2023-09-10 12:46:08 by ambuda-bot
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Introduction
xlix
The curled hairs Is it the garlands made of lilies (of the Lord possessed)
of the colour of the honey-bees? Or is the Kālindī falling from Vișnu's
head, having ascended his head in rivalry with the Gangā worn on his head
by Hara? Or is it Rāhu approaching Vișnu's face with his inner soul (his
mind) excited by the illusion of a full moon? Let the row of the curled hairs
of the spouse of Lakṣmī, conceived thus differently by people, ever bestow
prosperity on us.
us.[45]85
While he is asleep, the hairs of Visņu, the foe of the demon Kesin,
assuming the form of matted hairs (dormant or invisible in form) are im-
perceptible even to the Gods. They spread over the far regions of the sky,
their light (colour) overshadowed by the radiation of the gems in the middle
of the ornaments. They look like the radiation of the rays from his body,
and resemble the clouds of smoke (rising) from the fire of anger burning
the bodies of his enemies. Let these hairs accomplish the removal of the
innumerable ropes of bondage. [46]86
The crest
The crown of Viṣṇu, by the effulgence of the multitude of radiating rays
from the precious gems studded in it, makes it difficult to look at his body,
which resembles the sky lit by hundreds of suns. It creates the illusion of
the ocean fire glowing with its immense flames blazing on the seashore. May
this crown bestow happiness on us, removing the darkness of our impurities
caused by the Kali age.[47]87
previous one. In this verse, the intellect is conceived as a dancer dancing on a stage with
the form of the forehead of Vișnu. On the stage, the Sivalinga is installed on a pedestal
of hairs before any performance. The intellect is hidden by ignorance as if by a curtain.
When the curtain is removed, the dancer will enact the play in the form of concentration
or meditation. The description of a stage in the form of the forehead is completed by the
imagery of the enactment of a play. The forehead in the cosmic body is identified with
the tapo-loka.
85 In this and the next verse, the mass of curled hairs of Viṣṇu is described by a series of
exaggerated similes. In the next verse, the third pada describes the curled hairs moving
in the air as the blue smoke rising from the fire of anger against his enemies, burning their
bodies like incense. In the cosmic body, the curled hairs are represented by the clouds.
86 There are five kleśa-s according to Yogasutra 2.3. Here, the commentary reconciles
the sankhya concept with that of the Yogasutra.
87 The crown of Vișnu is described in this verse. By the light of the jewels studded in it,
the body of the Lord is compared to the sky simultaneously illuminated by hundreds of
suns. In the second half, the crown itself is conceived as creating the illusion of the ocean
fire with blazing flames on its shore.
xlix
The curled hairs Is it the garlands made of lilies (of the Lord possessed)
of the colour of the honey-bees? Or is the Kālindī falling from Vișnu's
head, having ascended his head in rivalry with the Gangā worn on his head
by Hara? Or is it Rāhu approaching Vișnu's face with his inner soul (his
mind) excited by the illusion of a full moon? Let the row of the curled hairs
of the spouse of Lakṣmī, conceived thus differently by people, ever bestow
prosperity on us.
us.[45]85
While he is asleep, the hairs of Visņu, the foe of the demon Kesin,
assuming the form of matted hairs (dormant or invisible in form) are im-
perceptible even to the Gods. They spread over the far regions of the sky,
their light (colour) overshadowed by the radiation of the gems in the middle
of the ornaments. They look like the radiation of the rays from his body,
and resemble the clouds of smoke (rising) from the fire of anger burning
the bodies of his enemies. Let these hairs accomplish the removal of the
innumerable ropes of bondage. [46]86
The crest
The crown of Viṣṇu, by the effulgence of the multitude of radiating rays
from the precious gems studded in it, makes it difficult to look at his body,
which resembles the sky lit by hundreds of suns. It creates the illusion of
the ocean fire glowing with its immense flames blazing on the seashore. May
this crown bestow happiness on us, removing the darkness of our impurities
caused by the Kali age.[47]87
previous one. In this verse, the intellect is conceived as a dancer dancing on a stage with
the form of the forehead of Vișnu. On the stage, the Sivalinga is installed on a pedestal
of hairs before any performance. The intellect is hidden by ignorance as if by a curtain.
When the curtain is removed, the dancer will enact the play in the form of concentration
or meditation. The description of a stage in the form of the forehead is completed by the
imagery of the enactment of a play. The forehead in the cosmic body is identified with
the tapo-loka.
85 In this and the next verse, the mass of curled hairs of Viṣṇu is described by a series of
exaggerated similes. In the next verse, the third pada describes the curled hairs moving
in the air as the blue smoke rising from the fire of anger against his enemies, burning their
bodies like incense. In the cosmic body, the curled hairs are represented by the clouds.
86 There are five kleśa-s according to Yogasutra 2.3. Here, the commentary reconciles
the sankhya concept with that of the Yogasutra.
87 The crown of Vișnu is described in this verse. By the light of the jewels studded in it,
the body of the Lord is compared to the sky simultaneously illuminated by hundreds of
suns. In the second half, the crown itself is conceived as creating the illusion of the ocean
fire with blazing flames on its shore.