Chapter 3.34, Verses 12–24

Yoga Vashishtha 3.34.12–24

(These verses describe vivid scenes from a fierce battlefield, portraying the chaos, horror, and futility of war through the cries and observations of warriors and onlookers)

श्रीवसिष्ठ उवाच ।

आपादशृङ्खलाप्रोतभ्रमत्स्थूलोपलद्वयम् ।

भ्रामयंश्चित्रदण्डाख्यं चक्रमूर्ध्वभुजो जवात् ॥ १२ ॥

योधो यम इवाभाति याम्यादायाति दिक्तटात् ।

सर्वतः संहरन्सेनामेहि यामो यथागतम् ॥ १३ ॥

सद्यश्छिन्नशिरश्वभ्रमज्जत्कङ्ककुलाकुलाः ।

कबन्धाः परिनृत्यन्ति तालोत्ताला रणाङ्गणे ॥ १४ ॥

गीर्वाणगणगोष्ठीषु प्रवृत्ताः संकथा मिथः ।

कदा लोकान्तरं धीराः कथं यास्यन्ति के कुतः ॥ १५ ॥

निगिरत्यागताः सेनाः स्रवन्तीरिव सागरः ।

समत्स्यमकरव्यूहा अहो नु विषमो भटः ॥ १६ ॥

कटेषु करिणां कीर्णा धारानाराचराजयः।

पतिता इव संपूर्णाः शृङ्गसंघेषु वृष्टयः ॥ १७ ॥

हा कुन्तेन शिरो नीतं ममेत्येव विवक्षतः।

शिरसाऽजीवमित्येवं खे खगेनेव वाशितम् ॥ १८ ॥

यन्त्रपाषाणवर्षेण यैषास्मान्परिषिञ्चति।

सेनानुशृङ्खलाजालवलना क्रियतां बलात् ॥ १९ ॥

वलीपलितनिर्मुक्तं पूर्वभार्याप्सराः सती ।

अङ्गीकरोति भर्तारं परिज्ञाय रणे हतम् ॥ २० ॥

आदिवं रचिताकाराः कुन्तकाननकान्तयः ।

वीराणां स्वर्गमारोढुमिव सोपानपङ्क्तयः ॥ २१ ॥

कान्तकाञ्चनकान्ताङ्गे भटस्योरसि कामिनी ।

दृष्टा देवपुरन्ध्रीयं भर्तुरन्वेषणान्विता ॥ २२ ॥

हा हतं सैन्यमस्माकं भटैऽरुद्धतमुष्टिभिः ।

महाप्रलयकल्लोलैः सुरशैलस्थलं यथा ॥ २३ ॥

युध्यध्वमग्रतो मूढा नयतार्धमृतान्नरान्।

निजान्पादप्रहारेण मैतान्दारयताधमाः ॥ २४ ॥

Maharishi Vashishta continued: 

3.34.12–17

>A warrior whirls a heavy club overhead with both arms swiftly, like two large stones tied to chains, spinning the weapon called "Chitradanda" rapidly.

> He appears like Yama (the God of death) himself, coming from the southern direction, swiftly destroying armies on all sides, just as death arrives and takes everything away.

> Severed heads roll around, and headless bodies (kabandhas) dance wildly on the battlefield amid flocks of vultures, with loud rhythmic clapping sounds.

> In gatherings of Gods in heaven, conversations arise among them: "When will these brave souls go to the other world? How will they reach there, and from where?"

> The armies are swallowed up as they come, like rivers flowing into the ocean filled with fish and crocodiles. Ah, what a terrible warrior this is!

> Sharp arrows fall thickly on the elephants' sides, like heavy rains pouring completely over mountain peaks.

3.34.18–24

> As a head is cut off by a spear, the dying warrior tries to say "Alas, my head is taken!" but only a lifeless cry echoes in the sky like a bird's call.

> "Capture forcefully that enemy who showers us with a rain of stones and machines, binding our army in chains of shackles!"

> Apsara wives from earlier lives, now free from old age and wrinkles, recognize and embrace their slain husbands as true companions in the battle.

> The shining spears and arrows, arranged like forests, appear as stairways of light for the brave warriors to ascend to heaven.

> On the chest of a warrior adorned with golden ornaments, a loving woman is seen, like a divine lady from the gods' city searching for her husband.

> "Alas, our army is destroyed by these warriors with clenched fists, just as the peaks of divine mountains are swept away by huge waves of the great dissolution."

> "Fight forward, you fools! Carry the half-dead men to the rear. Do not trample your own fallen comrades with your feet, you lowly ones!"

Summary of the Teachings:

These verses form part of a graphic depiction of battlefield carnage in the Yoga Vasishta, where Sage Vasishta illustrates the transient and illusory nature of the world through the lens of war. The intense imagery of whirling weapons, severed heads, dancing corpses, and devouring armies serves as a metaphor for the relentless cycle of birth, death, and destruction driven by ignorance and desire. War here symbolizes the inner conflict and external chaos arising from attachment to the body and ego, reminding the seeker that what appears real and glorious is ultimately fleeting and painful.

The verses highlight the inevitability of death (personified as Yama-like warriors) and the futility of physical strength or bravery in the face of time and karma. 

Scenes of vultures circling, headless bodies dancing, and cries echoing in vain underscore how the body, once proud and powerful, becomes food for birds and mere spectacle. This vivid portrayal teaches detachment from the physical form, showing that clinging to it leads only to horror and loss, while true liberation lies beyond identification with the perishable.

