Text 31: Adorned with dark tresses, she hid herself, as it were, out of shyness. Upon seeing that girl, the asuras were all infatuated with an appetite for sex.
Text 32: The demons praised her: Oh, what a beauty! What rare self-control! What a budding youth! In the midst of us all, who are passionately longing for her, she is moving about like one absolutely free from passion.
Text 33: Indulging in various speculations about the evening twilight, which appeared to them endowed with the form of a young woman, the wicked-minded asuras treated her with respect and fondly spoke to her as follows.
Text 34: Who are you, O pretty girl? Whose wife or daughter are you, and what can be the object of your appearing before us? Why do you tantalize us, unfortunate as we are, with the priceless commodity of your beauty?
Text 35: Whosoever you may be, O beautiful girl, we are fortunate in being able to see you. While playing with a ball, you have agitated the minds of all onlookers.
Text 36: O beautiful woman, when you strike the bouncing ball against the ground with your hand again and again, your lotus feet do not stay in one place. Oppressed by the weight of your full-grown breasts, your waist becomes fatigued, and your clear vision grows dull, as it were. Pray braid your comely hair.
Text 37: The asuras, clouded in their understanding, took the evening twilight to be a beautiful woman showing herself in her alluring form, and they seized her.
Text 38: With a laugh full of deep significance, the worshipful Brahmā then evolved by his own loveliness, which seemed to enjoy itself by itself, the hosts of Gandharvas and Apsarās.
Text 39: After that, Brahmā gave up that shining and beloved form of moonlight. Viśvāvasu and other Gandharvas gladly took possession of it.
Text 40: The glorious Brahmā next evolved from his sloth the ghosts and fiends, but he closed his eyes when he saw them stand naked with their hair scattered.
Śrīdhara Svāmi-kṛtā Bhāvārtha-dīpikā Vyākhyā
Holding (gṛhantī) with the edge of her garment (vastrāñcalena), covering (āvṛṇvānām). She who has a multitude (stoma) of dark (nīlānām) curls (alakānām). O Dharma, seeing that woman from afar (vidūra), having thought... (31)
He describes the process of imagination of the confused ones. "Aho" etc. (32)
Having respectfully approached (abhisaṃbhāvya). Out of affection (praṇayāt). Those foolish ones (kubuddhayaḥ) asked her... (33)
"Who are you?" in three verses. Who are you by birth (jātyā)? Whose daughter? O passionate one (bhāmini), angry one, beauty alone is wealth, that alone is the commodity. We are not troubling you by not offering that. (34)
What is the use of asking about caste, family, etc. Whoever you may be, it is fortunate that we have seen you. But you are merely agitating our minds. (35)
The speech of those with agitated minds is not steady, saying: O praiseworthy one (śālini), it is not steady in one place, or it excels in various movements and graces. The falling moth, the bouncing ball. Your slender waist is drooping, tired from the weight of your large breasts. Your beautiful mass of hair spreads out slowly like a flame. In another reading: "Arrange the mass of your beautiful scattered hair." Here, the setting sun is the falling moth, the parting clouds are the drooping waist, the starry gaze is the eyes, and darkness is the hair - this should be inferred. (36)
Thinking her to be a woman acting like a passionate woman, they seized her. (37)
Smiling, killing herself with her own beauty. The smile and self-smelling are transformations indicating the experience and skill of beauty. (38)
The moonlight in the form of moonbeams. Those very groups of Gandharvas etc., with Viśvāvasu as their leader. (39)
Due to his own drowsiness (tandrā), having seen them with loosened hair, he closed his eyes. (40)
Śrī Vaṃśīdhara-kṛtā Bhāvārtha-dīpikā Prakāśa Vyākhyā
Vibhāvanā means special imagination, prattling of lust and delusion. By using "iva" it is actually indicated that she was lustful. (32)
Conjecturing - is she attracted to us, or is she a goddess, a human woman, or a celibate woman pretending to be a bull? Thus wondering. (33)
Alternatively: You trouble even unworthy unfortunate ones like us, wishing to bind us to yourself. Or: You do not buy us - alas for us unfortunate ones! - this is the meaning. (34)
