Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā
He establishes the power to destroy the noose of death - "By which". By which story about Dhruva, son of Uttānapāda, sung by the sage Nārada, heard even for pleasure, (Dhruva) placed his foot on death's head and ascended to Hari's abode. For that Dhruva indeed went to the pole star without leaving his body. A hero becomes absorbed in the story by his own strength. Austerities were already accomplished, so they do not have the power to destroy death. Even the Lord's grace, being in the form of the story's function, is not a separate means. Therefore the entire path instructed by Nārada became the form of the story. Although worship was instructed by his mother, that too was determined by the sage. When discriminating between what is attained and unattained through hearing the story of worship, since austerities etc. are ineffective, absorption in the story alone is the means to the fruit. There too, since absorption falls within the essential nature, the story alone, being distinct, is the cause. "Uttāna" means one whose feet are raised. Previously he too is known to have performed austerities with raised feet. It is described that the story is the means of accomplishing the goals of self and others, since even such a one became a protector from hell. "Child" indicates that time etc. are not the means. When the celestial chariot arrived, thinking he would leave the body, even death arrived. Then, since the body pervaded by the story, calmed by the shade of the Lord's lotus feet, had no defect, death lifted the body. Fearing that death would not go as far as the chariot, (Dhruva) placed his foot on death's head and with that very body ascended the chariot, and afterwards Dhruvaloka. Therefore absorption in the story yields great fruit. That arose in Vidura, hence the congratulations. (5)
In which kalpa the story of the battle between Varāha and Hiraṇyākṣa is most appropriate, to tell that he begins another procedure - "This". Here too this history was previously heard by me, being a history. From Vyāsa or Parāśara. The extraction of the essence of the Vedas is in the language of meditation, the extraction of the essence of history is in another view - this is the distinction. History is a story of past events, a cause of pride or laughter, or having the nature of being a repository of wonder. "This" appears as understood. It is justified as being past because it was described long ago by Brahmā for the sake of the questioning gods. It is a cause of laughter because it was described by Brahmā as childish behavior, a cause of pride as making known the root cause for the gods, and a repository of wonder as the sport of creation concerns liberated souls. Jaya and Vijaya in the womb were the cause of the gods' questions, so this chapter is for stating that cause. It is also an introduction to the section, so what is not stated by Brahmā is stated without superfluity. Or if stated, then it is described separately for the sake of causality by contraction. "By the God of gods" indicates the authority of the story, as He is the desired deity of the gods. "Questioning" indicates that even they inquired only about the Lord's story. (6)
He begins the story which is the cause - "Diti". "Daughter of Dakṣa" indicates she was bold with a masculine nature. Dakṣa too, son of the Pracetas, was full of pride and other faults, having many wives and children. Otherwise her boldness would not be appropriate. "O Kṣattā" is an address indicating control of the senses, to show absence of fault as the play of desire will be described. "Son of Marīci" - Because "Marīci arose from the mind" indicates the mind generates desire, and desire generates intention. It is indicated that Kaśyapa is an incarnation of desire, otherwise such agitation would not occur, nor would he engage. "Kaśyapa" - This is a curse from Brahmā. Just as "Marīci had six sons" in another kalpa, so in this kalpa there is also ridicule of him who prides himself on controlling his senses, being Marīci's son. Then it is understood that he too was cursed by Brahmā, due to marrying his granddaughter, by that connection, and by the etymology of the name. Being a husband, it is not completely improper. Having many wives, he engages in desiring pleasure from them. Just as the Agnihotra etc. are dharma, so too is this vow dharma. But due to being improper dharma, it generates anger, and faults are possible in the offspring. "Desiring offspring" - she cannot be avoided by aversion etc. "At twilight" states the cause for the arising of prohibited desire. Hṛcchaya is desire. It arose then while situated in the heart, afflicting her by piercing her core. (7)
To state that she proceeded to disturb Kaśyapa engaged in ritual, his Agnihotra ritual is described - "Having worshipped he who has Agni as his tongue". Agni is his tongue. When the flame is bright and flickering, that is the mouth of the gods. When it is dark blue without light, that Agni is the Lord's tongue. The daily offering is with milk. "He emits semen in procreation" shows its relevance to the context. Because the Agnihotra is in the form of mastication and sacrifice. Hence "man" is stated. "Lord of Yajus" because the Agnihotra is by Yajurveda statements. "As the sun was setting" - Thus the view "One should offer after sunset" and "One should offer at twilight" is respected. "Seated" indicates the view of not standing, otherwise progeny would result. Seated in the fire hall itself. "Absorbed" means becoming attentive internally, it is understood he is meditating on the desired Lord. (8)
Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ
In "vayaya". Indeed, how did Dhruva attain such a state through the story heard for his own purpose? And how could it happen for others? In response to this expectation, taking to heart the address in the previously mentioned verse, they state the means that produces qualification for one's own form through intense dedication: "vīra", etc. If one thinks that austerity was performed by him, so that alone will be his means, they state in response to this doubt: "tapa", etc. "Previously established". Otherwise, birth in such a lineage would not even occur, so this too, like his previously established austerity, only produces a body suitable for enjoyment etc., but not to that extent - this is the meaning. Then if it is just the Lord's grace, let it be so - in response to this doubt they state: "bhagavad", etc. And its being an activity is indicated by the instrumental case. Then let devotion be like that - in response to this they state: "yadyapi", etc. If intense dedication alone is like that - in response to this they state: "tatrāpi", etc. (5)
In "atha". In accordance with the proposition "(described by Brahmā, heard)", they state an alternative view: "ukto vā", etc. (6)
In "diti". "This too is mockery". This mockery was done to Brahmā. "From the etymology of the name". The etymological derivation is: "He drinks (pibati) what is bad (kaśyaṃ)". "Devoted to that". Devoted to the practice of the Vāmadeva Sāman: "One should not avoid any (woman)". "Through detachment, etc." Through instruction in detachment, etc. (7)
In "iṣṭvā". Otherwise, from the injunction to ignite before and after the worship. In the worship view, the meaning is that the fire would again blaze at that time. (8)
Śrī Giridhara-kṛtā Bāla Prabodhinī
He clarifies that the story has the power to destroy the noose of death: "yayā". The meaning is: By which story of Hari sung by the sage Nārada, heard even in childhood, the son of Uttānapāda named Dhruva ascended to Hari's abode, having placed his foot on death's head. When the celestial vehicle was brought for Dhruva by Sunanda and others, thinking his giving up the body would be expected when death was near, he did not abandon the body. Rather, placing his foot on its head as if on a staircase, he ascended the vehicle and rose to Viṣṇu's abode. Thus he will say: "Having circumambulated and worshipped the best of vehicles, and having the benedictions performed by the brahmins, he desired to mount it, assuming a golden form." (5)
Thus approving Vidura's question, to state the cause of their battle he begins the historical account: "atha". At the beginning of the questions and answers. Here too, regarding the matter asked by you, this historical account that arose about the battle, previously described by Brahmā long ago to the gods who were inquiring in turn, has been heard by me - this is the meaning. Indicating the reason for the authenticity of the historical account as a divine inquiry to Brahmā, he qualifies Brahmā: "devadeva", meaning one worshipped even by the gods. (6)
To introduce the context of the gods' inquiry, he first mentions the incident of Diti's pregnancy with Hiraṇyākṣa and Hiraṇyakaśipu, from "diti" up to the end of the chapter. Indicating "Do not be deluded in any way" since the lustful behavior will be described, he addresses: "kṣattar". The meaning is: Diti, the daughter of Dakṣa son of Prācetas, desired her husband Kaśyapa son of Marīci at twilight. He indicates the impropriety since it was at twilight which is prohibited. How did she do it? In response to this expectation he states: "hṛcchayārdita", meaning afflicted by hṛcchaya (desire) which is lust. He states the reason for that too: "apatyakāma" (desiring offspring). (7)
Indicating the impropriety in another way too, he qualifies Kaśyapa: "iṣṭvā". Having worshipped with oblations the Supreme Person who is the giver of the fruits of sacrifices, whose mouth is the sacrificial fire, seated in the fire sanctuary as the sun was setting, meditating on the Lord with focused mind. (8)
Hindī Anuvāda
Look, Dhruva, the son of Uttānapāda, in his childhood, influenced by the harikathā (story of Hari) narrated by Śrī Nārada, stepped on the head of death and ascended to the supreme abode of the Lord (5). Once in ancient times, when the gods asked about the battle between Lord Varāha and Hiraṇyākṣa, the god of gods Śrī Brahmā narrated this history to them, and I have heard it through tradition (6). O Vidura! Once, Dakṣa's daughter Diti, overcome with desire and wishing for a son, approached her husband Kaśyapa, the son of Marīci, in the evening (7). At that time, Kaśyapa, having worshipped the fire-tongued Lord, the master of sacrifice, through oblations of milk, and knowing it was sunset, was sitting in meditation in the fire chamber (8).
SB 3.14.5-8