Conversations among Gods and the ascent of warriors via "stairways" of arrows point to the cultural belief in martyrdom leading to heaven, yet the text subtly critiques this by framing it within illusion (maya). Even celestial rewards or reunion with divine spouses are presented amid gore, suggesting that such hopes are still part of the dream-like world. The teaching urges discernment: what seems heroic or divine is transient, and true wisdom involves seeing through these appearances to the unchanging Self.

The horror of destruction—armies swallowed like rivers into the sea, rains of arrows, and pleas amid chaos—illustrates the destructive power of uncontrolled passions and ignorance. War becomes an allegory for samsara (worldly existence), where beings are trapped in cycles of action and reaction, suffering endlessly. Vasishta uses this to awaken Rama (and the reader) to the absurdity of pursuing worldly victories or sensory pleasures, which end in ruin.

Ultimately, these verses teach vairagya (dispassion) and the recognition of the world's dream-like quality. By immersing in such terrifying yet poetic descriptions, the mind is shocked out of complacency, leading toward inquiry into the real nature of existence. The battlefield is not just external but mirrors the mind's turmoil; transcending it through Knowledge of the Self brings peace beyond all conflict.

Chapter 3.34, Verses 1–11

Yoga Vashishtha 3.34.1–11

(The body, family, and achievements are impermanent; clinging to them brings sorrow)

श्रीवसिष्ठ उवाच ।

अथ राज्ञां युयुत्सूनां भटानां मन्त्रिणामपि ।

नभसः प्रेक्षकाणां च तत्रेमाः प्रोदगुर्गिरः ॥ १ ॥

चलत्पद्मं सर इव वहद्विहगमेव च ।

नभः शूरशिरःकीर्णं भाति तारकिताकृति ॥ २ ॥

पश्य रक्तपृषत्पूरसिन्दूरारुणमारुतैः।

सांध्या इव विभान्त्येते मध्याह्नेऽम्बुदभानवः ॥ ३ ॥

किमिदं भगवन्व्योम पलालभरितं स्थितम् ।

नेदं पलालं वीराणामेते शरभराम्बुदाः ॥ ४ ॥

यावन्तो भुवि सिच्यन्ते रुधिरे रणरेणवः।

तावन्त्यब्दसहस्राणि भटानामास्पदं दिवि ॥ ५ ॥

मा भैष्ट नैते निस्त्रिंशा नीलोत्पलदलत्विषः ।

अमी वीरावलोकिन्या लक्ष्म्या नयनविभ्रमाः ॥ ६ ॥

वीरालिङ्गनलोलानां नितम्बे सुरयोषिताम् ।

मेखलाः शिथिलीकर्तुं प्रवृत्तः कुसुमायुधः ॥ ७ ॥

लसद्भुजलतालोला रक्तपल्लवपाणयः।

मञ्जरीमत्तनयना मध्वामोदसुगन्धयः ॥ ८ ॥

गायन्त्यो मधुरालापैर्नन्दनोद्यानदेवताः ।

तवागमनमाशङ्क्य प्रवृत्ताः परिनर्तितुम् ॥ ९ ॥

प्रत्यनीकं भिनत्त्यन्तः कुठारैः कठिनैरियम् ।

सेना ग्राम्येव वनिता दयितं दृष्टिचेष्टितैः ॥ १० ॥

हा पितुर्मम भल्लेन शिरो ज्वलितकुण्डलम् ।

सूर्यस्य निकटं नीतं कालेनेवाष्टमो ग्रहः ॥ ११ ॥

Maharishi Vashishta said:

3.34.1–6

> Then, from the sky, these words arose from the kings eager for battle, their warriors, ministers, and the spectators watching from above.

> The sky looks beautiful, scattered with stars like a lake with moving lotuses and flying birds, filled with the heads of brave warriors.

> Look, these clouds in the midday shine red like evening clouds, colored by the wind carrying drops of blood and vermilion-like redness.

> What is this sky filled with straw-like things? These are not straw; they are the clouds of arrows from the brave warriors.

> As many drops of blood are sprinkled on the earth in battle dust, so many thousands of years do the warriors' abodes last in heaven.

> Do not fear; these are not shining swords with the hue of blue lotuses. These are the charming glances of the eyes of Lakshmi, who looks at the heroes.

3.34.7–11

> The god of love (Cupid) has begun to loosen the girdles on the hips of heavenly women who are eager to embrace the heroes.

> They have swaying arms like lotus stalks, hands like red fresh leaves, eyes intoxicated like blossoms, and sweet fragrance of honey.

> The goddesses of the heavenly gardens are singing sweet songs and have started dancing, anticipating your arrival.

> This army breaks the opposing side from within with hard axes, just as a village woman breaks her beloved's hard heart with playful glances.

> Alas, my father's head, with blazing earrings, was carried by an arrow near the sun, like the eighth planet brought close by time (death).

Summary of the teachings:

These verses vividly describe a fierce battlefield from an elevated, poetic perspective, where the sky itself becomes a canvas reflecting the chaos and glory of war. The sounds of warriors, kings, and spectators rise like echoes, while the atmosphere fills with arrows that look like clouds or scattered straw. This imagery teaches that the world of action, especially violent conflict, creates illusions of grandeur. What appears terrifying or material (like blood-red clouds or arrow-filled skies) is transient and dream-like, highlighting the impermanence of sensory phenomena in the grand play of existence.

The description of blood drops leading to long-lasting heavenly rewards for warriors points to the law of karma. 

Acts in battle, even heroic ones, bind the soul to cycles of reward in higher realms, yet these rewards are temporary (thousands of years in heaven still finite). The teaching emphasizes detachment: true liberation comes not from accumulating merits through valor or sacrifice, but from recognizing the illusory nature of such gains and the endless wheel of birth and death.