Considering her mere sight as supreme, they say "What is your caste?" etc. "O weak one" means "O strong one" by reverse implication. (35)
Since the meaning of jayati as "to be steady" is not well-known, he says "alternatively". In the alternate reading "suśikhāḥ samūhaḥ", to convey the stated meaning he says "Here in the evening context". (36)
Evening indeed causes the appearance of women for lovers. So she appeared to them as a woman manifesting in it, and was described as such even by the great sage - this should be understood, he says "Thus". (37)
When Brahmā's beauty came to mind, then the Gandharvas etc. arose from it, and that beauty became moonlight which they seized, he says "Smiling". The transformation indicating the experience and skill related to beauty means the signs of relishing beauty. Smiling in a way that would express deep emotion and hint at her inclination. By her beauty (kāntyā) means by the beautiful one, using metonymy between beauty and the beautiful person. (38-39)
Sometimes Brahmā became lazy, from that ghosts and spirits arose. That laziness took the form of yawning and sleep, which they seized, he says "Having created". "Digvāsasaḥ" means naked. (40)
Śrī Rādhā Ramaṇa dāsa Gosvāmi Viracitā Dīpanī Vyākhyā
The iva word in the middle indicates her coquettish nature. (32)
"Vitarkayantaḥ" means imagining. (33)
Here "in our presence" is the meaning. "Durbhagān" means those devoid of fortune to offer the price. "By not offering that" means by not giving the sight of your beauty. There is contrary implication in using "coward" for "hero". (34)
"Kulādi" etc. includes other aspects. "Merely" means you are not giving your company. (35)
Since steadiness is not well-known as its meaning, he says "alternatively". "Manthara iva" means as if whirling. In the alternate reading without visarga, "samūha" is in compound. Here in the evening context, "vicchedaḥ" means separation from each other. By "etc." the density and binding of that is indicated. (36)
"Thinking her a woman" means: At the time of heightened desire, the appearance of a woman arose in it. She was experienced by them as non-different from that, so even the sage described her thus - this should be understood. (37)
"Smiling in a deep emotional way hinting at her own inclination" means smiling in a way that would express the pride born of beauty, which is the emotion here, profoundly, so that there would be not looking at them, gazing etc. "Killing herself with her own beauty" means experiencing excessive fragrance in herself due to excessive self-love. Since beauty is a property residing in the body, he explains how smiling and self-smelling can be its actions: "Smiling" etc. By the maxim "Where there is form, there qualities reside", beauty's effect is skill, whose transformation or effect is smiling and self-smelling. So these are attributed to beauty, like "The sword cuts". In the reading "saundaryanubhava", it should be explained as "signs of experiencing and skillfully relishing beauty". (38)
She abandoned that smile and self-smelling which indicated her absorption in experiencing her own beauty. But not the direct abandonment of that mental state, as explained earlier by the masters. In abandoning the state, she produced moonlight - this is the meaning. "Kāntimatīm" means beautiful. "Those very ones" refers to those mentioned as arising from that in the next verse. The meaning is they became endowed with beauty etc. (39)
Although by etymology tandrā means drowsiness which is the effect of laziness, still following the subsequent explanation that drowsiness, yawning and sleep are causes of madness, by metonymy drowsiness is meant here even for laziness. This also implies yawning, sleep and madness, as they are successively effects of drowsiness. (40)
Śrīmad Vīrarāghava Vyākhyā
Seeing the woman who was covering herself with the edge of her garment out of shyness and modesty, and who had a mass of dark curly locks, all the asuras became confused, O Dharma, O Vidura! (31)
He describes the delirious speech of the confused asuras in five verses starting with "Aho". Aho expresses wonder. Her form, stability, grace, youth - though she does not desire, she moves among us who are desiring, as if desiring. (32)