A shift occurs when fear of weapons is dismissed, and swords are poetically reinterpreted as enchanting glances of Divine Lakshmi or attractions from heavenly Beings. This reveals how the mind projects beauty and desire even onto horror. The verses teach that perception is subjective—what seems deadly can be seen as alluring through illusion (maya). The mind fabricates opposites (fear vs. charm) in the same event, underscoring the need to transcend dualistic seeing and Realize the non-dual Reality beyond appearances.

The imagery of Cupid loosening girdles of celestial women and goddesses dancing in anticipation portrays war as a path to sensual or heavenly enjoyments. It satirizes the warrior's mindset, where death in battle promises union with divine beauties. The deeper teaching critiques attachment to rewards, showing how desires (for glory, pleasure, or afterlife bliss) fuel action and bondage. True Wisdom lies in seeing through these lures and seeking freedom from all desires.

Finally, the lament over a father's severed head rising to the sun like an eclipse symbolizes the ultimate futility and tragedy of war. Even the mightiest fall, and time (death) devours all. This verse teaches profound vairagya (dispassion): the body, family, and achievements are impermanent; clinging to them brings sorrow. The overall message of these verses is to awaken from the dream of worldly strife, recognize the illusory nature of phenomena, and turn inward toward Self-Realization and peace beyond the battlefield of life.

Chapter 3.32, Verses 15–28

Yoga Vashishtha 3.32.15–28

(The chaotic army and war represent the ego-driven world of duality—attackers and defenders, winners and losers—but in truth, there is only One Infinite Consciousness)

श्रीवसिष्ठ उवाच ।

मिथःसंस्थानकालोकमात्रासंदिग्धजीवितम् ।

समस्ताङ्गरुहासक्तप्रांशुवृद्धेभमानवम् ॥ १५ ॥

पूर्वप्रहारसंप्रेक्षाव्यग्रप्राणतया तया।

संशान्तकल्लोलरवं निद्रामुद्रपुरोपमम् ॥ १६ ॥

संशान्तशङ्खसंघाततूर्यनिर्ह्राददुन्दुभि ।

भूतलाकाशसंलीनसर्वपांसुपयोधरम् ॥ १७ ॥

पलायनपरैः पश्चात्त्यक्तमङ्गुलमण्डलम् ।

विसारिमकरव्यूहमत्स्यसंख्याब्धिभासुरम् ॥ १८ ॥

पताकामञ्जरीपुञ्जविजिताकाशतारकम् ।

हास्तिकोत्तम्भितकरकाननीकृतखान्तरम् ॥ १९ ॥

तरत्तरलभापूरसपक्षसकलायुधम् ।

धमद्धमितिशब्दैश्च श्वासोस्थैर्ध्मातखान्तरम् ॥ २० ॥

चक्रव्यूहकराक्रान्तदुर्वृत्तसुरभासुरम् ।

गरुडव्यूहसंरम्भविद्रवन्नागसंचयम् ॥ २१ ॥

श्येनव्यूहविभिन्नाग्रसंनिवेशोत्तमध्वनि ।

अन्योन्यास्फोटनिःशेषप्रपतद्भूरिवृन्दकम् ॥ २२ ॥

विविधव्यूहविन्यासवान्तवीरवरारवम् ।

करप्रतोलनोल्लासमत्तमुद्गरमण्डलम् ॥ २३ ॥

कृष्णायुधांशुजलदश्यामीकृतदिवाकरम् ।

अनिलाधूतपल्यूलसूत्कृताभशरध्वनि ॥ २४ ॥

अनेककल्पकल्पाग्रसवृन्दमिव संस्थितम् ।

प्रलयानिलसंक्षुब्धमेकार्णवमिवोत्थितम् ॥ २५ ॥

सद्यश्छिन्नं महामेरोः पक्षद्वयमिव स्फुरत् ।

क्षुब्धमारुतनिर्धूतमिव कज्जलपर्वतम् ॥ २६ ॥

पातालकुहरात्क्षुब्धमन्धकारमिवोत्थितम् ।

लोकालोकमिवोन्मत्तनृत्यलोललसत्तटम् ।

महानरकसंघातं भित्त्वावनिमिवोत्थितम् ॥ २७ ॥

आलोलकुन्तमुसलासिपरश्वधांशुश्यामायमानदिवसातपवारिपूरैः ।

एकार्णवं भुवनकोशमिवाचिरेण कर्तुं समुद्यतमगाधमनन्तपूरैः ॥ २८ ॥

Maharishi Vashishta continued:

3.32.15–22

> The world appears doubtful and uncertain in its existence, with life hanging by a thread, as if the entire army of tall, proud men with raised arms and weapons is ready for battle.

> With soldiers eagerly watching the initial attacks, their breath held in tension, the battlefield is like a sleeping city now silent, with waves of noise calmed down.

> The sounds of conch shells, drums, trumpets, and war drums have stopped; the entire ground and sky seem merged, with all dust and clouds settled down.

> Behind the fleeing soldiers, abandoned finger-like formations are left; the ocean-like army shines with countless fish-like formations of spreading crocodile arrays.

> Bunches of flags and banners outshine the stars in the sky; the space between is darkened by raised elephant trunks forming a forest-like canopy.

> Weapons flash like swift lightning with wings; the air inside is filled with sounds of blowing conches and heavy breathing like "dhama-dhami."

> The wicked demons and gods are crushed under wheel-like formations of hands; the Garuda military array causes snakes (enemies) to flee in panic.

> The falcon-like array breaks the front lines with supreme noise; mutual clashes cause huge crowds to fall completely.

3.32.23–28

> Various military formations roar with the best warriors' cries; raised hands swing wildly like maddened hammer circles in excitement.

> The rays from black weapons darken the sun like clouds; wind-blown flags make sharp sounds like arrows flying with cries.

> It stands like a multitude gathered at the end of many eons; disturbed by the wind of dissolution, it rises like the single ocean at Creation.

> It shines like both wings of the great Meru mountain suddenly cut off; like a black mountain shaken and blown by stormy winds.

> It rises like darkness disturbed from the caves of the underworld; like the mad dancing waves at the edge of the worlds (Lokaloka); like breaking through the earth to rise with huge crowds from great hells.

> With waving spears, clubs, swords, and axes whose shining rays darken the daylight like floods of water; it is ready in an instant to turn the entire Universe into a single boundless ocean with endless floods.

Summary of the Teachings:

These verses form part of a larger description in the Yoga Vasistha where Sage Vasishta illustrates the illusory and dream-like nature of the world to Rama. The vivid, intense portrayal of a grand battlefield full of armies, weapons, noises, and chaos serves as a metaphor for the apparent reality we experience. Just as this terrifying war scene seems solid and frightening, the entire Universe appears Real to the ignorant mind, filled with conflicts, movements, and destruction. The teaching emphasizes that what looks like a massive, independent event is actually a projection of the mind, lacking true substance.

The detailed imagery—flags outshining stars, elephants forming canopies, weapons darkening the sun, sounds filling the air—highlights how the mind creates multiplicity and grandeur out of nothing. 

This over-the-top description shows the power of imagination (kalpana) to build entire worlds, armies, and battles from Pure Consciousness. The purpose is to demonstrate that the perceived world, with all its drama and violence, is as unreal as a dream battlefield that vanishes upon waking.

By comparing the scene to Cosmic events—like the ocean at dissolution, cut wings of Meru mountain, rising darkness from underworld, or the world turning into a single ocean—the verses point to the transient and cyclic nature of existence. Nothing in this spectacle has permanence; it arises, rages, and dissolves like pralaya (Cosmic dissolution). This teaches detachment: one should not get caught in the apparent solidity or terror of worldly events, as they are mere vibrations in consciousness.

The core teaching is about the non-dual Reality (Advaita). The chaotic army and war represent the ego-driven world of duality—attackers and defenders, winners and losers—but in truth, there is only One Infinite Consciousness. The battlefield is "mithya" (illusory), uncertain, and dream-like, as stated in the opening lines. Realizing this leads to liberation from fear, attachment, and suffering caused by identifying with this unreal play.

Ultimately, these verses urge inquiry into the nature of Reality. By contemplating such intense but unreal scenes, the seeker understands that the Self (Atman) remains untouched by all this turmoil. The world appears as a battlefield only to the deluded mind; to the enlightened, it is peaceful Brahm. This leads to inner calm, Freedom from worldly agitations, and abiding in the Eternal Truth beyond birth, death, and conflict.

Chapter 3.32, Verses 1–14

Yoga Vashishtha 3.32.1–14

(Sage Vasishta narrates this vision to Rama as part of Lila's story, where she observes the earthly kings Viduratha and Padma from the heavens along with Saraswati)

श्रीवसिष्ठ उवाच ।

अथ वीरवरोत्कण्ठनृत्यदप्सरसि स्थिता।

लीलावलोकयामास व्योम्नि विद्यान्वितावनौ ॥ १ ॥

स्वराष्ट्रमण्डले भर्तृपालिते बलमालिते।

कस्मिंश्चिद्विततारण्ये द्वितीयाकाशभीषणे ॥ २ ॥

सेनाद्वितयमाक्षुब्धं सौम्याब्धिद्वितयोपमम् ।

महारम्भघनं मत्तं स्थितं राजद्वयान्वितम् ॥ ३ ॥

युद्धसज्जं सुसंनद्धमिद्धमग्निमिवाद्भुतम् ।

पूर्वप्रहारसंपातप्रेक्षाक्षुब्धाक्षिलक्षितम् ॥ ४ ॥

उद्यतामलनिस्त्रिंशधारासारवहज्जनम् ।

कचत्परश्वधप्रासभिन्दिपालर्ष्टिमुद्गरम् ॥ ५ ॥

गरुत्मत्पक्षविक्षुब्धवनसंपातकम्पितम् ।

उद्यद्दिनकरालोकचञ्चत्कनककङ्कटम् ॥ ६ ॥

परस्परमुखालोककोपप्रोद्दामितायुधम् ।

अन्योन्यबद्धदृष्टित्वाच्चित्रं भित्ताविवार्पितम् ॥ ७ ॥

लेखामर्यादया दीर्घबद्धया स्थापितस्थिति ।

अनिवार्यमहासैन्यझांकाराश्रुतसंकथम् ॥ ८ ॥

पूर्वप्रहारस्मयतश्चिरं संशान्तदुन्दुभि।

निबद्धयोधसंस्थाननिखिलानीकमन्थरम् ॥ ९ ॥

धनुर्द्वितथमात्रात्मशून्यमध्यैकसेतुना ।

विभक्तं कल्पवातेन मत्तमेकार्णवं यथा ॥ १० ॥

काये संकटसंरम्भचिन्तापरवशेश्वरम् ।

विरटद्भेककण्ठत्वग्भङ्गुरातुरहृद्गुहम् ॥ ११ ॥

प्राणसर्वस्वसंत्यागसोद्योगासंख्यसैनिकम् ।

कर्णाकृष्टशरौघौघत्यागोन्मुखधनुर्धरम् ॥ १२ ॥

प्रहारपातसंप्रेक्षानिष्पन्दासंख्यसैनिकम् ।

अन्योन्योत्कण्ठकाठिन्यभरभ्रुकुटिसंकटम् ॥ १३ ॥

परस्परसुसंघट्टकटुटङ्कारकङ्कटम् ।

वीरयोधमुखादग्धभीरुप्रेप्सितकोटरम् ॥ १४ ॥

Maharishi Vashishta said:

3.32.1–5

> Then Lila, standing with the Goddess of knowledge (Saraswati), joyfully watched from the sky the two kings on earth who were filled with wisdom.