Speculating in many ways about her qualities of form, thinking "her form etc. is like this and like this", the foolish asuras respectfully approached that twilight imagined in female form, and out of affection asked her: (33)
He describes their questions in three verses. Who are you? Are you a goddess or a human woman or someone else? To whom do you belong, O woman with thighs like plantain stems? O passionate one, what is your purpose here among us? Your beauty alone is wealth and merchandise. By offering that, you torment us unfortunate ones. (34)
What need is there to ask about birth, family etc.? Whoever you may be, O delicate one, it is our good fortune to see you. You steal away our minds as we gaze at you, as if playing with a ball. (35)
The speech of those with agitated minds: O beautiful one, your lotus foot does not remain in one place as you repeatedly strike the bouncing ball with your hand. Your slender waist sinks down, afflicted by the weight of your large breasts. Your gaze moves slowly, tired. Your beautiful mass of hair is disheveled. Here one can imagine the setting sun as the ball, the parting clouds as the sinking waist, the stars as the gaze, and darkness as the hair. (36)
Thinking in this way that the evening twilight behaving like a woman was a tempting, alluring woman, the foolish asuras with deluded minds seized her. Indeed, how could those attached to shadows and light, who had abandoned what was obtained from Brahmā, identify with the form of the twilight period between day and night? For time cuts off shadows etc., and is distinct from them. It is true that shadows etc. are delimited by the periods of day, night and twilight. Therefore, due to non-difference between the delimited and delimiter, night is referred to as radiance, day as desire, and twilight without distinction. But in reality, whatever dharma he took up to create various things, those things became predominated by that dharma. Because the special times like night etc. are causes of effects like sleep, darkness etc., according to their qualities they took up those special times for worldly affairs - this is the purport. (37)
Lord Brahmā, smiling deeply with a particular intention, sniffing himself with his own body, created groups of gandharvas and apsaras with beauty. The smiling and self-sniffing were transformations indicating the experience and skill of beauty. (38)
He emitted that radiant, beloved form which was the previous twilight. Those very groups of gandharvas and apsaras, with Viśvāvasu as their leader, lovingly took up that form. (39)
Lord Brahmā, having created the bhūtas and piśācas with the drowsiness of the self, seeing these bhūtas and piśācas with disheveled hair and naked, closed his eyes. (40)
Śrīmad Vijayadhvaja Tīrtha-kṛtā Pada Ratnāvalī Vyākhyā
Nīlālakavaruthinī - one who has a mass of dark locks. Seeing her, the woman who had appeared, or alternatively, with reference to that form, they became confused. (31)
Here "confusion" does not mean fainting, but speculation caused by agitation - this is the sense of "Aho rūpam" etc. (32)
Then what did they do? To this he says "vitarkayantaḥ" etc. (33)
O radiant one! Beauty alone is wealth and merchandise fit for purchase. By that you torment us who are unfortunate, lacking the fortune of union and enjoyment with you. (34)
Implying that the mere sight of you is sexual activity for us, they say "yā vā". Even so, this ball game of yours distresses our minds, they say with "uddhunosi". (35)
He describes the special nature of this ball game compared to others: "naikatra" etc. O wife! Your lotus foot does not remain in one place as you strike the rising and falling ball. Your waist sinks down, breaking. Your braid of hair, the mass of locks, is loosened and freed. From the root "mala bandhana" (to bind). (36)
Implying that women are causes of bondage in all states, he describes the asuras' seizing of her: "iti". He distinguishes the twilight as "sāyantanīm" (evening), since the morning twilight is a cause of merit. "Pralobhayantīm" - producing desire in oneself. (37)
After the creation of the devas and asuras, he describes the creation of the gandharvas etc. which was more honored: "prahasya" etc. "Bhāvagambhīram" modifies the action - how can the amorous gestures be known? He indicates this by "jighrantyātmānamātmanā". By radiance, i.e. by form. (38)