> In their own kingdom, protected by their husbands (or Lords), surrounded by armies, in some vast terrifying forest that looked like a second sky.

> Two armies were greatly agitated, like two calm oceans, full of great efforts, intoxicated, and led by two kings.

> Ready for battle, well-armored, blazing wonderfully like fire, with eyes fixed on the first strikes and attacks of the enemy.

> Raising sharp swords with edges like streams, shining axes, spears, javelins, clubs, and hammers.

3.32.6–8

> Shaken by the flapping of wings like Garuda (eagle), trembling the forest, shining with golden armors under the rising sun's light.

> Weapons raised in fury from seeing each other's faces, eyes locked on one another, looking like pictures painted on a wall.

> Standing firm in long lines drawn like boundaries, with the great armies' unstoppable roar and talk heard.

3.32.9–14

> Smiling at the thought of the first blows for a long time, with drums silent now, all soldiers fixed in position, the whole army slow-moving.

> Divided by a single bridge in the empty middle like two bows, separated like a mad single ocean by the winds of creation.

> The Lords controlled by tight effort and worry in their bodies, hearts trembling and broken like frog throats croaking in fear.

> Countless soldiers ready to give up their life-breath completely, archers with bows drawn, ready to release floods of arrows.

> Countless soldiers still, watching the falling blows, with furrowed brows tight from mutual eagerness and hardness.

> With sharp clashing sounds of armor from mutual collisions, from the mouths of brave warriors, the fearful desired holes (or escapes).

Summary of teachings: 

These verses describe a dramatic scene of two mighty armies facing each other in intense preparation for battle. Sage Vasishta narrates this vision to Rama as part of Lila's story, where she observes the earthly kings Viduratha and Padma from the heavens along with Saraswati.

These verses illustrate the illusory and dream-like nature of the world. Just as Lila watches the two armies from above with detachment, the Realized soul sees worldly conflicts and preparations as unreal appearances in Consciousness. The armies symbolize the dualities and oppositions (like desire vs. duty, or ego vs. ego) that arise in the mind, appearing solid and fierce but ultimately projections of the same underlying reality. This scene teaches that what seems terrifying and Real on the ground level is merely a spectacle when viewed from Higher Awareness.

The detailed description of the armies' readiness, weapons, and tension highlights how the ego creates intense drama through attachment to roles like warrior or king. Every detail—the shining armors, locked gazes, and held breaths—shows the power of mental sankalpa (intention) to manifest apparent solidity and conflict. Vasishta uses this to remind that such preparations for battle arise from ignorance of the non-dual Self, where all divisions dissolve.

The comparison to oceans, fire, and painted pictures emphasizes impermanence and lack of true substance. The armies stand divided yet mirror each other, showing how opposites are interdependent and not separate. This teaches non-attachment: one should not get caught in the excitement or fear of worldly struggles, as they are like waves on the ocean of Consciousness —arising and subsiding without affecting the whole.

The Stillness before the clash, with drums silent and soldiers poised, represents the moment of potential destruction born from desire and aversion. It warns against the bondage of action driven by egoistic motives. True Freedom comes from recognizing that the "battle" is internal, a play of thoughts, and Realization lies in Witnessing it without involvement.

Chapter 3.31, Verses 23–36

Yoga Vashishtha 3.31.23–36

(A true hero is defined as one who upholds good conduct and endures hardships for virtuous people and principles)