"Jyotsnām" - delightful like moonlight, or another name. "Priyām" - pleasing to the mind and eyes. (39)
He describes the creation of the bhūtas etc. after the gandharvas etc., since the bhūtas etc. are of divine origin: "sṛṣṭvā" etc. Ātmatandrī is that which produces drowsiness characterized by yawning etc. in the embodied self. By that body known as yawning. (40)
Śrīmaj Jīva Gosvāmi-kṛtā Krama Sandarbha Vyākhyā
The cause of tormenting: durbhagān - those lacking the wealth to purchase this. (34-36)
"Iti" - Twilight indeed produces the appearance of women for those who desire. Thus the woman appearing to them was understood by them as non-different from twilight, and described accordingly by the sage. This should be understood. (37)
Bhāva means pride in beauty. "Gambhīram" means in such a way that there would be not looking elsewhere etc. Smiling and sniffing himself due to excess of self-love and experiencing excess of fragrance, with a radiant form. (38-39)
Ātmatandriṇā - with a body possessed of the self's drowsiness. This is indicative, as their yawning, sleepiness etc. is the sequential effect of that very thing. (40)
Śrīmad Viśvanātha Cakravarti-kṛtā Sārārtha darśinī Vyākhyā
He describes their lustful and deluded prattle. Aho [32]. Wondering whether this goddess is attracted only to us or to others as well, whether she is human or divine, or a celibate woman, they respectfully approached her [33]. Beauty alone is priceless wealth, that alone is the commodity for purchase. With that you torment us unfortunate ones unworthy of being your servants, binding us and desiring to take us into your company. Or you torment us by not purchasing us - alas for us unfortunate ones! This is the meaning [34]. Whom do you churn and agitate? With the ball game - the setting, unsteady sun is imagined as a red ball [35]. They describe the ball game. O praiseworthy one! The falling, fluttering ball does not win or become steady in one place. In the other sense, the setting sun. Due to thinness, the pure gaze sinks, outwardly desireless but inwardly full of desire - this is the meaning. Tired, indicating exhaustion from the ball game, therefore scattering the beautiful mass of hair. In the reading "suśikhāsamūha", "su" is an indeclinable, separate word. And then the meaning is: the mass of hair and the top-knot are beautiful [36]. Thinking her to be a woman behaving playfully, they seized her [37]. Her beauty arose in memory then, therefore gandharvas etc. came into being, and that beauty became moonlight, which they seized - this is stated. Smiling - with a radiance that deeply expresses her longing, as if smelling herself with herself. Due to the unity of the radiant and radiance, the smiling, smelling etc. are signs of enjoying her own beauty [38-39]. Sometimes Brahmā became lazy, and from that bhūtas, piśācas etc. came into being, and that laziness in the form of yawning, sleep etc. was seized by them - this is stated. By drowsiness - laziness which has drowsiness as its effect [40].
Śrīmac Chukadeva-kṛta Siddhānta Pradīpaḥ
She who has a multitude, a mass of dark locks. O Dharma! O Vidura! [31-32] Approaching - treating her with all honor, out of trust and affection [33]. Beauty alone is wealth, with that as commodity suitable for transaction, to be offered - this is the meaning [34]. Whom do you churn and agitate? [35] O praiseworthy one! Your lotus feet do not win in one place, but excel in various graceful movements. Your pure, clear gaze wins as if tired and slow. Your beautiful mass of hair wins. Striking with your hand the bouncing ball resembling a falling insect, your large breasts' weight frightens your waist which sinks. Here, the setting sun is the ball. Since the early part of twilight is swallowed by day and the later part by night, the brief time in between is like a sinking waist. The sun's rays, free from excessive heat, are like a clear, tired gaze. The mass of clouds then is like the mass of hair - this should be understood [36-37]. The glorious four-faced one, with a deep inner feeling, smiling as if smelling himself with himself, with a radiant splendor indicating his surpassing self-experience through smelling [38]. Those very hosts of gandharvas etc. [39]. Who - by their own laziness [40].
Śrīmad Vallabhācārya Viracitā Subodhinī Vyākhyā
Having described her form with two verses, he now describes her feminine nature - concealing herself with modesty. Here, the self has taken on the nature of Śrī; by whatever gesture she appears hidden, she makes such a gesture out of modesty - this is the meaning. Some say she conceals her visible limbs with a garment. Just as external objects are conceived by the intellect, so too modesty here. And she has a mass of dark-colored locks. By this her characteristic marks are described. Some describe her as spiritual. The tinkling of anklets is the sounds of birds etc.; the rising and setting of meaning are the moon and sun as eyes; reddish clouds are her hair; the sky itself is her garment; the horizons are shores; the desires of lover and beloved are her breasts, or cakravāka birds; her excellent nose is parrots, her teeth are jasmine etc., or birds due to association with "excellent twice-born"; her loving smile indicates connection with a man; her glance is accompanied by playfulness at that time. The emotions of passionate women, or of bees etc. on blooming flowers. The disappearance of twilight each moment is the seizing; modesty is the good deeds at that time; darkness is the mass of hair. These qualities are only indicators, not the full meaning, otherwise the sentence meaning would be contradicted and all statements opposed. Therefore describing these as indicators alone is appropriate. If the goddess were not thus, such states would not occur in the world at twilight. Having thus described her, he states the effect of seeing her - Upalabhya. The address "O Dharma" to Vidura is to prevent delusion. The meaning is "O Dharmarāja". The partial address is because he is not currently a king, indicating only his existing dharma. All the asuras became completely deluded. The cause of delusion is femininity alone, therefore it is described at the end [31]. He states the words expressing the state of those who saw her and were enchanted by her nature - Aho rūpam. After praising her form, its wonderful nature is affirmed. "Aho dhairyam" is similar. Her desire is indicated to be great by her gestures, yet she who is not greedy, therefore her steadiness is wonderful - this is the meaning. Lest one think these two are not causes for wonder in one who has enjoyed pleasures or is elderly, he says - Aho asyā navaṁ vaya. New means unused, or freshly blossomed; wonder is affirmed regarding her youth. Thus her three faults producing the symptoms of desire - how is she desireless? Her special gliding indicates her desirelessness, the main stupefaction is expected. She is indeed desireless since emotions etc. are visible. Moreover, not only are her inner faults thus, but also outer ones - he says madhye kāmayamānānām. We are all desirous, therefore since desire is necessary and encompassing, how could she be desireless in the midst? This is the meaning [32]. If one objects "due to lack of acquaintance", then "we will make her acquainted through conversation" - with this intention they made an effort for conversation, as he states - vitarkayantaḥ. They questioned in many ways the twilight in the form of a young woman, conjecturing - this is the connection. "In many ways" is for the purpose of nature, connection etc., not doubt about her femininity or suitability for enjoyment; rather the questions that are asked are in the form of doubt. Conjecture is for knowledge from oneself before questioning. One from whom there is great intoxication. And she is a goddess in female form. Approaching respectfully, having praised her, and asked about her welfare etc. - this is the meaning. Out of trust - out of confidence that "she will resort to us". All around - with distinctions of name, family etc. Foolish - due to not knowing her divine nature, for a goddess is not to be enjoyed. She is only to be seen, not touched - this is the meaning [33].
They ask three questions: "Who are you?" - a question about caste and family. "Whose are you?" - a question about relatives, father and husband. "What is the purpose of your coming here?" - this is the third question. These questions are only for the sake of courtesy, there is no purpose in knowing the answers. "O beautiful one" is praise. "O noble lady". It is immediately known that you are great, your task is great. But there is one impropriety of yours, that you trouble us poor people with the merchandise of your beauty and wealth. Beauty itself is wealth like gold etc., and that itself is the merchandise, obtainable for much money. And we are unfortunate, without the money to pay for it, therefore you trouble us. Some ignorant people, not knowing the means, have spoken thus. (34)
Others say: "Who or what are you?" You are someone or other. "Vā" indicates disregard. "Svid" indicates conjecture. There is disregard in relation or conjecture. By addressing "O weak one", it is indicated that service should be done for one without strength, that we will do foot massage etc. It is certain that we are not unfortunate, but fortunate, since your appearance has occurred. This is by good fortune. They speak with guilt - "You excite". You are entirely a deity; they also suggest that worship and vision of a deity does not occur with little fortune. You excite our minds with your ball game, just as Soma is purified with stones, you press our minds upwards, from where it rises upwards. The ball game involves moving the body, in which there is contraction and expansion of the limbs. Therefore the mind that desires to see becomes agitated moment by moment - this is the distress of the mind. (35)