श्रीराम उवाच ।

भगवञ्छूरशब्देन कीदृशः प्रोच्यते भटः।

स्वर्गालंकरण कः स्यात्को वा डिम्भाहवो भवेत् ॥ २३ ॥

अन्यथा प्राणिकृत्ताङ्गो रणे यो मृतिमाप्नुयात् ।

डिम्भाहवहतः प्रोक्तः स नरो नरकास्पदम् ॥ २५ ॥

श्रीवसिष्ठ उवाच ।

शास्त्रोक्ताचारयुक्तस्य प्रभोरर्थेन यो रणे ।

मृतो वाथ जयी वा स्यात्स शूरः शूरलोकभाक् ॥ २४ ॥

अयथाशास्त्रसंचारवृत्तेरर्थेन युध्यते।

यो नरस्तस्य संग्रामे मृतस्य निरयोऽक्षयः ॥ २६ ॥

यथासंभवशास्त्रार्थलोकाचारानुवृत्तिमान् ।

युध्यते तादृशश्चैव भक्तः शूरः स उच्यते ॥ २७ ॥

गोरर्थे ब्राह्मणस्यार्थे मित्रस्यार्थे च सन्मते ।

शरणागतयत्नेन स मृतः स्वर्गभूषणम् ॥ २८ ॥

परिपाल्यस्वदेशैकपालने यः स्थितः सदा ।

राजा मृतास्तदर्थं ये ते वीरा वीरलोकिनः ॥ २९ ॥

प्रजोपद्रवनिष्ठस्य राज्ञोऽराज्ञोऽथ वा प्रभोः ।

अर्थेन ये मृता युद्धे ते वै निरयगामिनः ॥ ३० ॥

ये हि राज्ञामराज्ञां वाप्ययथाशास्त्रकारिणाम् ।

रणे म्रियन्ते छिन्नाङ्गास्ते वै निरयगामिनः ॥ ३१ ॥

धर्म्यं यथा तथा युद्धं यदि स्यात्तर्हि संस्थितिः ।

नाशयेयुरलं मत्ताः परलोकभयोज्झिताः ॥ ३२ ॥

यत्र यत्र हतः शूरः स्वर्ग इत्यवशोक्तयः।

धर्मे योद्धा भवेच्छूर इत्येवं शास्त्रनिश्चयः ॥ ३३ ॥

सदाचारवतामर्थे खड्गधारां सहन्ति ये।

ते शूरा इति कथ्यन्ते शेषा डिम्भाहवाहताः ॥ ३४ ॥

तेषामर्थे रणे व्योम्नि तिष्ठन्त्युत्कण्ठिताशयाः ।

शूरीभूतमहासत्त्वदयितोक्तिसुराङ्गनाः ॥ ३५ ॥

विद्याधरीमधुरमन्थरगीतिगर्भं मन्दारमाल्यवलनाकुलकामिनीकम् ।

विश्रान्तकान्तसुरसिद्धविमानपङ्क्ति व्योमोत्सवोच्चरितशोभमिवोल्ललास ॥ ३६ ॥

Sriram said:

3.31.23  

> Lord, what kind of warrior is called a hero (shura) by the word "brave"? Who becomes an ornament to heaven? Who is said to be killed in a childish or worthless battle? 

Maharishi Vasishta said:  

3.31.24–31

> He who fights in battle for the sake of his Master (Lord) according to the rules of scriptures, whether he dies or wins, is a true hero and attains the world of heroes.

> Otherwise, the man who gets his limbs cut in battle and dies is called killed in a childish battle; such a person goes to hell. 

> But the man who fights for wealth without following the proper conduct and rules of scriptures — if he dies in that battle, he goes to eternal hell.

> The one who fights following the possible rules of scriptures, worldly customs, and proper conduct is called a devoted hero (bhakta shura).

> One who dies for the sake of cows, for Brahmins, for friends, or in protecting those who seek refuge — he becomes an ornament to heaven.

> Kings who always stay devoted to protecting their own country alone — those who die for that purpose are true brave men and reach the world of the brave. 

> Those who die in battle for a King or Lord who troubles the people or is not a true king (unjust ruler) go to hell. 

> Those who die in battle with limbs cut for kings or non-kings who act against scriptures — they surely go to hell. 

3.31.32–36

> If the war is righteous in every way, then one should stand firm; otherwise, the deluded ones without fear of the other world would destroy everything.

> Wherever it is said that a hero who dies goes to heaven — the scripture's firm decision is that only the one who fights for dharma (righteousness) is a true hero. 

> Those who endure the edge of the sword for the sake of people of good conduct are called true heroes; the rest are killed in worthless battles.

> For their sake, in the sky (heaven), the heavenly women (apsaras) who have become heroic, full of love and great beings, stand eagerly with excited minds. 

> There is a festival in the sky with sweet, slow songs full of meaning from Vidyadharis, women adorned with mandara garlands crowding around, rows of resting beautiful Divine cars of siddhas, shining with beauty as if celebrating in the sky. 

Summary of the teachings:

These verses explore the true meaning of heroism and bravery in warfare according to dharma (righteous duty). A real hero is not simply someone who dies in battle or fights bravely, but one who acts in line with scriptural rules, moral conduct, and for a just cause. Fighting for a righteous Lord or Master, whether victorious or defeated (even in death), leads to heavenly rewards and the status of a true shura (hero). The text rejects blind courage or fighting for personal gain, wealth, or unjust rulers.

The distinction is made between worthy and unworthy deaths in battle. Dying while protecting cows, Brahmins, friends, refugees, or one's own righteous country makes a person an ornament to heaven. In contrast, dying for tyrannical or unscriptural kings who harm subjects leads straight to hell (naraka). This emphasizes that the motive, righteousness of the cause, and adherence to shastra (scriptures) determine the spiritual outcome, not mere physical valor or sacrifice.

The verses warn against adharmic (unrighteous) wars. Even if someone fights fiercely, if the war violates ethical norms or serves wicked purposes, the fallen warrior faces eternal suffering. Only when the battle is fully dharmic should one stand firm without fear. This teaches detachment from delusion and attachment to worldly glory, urging warriors to fear the consequences in the afterlife more than death itself.

A true hero is defined as one who upholds sadachara (good conduct) and endures hardships (like sword wounds) for virtuous people and principles. Others who die without such righteousness are dismissed as victims of childish or meaningless fights (dimbha-ahava). This highlights ethical living and self-sacrifice for higher values over ego-driven or greedy battles.

Finally, the description of heavenly rewards for true heroes paints a vivid picture of celestial joy, with Divine Beings and apsaras celebrating their arrival. This serves to inspire adherence to dharma in action, showing that righteous warriors attain Eternal Bliss and honor in higher realms, while the unworthy face punishment. The overall teaching promotes dharma-guided life, especially in duty and conflict, as the path to true glory and liberation from lower consequences.