Others who are sattvic, thinking "She is not to be reproached, but praised, therefore she will be pleased by praise", composed a praise: "Not in one place". For in the Kama Shastra, the beloved herself is the deity, as per the statement "We praise them". Describing supernatural beauty is itself praise through describing greatness. He says this: "O graceful one, charming one, or endowed with modesty, your lotus feet are victorious not in one place." The well-known lotus is beautiful only in water, but yours everywhere - this is the distinction. The term "lotus feet" also indicates devotion. Not victorious in one place, but everywhere. "Not in one place" or in many places. He states the reason for the movement of the lotus feet: "Repeatedly striking". Again and again, striking falling insects with the palm of the hand. Going for the ball, striking bees that come in the middle with the palm. They also become falling insects. The singular is used with reference to the species. Or due to their sattvic nature, they consider it to be the sun itself - the setting sun is struck by the evening rays. To remove distress that "the middle sinks", the meaning is that we should support the two water pots. There is distress due to thinness. Thinness of the waist is also a characteristic of the highest woman, otherwise no bonds would fit in the third position. The reason for the distress: "Due to the weight of the large breasts". "Frightened" means not only distress, but also fear that there will be a break. The meaning is that one should remain lying down. Moreover, your gaze has become as if tired, full of emotion and endowed with languor. Fatigue of the body is from external actions, languor is of the mind. "One whose hair is nicely arranged". Therefore the meaning is that lying in the lap should be done. (36)
Having praised her thus, when she remained silent, knowing that "What is not prohibited is approved", they all seized her, it is said. The evening, western twilight, behaving like a woman and enticing with herself, arousing desire. If a woman has become enticing, then knowing that success has occurred, they seized, embraced her, since these are of foolish intellect. The statement is thus because even the sons of Brahmā do not know the truth. Then what happened? He says: They all embraced her, when she had entered into them, like those possessed by spirits, they smelled themselves with themselves. At first satisfied as if embraced by her, after a moment not seeing her, thinking "She has disappeared to deceive us", smiling deeply as it happens, afterwards knowing themselves to be women, not seeing the determining form etc., thinking her to have the fragrance of a lotus, they smell to know through the nose. (38)
Having thus spoken of the threefold creation in one way first, he speaks in a second way: "He created with beauty". Beauty is loveliness. This is the sattvic creation. Some say it is rajasic, (but) the Sādhyas and Pitṛs are sattvic. That should be considered. "The Lord" indicates returning to the source, since the begun qualities have ended. "Groups of Gandharvas and Apsaras" means subdivisions of intermediate species. "He emitted": He also emitted that body, it became moonlight, since it was made of radiance. The reading "radiant" also means the same. For she is dear to Brahmā, or to the Gandharvas and Apsaras; for they delight only in moonlight. Therefore those groups themselves took her. And material moonlight too, from the "and". Viśvāvasu is the chief in the Veda, as per the śruti "Viśvāvasu stole", and the statement of glory "Viśvāvasu, Pūrvacitti of the Gandharvas and Apsaras". (39)
"Having created": Tandrī is sleepy languor, with that he created beings and Piśācas. And this creation is not only this much, but there is more also - to indicate this, the ktvā suffix is used in "sṛṣṭvā". And the opening of the eyes is an intermediate action in sleepy languor. The created Piśācas were naked and with loose hair. Seeing those inauspicious ones, he closed his eyes. And by closing, the group of the insane was produced. And two bodies were abandoned. (40)
Śrīmad Gosvāmi Śrī Puruṣottama Caraṇa Viracitaḥ Śrī Subodhinī Prakāśaḥ
On "gṛhantīṃ brīḍayā": They state Śrīdhara's view: "Being seen" etc. Again they state Śrīdhara's view, this is of others. "Some" etc. To explain the essence of the Tantras, they say: "These" etc. They are indeed indicators of such a divine form, not merely figurative statements. If this is not accepted, then the literal meaning of Śrī Rūpa's words would be impossible and contradicted, and there would be contradiction with the descriptions of delusion, steadiness, grasping etc. in the following verses. (31)
On "addo iti": "Special slithering" means concealing one's own form. (32)
On "naikatra": Intending compound with the word "na", they say "or in many places". On "kāntyā": "In one way" etc. Having spoken of the tamasic-tamasic, tamasic-sattvic, tamasic-rajasic way, he speaks of the sattvic-sattvic, sattvic-tamasic, sattvic-rajasic way - this is the meaning. "Sattvic": Because the body that produced this is luminous and dear, this effect is also sattvic - this is the meaning. "Rajasic" etc: This is not Śrīdhara's view. They state a flaw in the other view: "To be considered" means it should be considered due to lack of reasoning. (39)
On "sṛṣṭvā": "Abandoned" means closed. (40)
Śrī Giridhara-kṛtā Bāla Prabodhinī
She was adorned with a mass of dark curls, hiding herself out of shyness and covering her body with the edge of her garment. O Dharmarāja, the asuras became infatuated upon seeing her. (31)
They exclaimed about her appearance: "Oh, what a wondrous form and beauty! Oh, what youthful age! Oh, what composure! She moves about as if indifferent among us who are filled with desire." The use of "as if" suggests that although outwardly she showed no signs of desire, inwardly she possessed desire due to being female. (32)
Therefore, confident that she would favor them, they approached that evening twilight in the form of a beautiful woman, honored her with greetings, and questioned her in various ways. In case one wonders how a divine form could be suitable for those asuras' enjoyment, it is explained that this was merely their delusion due to lust. (33)
He shows their questioning with three verses. Indicating the arousal of desire in their minds, they address her: "O Rambhoru!" Then, suggesting she should not be angered, they address her again: "O passionate one!" "Who are you?" is a question about her identity. "Whose are you?" is a question about her relations like father or husband. "What is your purpose in coming here?" After asking about her background, they express their distress: "You torment us poor unfortunates, unable to pay the price, by displaying your beauty which is priceless wealth and merchandise." The meaning is that she pains them by arousing desire. (34)
By addressing her as "O immovable one," they suggest her power lies only in arousing desire, not physical strength. What need for questions about caste and family? Be whoever you are. We are fortunate to see you, but you agitate the minds of us onlookers with your ball game, churning us with aroused desire. (35)
Praising her, thinking everyone is pleased by praise, they describe her ball game: "O graceful one, your lotus feet excel in various playful movements. As you repeatedly strike the bouncing ball with your palm, your slender waist sinks weary from the weight of your full breasts. Your pure, unwavering gaze spreads slowly. Your beautiful mass of hair is lovely." If read as "suśikhāḥ samūhe", it means "gather your scattered beautiful hair." (36)
Speaking thus, the foolish, deluded asuras seized the evening twilight, thinking her a woman behaving like a passionate lady and thus enticing them by arousing desire. (37)
She smiled deeply in a profound, inscrutable way, and disappeared while seeming to inhale her own body. If read as "jighran", it is an easily understood descriptor of Brahmā. Then Lord Brahmā created groups of gandharvas and apsarases from his radiance and beauty. (38)
He (Brahmā) abandoned that dear, radiant, beautiful form. The gandharvas led by Viśvāvasu joyfully took up that abandoned form which became moonlight. (39)
From his drowsiness, Lord Brahmā created bhūtas and piśācas. Seeing them naked and disheveled, he closed his eyes. (40)
Hindī Anuvāda
That delicate maiden, adorned with dark blue locks of hair, seemed to shrink into her own veil out of shyness. Bidurji! Seeing that beauty, all the asuras became enchanted. (31)
"Oh! What a strange form, what extraordinary patience, and what a novel state she is in. Look, how carelessly she moves among us who are afflicted by desire." (32)
In this way, those evil-minded demons, after discussing various arguments about the twilight in the form of a woman, then respectfully and lovingly asked her: (33)
"Beautiful one! Who are you and whose daughter are you? O charming lady! What is the purpose of your coming here? Why are you tantalizing us unfortunate ones by showing this priceless bargain of your unparalleled beauty?" (34)
"O delicate one! No matter who you are, it is our great fortune to have seen you. You churn the minds of us onlookers by bouncing your ball up and down." (35)
"O beautiful one! When you pat the bouncing ball with your palm, your lotus feet do not stay in one place, your waist region seems to tire from the weight of your full breasts, and even your clear gaze begins to show fatigue. Oh! How beautiful is your hair!" (36)
In this way, that evening twilight, manifested in female form, made them extremely lustful, and those fools, mistaking her for some jewel of a woman, accepted her. (37)
Then Brahma, laughing deeply, created gandharvas and apsaras from his radiant form, which seemed to savor its own beauty. (38)
He abandoned that radiant, beloved body in the form of moonlight. The gandharvas, led by Vishvavasu, gladly accepted it. (39)
After this, Lord Brahma created bhūtas (bhūta; spirits) and piśācas (piśāca; goblins) from his drowsiness. Seeing them naked and with disheveled hair, he closed his eyes. (40)
SB 3.20.31-40