Chapter 3.31, Verses 11–22

Yoga Vashishtha 3.31.11–22

(Enlightened Beings witness Cosmic events without attachment, recognizing them as transient appearances in Consciousness)

श्रीवसिष्ठ उवाच ।

एतस्मिन्नन्तरे तस्मिन्मण्डले मण्डितावनौ ।

चक्रेऽवस्कन्दनं कश्चित्सामन्तोद्रिक्तभूमिपः ॥ ११ ॥

तेन संग्रामसंरम्भे प्रेक्षार्थं समुपागतैः।

त्रैलोक्यभूतैस्तद्व्योम बभूवात्यन्तसंकटम् ॥ १२ ॥

अशङ्कितागते तत्ते देव्यौ ददृशतुर्नभः।

नभश्चरगणाक्रान्तमम्बुदैरिव मालितम् ॥ १३ ॥

सिद्धचारणगन्धर्वगणविद्याधरान्वितम् ।

शूरग्रहणसंरब्धस्वर्गलोकाप्सरोवृतम् ॥ १४ ॥

रक्तमांसोन्मुखोन्मत्तभूतरक्षःपिशाचकम् ।

पुष्पवृष्टिभिरापूर्णहस्तविद्याधराङ्गनम् ॥ १५ ॥

वेतालयक्षकूश्माण्डैर्द्वन्द्वालोकनसादरैः ।

आयुधापातरक्षार्थं गृहीताद्रितटैर्वृतम् ॥ १६ ॥

अस्त्रमार्गनभोभागविद्रवद्भूतमण्डलम् ।

आहोपुरुषिकाक्षुब्धप्रेक्षकामोदनोद्भटम् ॥ १७ ॥

आसन्नभीमसंग्रामकिंवदन्तीपरस्परम् ।

लीलाहासविलासोत्कसुन्दरीधृतचामरम् ॥ १८ ॥

धर्माप्रेक्ष्यप्रयुक्ताग्र्यमुनिस्वस्त्ययनस्तवम् ।

संपन्नानेकलोकेशवनितावसरस्तवम् ॥ १९ ॥

स्वर्गार्हशूरानयनव्यग्रेन्द्रभटभासुरम् ।

शूरार्थालंकृतोत्तुङ्गलोकपालाख्यवारणम् ॥ २० ॥

आगच्छच्छूरसन्मानोन्मुखगन्धर्वचारणम् ।

शूरोन्मुखामरस्त्रैणकटाक्षेक्षितसद्भटम् ॥ २१ ॥

वीरदोर्दण्डकाश्लेषलम्पटस्त्रीगणाकरम् ।

शुक्लेन शूरयशसा चन्द्रीकृतदिवाकरम् ॥ २२ ॥

Maharishi Vashishta continued:

3.31.11–16

> At that moment, in that decorated earthly circle, a certain powerful vassal king, full of pride, launched an attack.

> Due to the intense excitement of that battle, Beings from the three worlds came to watch, and the sky became extremely crowded.

> The two Goddesses, surprised by this sudden event, saw the sky filled with crowds of sky-dwellers, covered like clouds.

> It was accompanied by groups of Siddhas, Charanas, Gandharvas, and Vidyadharas, and surrounded by heavenly apsaras eagerly watching the brave warriors.

> There were excited ghosts, demons, and goblins hungry for blood and flesh, along with Vidyadhari women showering flowers with their hands.

> Vetala, Yaksha, and Kushmanda beings watched the duel attentively, and the area was surrounded by those holding mountain peaks to protect against falling weapons.

3.31.17–22

> Groups of Beings ran in fear from the path of flying weapons in the sky, while excited spectators shouted in joy and thrill.

> There were rumors spreading about the fierce upcoming battle; beautiful women laughed and played, holding fans in excitement.

> Great sages chanted auspicious blessings and prayers for dharma, while many queens and ladies from various worlds sang praises.

> It shone with Indra's warriors busy bringing worthy heroes to heaven, and tall elephants named after Lokapalas were decorated for the brave.

> Gandharvas and Charanas came eagerly to honor the warriors, while Divine women cast loving glances at the brave fighters.

> Groups of women were eager to embrace the strong arms of heroes, and the sun was made cool (like moonlight) by the bright white fame of the warriors.

Summary of the teachings:

These verses describe a grand cosmic spectacle unfolding around a fierce battle between warriors. The scene shows how the entire Universe —from earthly kings to celestial beings—reacts with intense interest and excitement to human conflict and heroism. It illustrates the interconnectedness of all realms (three worlds) and how events in one plane draw attention from higher and lower beings. The teaching highlights that what appears as a local war is actually a universal drama witnessed by gods, demons, sages, and spirits alike.

The description emphasizes the illusory and dramatic nature of worldly events. Beings from Siddhas to ghosts gather not out of necessity but out of curiosity, joy, fear, or awe, showing how the mind projects grandeur and meaning onto transient happenings. Vasishta uses this vivid imagery to point out that such spectacles are part of the dream-like play of Maya, where nothing is ultimately real or permanent, yet everything appears vividly engaging.

A key teaching is the role of fame, valor, and beauty in attracting attention across realms. Warriors' bravery draws admiration from apsaras, Gandharvas, and even divine women, while their fame "cools" the sun (symbolizing how heroic glory outshines ordinary light). This reveals how ego-driven pursuits like battle and honor create ripples of illusion that captivate minds everywhere, binding beings to the cycle of attraction and distraction.

The presence of both auspicious (sages chanting blessings) and inauspicious (blood-thirsty demons) elements together shows the dualistic nature of existence. Good and evil, protection and destruction, joy and terror coexist in the same event. This teaches that the world is a mixture of opposites, and true wisdom lies in seeing beyond these polarities rather than getting caught in the excitement or horror of the drama.

Ultimately, these verses serve as a reminder of detachment. While the Goddesses (likely representing Higher Awareness) observe in surprise, the cosmic crowd gets swept up in emotion. Vasishta implies that enlightened beings witness such events without attachment, recognizing them as transient appearances in Consciousness. The teaching encourages turning inward to Realize the Unchanging Self beyond the ever-changing spectacle of the Universe, leading to liberation from the illusion of separateness and excitement. 

Chapter 3.31, Verses 1–10

Yoga Vashishtha 3.31.1–10

(Birth and death are mere transitions in Consciousness; the True Self remains untouched, while the individual ego creates endless worlds even after apparent death)

श्रीवसिष्ठ उवाच ।

एवमाकलयन्त्यौ ये निर्गत्य जगतो निजात् ।

अन्तःपुरं ददृशतुर्झटित्येव विनिर्गते ॥ १॥

स्थितपुष्पभरापूर्णमहाराजमहाशवम् ।

शवपार्श्वोपविष्टान्तश्चित्तलीलाशरीरकम् ॥ २ ॥

घनरात्रितयाल्पाल्पमहानिद्राजनाकुलम् ।

धूपचन्दनकर्पूरकुङ्कुमामोदमन्थरम् ॥ ३ ॥

तमालोक्यापरं भर्तुः संसारं गन्तुमादृता।

पपात लीला संकल्पदेहेनात्रैव तन्नभः ॥ ४ ॥

विवेश भर्तुः संकल्पसंसारं किंचिदाततम् ।

संसारावरणं भित्त्वा भित्त्वा ब्रह्माण्डकर्परम् ॥ ५ ॥

प्राप सार्धं तया देव्या पुनरावरणान्वितम् ।

ब्रह्माण्डमण्डपं स्फारं तं प्रविश्य तथा जवात् ॥ ६ ॥

ददर्श भर्तुः संकल्पजगज्जम्बालपल्वलम् ।

सिंहीव शैलकुहरं तमो जलदपङ्किलम् ॥ ७ ॥

देव्यो विविशतुस्तत्ते व्योम व्योमात्मिके जगत् ।

ब्रह्माण्डेऽन्तर्यथा पक्वं मृदुबिल्वं पिपीलिके ॥ ८ ॥

तत्र लोकान्तराण्यद्रीनन्तरिक्षमतीत्य ते।

प्रापतुर्भूतलं शैलमण्डलाम्भोधिसंकुलम् ॥ ९ ॥

मेरुणालंकृतं जम्बुद्वीपं नवदलोदरम्।

गत्वाथ भारते वर्षे लीलानाथस्य मण्डलम् ॥ १० ॥

Maharishi Vashishta said:

3.31.1–5

> Thus reflecting, the two (Lila and the Goddess) left their own world and quickly came out to see the inner palace.

> There they saw a great king's corpse, fully covered with flowers, and beside the corpse sat a subtle body of pure mind-play (chitta-lila sharirakam).

> It was filled with a short, deep sleep-like state for three nights, and the air was slow with the fragrance of incense, sandalwood, camphor, and saffron.

> Seeing this other world of her husband, Lila, eager to enter that worldly existence, fell there instantly with her willed body in that very sky.

> She entered her husband's creation-born world, which was slightly expanded, piercing through the coverings of that world and breaking through the shell of the Universe.

3.31.6–10 

> Along with that Goddess, she reached again a world covered with layers, and swiftly entered that vast dome-like Universe.

> There she saw her husband's mind-created world as a muddy pond full of mire, like a lioness entering a dark mountain cave filled with muddy water.

> The two Goddesses entered that sky-like world within the Universe, just as ants enter a ripe, soft bilva fruit from inside.

> Passing through other worlds, mountains, and skies, they reached the earthly realm filled with mountains, circles of land, and oceans.

> Adorned by Mount Meru, they went to Jambudvipa with its nine petals (continents), and then to the region of Bharata-varsha, the land of Lila's lord.

Summary of the Teachings:

These verses continue the famous Lila story in the Yoga Vasishta, illustrating the mind's immense creative power and the illusory nature of worlds. Lila, through intense desire and will (sankalpa), creates and enters alternate realities or parallel worlds that appear as Real as her original one. The key teaching is that all perceived existence arises from the mind's imagination or resolve; what seems solid and external is actually a projection of Consciousness, without any true material substance. This shows how individuals unknowingly construct their own samsara (cycle of worldly life) through thoughts and attachments.

The journey of Lila and Saraswati (the Goddess) through multiple layers of Universes highlights the concept of Infinite Nested Realities within Brahm. Each "covering" or shell they pierce represents the veils of ignorance (avidya) that hide the non-dual truth. The mind can expand or contract Realities instantly, as seen when they move from one Creation to another with great speed. This teaches that Space, Time, and multiplicity are not Absolute but relative to the perceiving Consciousness, reinforcing Advaita Vedanta's view that the world is mithya (apparent illusion).

The description of the husband's corpse and the subtle mind-body beside it symbolizes the death of the gross body while the subtle impressions (vasanas) and mental world continue. The fragrance-filled, sleep-like state around the corpse points to the dream-like quality of life and death. The teaching here is that birth and death are mere transitions in Consciousness; the True Self remains untouched, while the individual ego creates endless worlds even after apparent death.

The metaphor of entering a muddy pond or a soft bilva fruit like ants emphasizes the smallness of the individual self (jiva) within the vastness of Cosmic Creation, yet the power to traverse it through will. It teaches humility and the need to recognize one's limited perspective while understanding the Infinite potential of Pure Consciousness. Worlds appear dense and material, but they are fragile and dream-like when seen with wisdom.

Overall, these verses urge the seeker to Realize that the entire Universe is a sankalpa (willful creation) of the mind, arising from Brahm. By understanding this, one can transcend personal worlds of suffering and attain Realization. The story inspires detachment from illusory appearances and directs attention inward to the unchanging Witness-Consciousness, leading to freedom from rebirth and the Realization of non-duality.