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Yoga Vashishtha 3.29.16–32
(The world of names, forms, possessions, and relationships is a dream-like projection of the mind. True Realization comes from recognizing this illusion, and abiding in the formless Self)
लीलावाच् ।
इत्युक्त्वा संचरन्ती सा शिखरिग्रामकोटरे ।
संचरन्त्याः सरस्वत्या दर्शयामास सस्मयम् ॥ १६ ॥
इयं मे पाटलाखण्डमण्डिता पुष्पवाटिका ।
इयं मे पुष्पितोद्यानमण्डपाशोकवाटिका ॥ १७ ॥
इयं पुष्कीरणीतीरद्रुमाऽऽग्रन्थिततर्णका ।
इयं सा कर्णिकानाम्नी तर्णिका मुक्तपर्णिका ॥ १८ ॥
इयं सा मेऽलसाकीर्णा वराकी जलहारिका ।
अद्याष्टमं दिनं बाष्पक्लिन्नाक्षी परिरोदिति ॥ १९ ॥
इह देवि मया भुक्तमिहोषितमिह स्थितम् ।
इह सुप्तमिहापीतमिह दत्तमिहाहृतम् ॥ २० ॥
एष मे ज्येष्ठशर्माख्यः पुत्रो रोदिति मन्दिरे ।
एषा मे जङ्गले धेनुर्दोग्ध्री चरति शाद्वलम् ॥ २१ ॥
गृहे वसन्तदाहाय रूक्षक्षारविधूसरम्।
स्वदेहमिव पञ्चाक्षं पश्येमं प्रघणं मम ॥ २२ ॥
तुम्बीलताभिरुग्राभिः पुष्टाभिरिव वेष्टितम् ।
महानसस्थानमिदं मम देहमिवापरम् ॥ २३ ॥
एते रोदनताम्राक्षा बन्धवो भुवि बन्धनम् ।
अङ्गदार्पितरुद्राक्षा आहरन्त्यनलेन्धनम् ॥ २४ ॥
अनारतं शिलाकच्छे गुच्छाच्छोटनकारिभिः ।
तरङ्गैः स्थगिताकारं स्पृष्टतीरलतादलैः ॥ २५ ॥
सीकराकीर्णपर्यन्तशाद्वलस्थलसल्लतैः ।
शिलाफलहकास्फालफेनिलोत्पलसीकरैः ॥ २६ ॥
तुषारीकृतमध्याह्नदिवाकरकरोत्करैः ।
फुल्लपुष्पोत्करासारप्रणादोत्कतटद्रुमैः ॥ २७ ॥
विद्रुमैरिव संक्रान्तफुल्लकिंशुककान्तिभिः ।
व्याप्तया पुष्पराशीनां समुल्लासनकारिभिः ॥ २८ ॥
उह्यमानफलापूरसुव्यग्रग्रामबालया ।
महाकलकलावर्तमत्तया ग्रामकुल्यया ॥ २९ ॥
वेष्टितस्तरलास्फालजलधौततलोपलः ।
घनपत्रतरुच्छन्नच्छायासततशीतलः ॥ ३० ॥
अयमालक्ष्यते फुल्ललतावलनसुन्दरः ।
दलद्गुलुच्छकाच्छन्नगवाक्षो गृहमण्डपः ॥ ३१ ॥
अत्र मे संस्थितो भर्ता जीवाकाशतयाऽकृतिः ।
चतुःसमुद्रपर्यन्तमेखलाया भुवः पतिः ॥ ३२ ॥
Queen Lila continued:
3.29.16–20
> Having said this, Goddess Sarasvati, while moving around, showed with a smile in the valley of the mountain village.
> This is my garden of palash flowers decorated with blossoms. This is my blooming grove with ashoka trees and pavilions.
> This is the lake shore with trees tied with creepers. This is the boat named Karnika, with loose leaves.
> This is my poor water-carrying maid, full of laziness. Today is the eighth day she cries with tear-filled eyes.
> Here I have eaten, stayed, lived, slept, drunk, given, and taken.
3.29.21–26
> This is my eldest son Jyeshtha Sharma crying in the house. This is my cow in the forest grazing on green grass.
> Look at this rough, dry, ash-like body of mine in the house, like five elements burnt by the heat of spring.
> This kitchen area wrapped tightly by strong gourd creepers, like another body of mine.
> These relatives with red eyes from crying are bonds on earth. Wearing rudraksha on limbs, they bring fuel for the fire.
> Constantly in the rocky cave, with waves splashing clusters, blocking the form, touching shore creepers and leaves.
> With edges full of mist, green grassy places with vines, rocky slabs splashing foam-like lotus drops.
3.29.27–32
> Noon sun rays made cool by frost, trees on banks roaring with clusters of blooming flowers.
> Spread with coral-like shining full kimshuka flowers, covered by heaps of flowers causing delight.
> Carried by village girls busy with overflowing fruits, the village stream wild with great noise and whirlpools.
> Surrounded by rippling water washing the stones below, dense leaves and trees giving constant cool shade.
> This beautiful house pavilion covered with blooming creepers, windows hidden by clusters of leaves.
> Here resides my husband, formless like living space, lord of the earth bounded by four oceans.
Summary of the Teachings:
These verses form part of Goddess Sarasvati's description of her earthly home and life, as she guides someone (likely Leela or a seeker) through a vision of her past worldly existence. The narrative highlights the illusory nature of worldly attachments. Sarasvati points to gardens, lakes, boats, servants, family members, animals, and her own body as "mine," emphasizing personal possession and daily routines of eating, sleeping, giving, and taking. This showcases how the ego creates a sense of ownership over transient objects and relationships, binding the soul to samsara (the cycle of birth and death).
The portrayal of sorrow—such as the crying maid on the eighth day, the weeping son, and relatives with tear-reddened eyes—illustrates the inherent suffering (duhkha) in worldly life. Even cherished family ties become chains, as relatives are described as "bonds on earth" who fuel funeral pyres. The body itself is depicted as rough, burnt, and temporary, like the five elements scorched by time, underscoring impermanence and the futility of clinging to physical forms.
Nature's beauty around the home—blooming flowers, rippling waters, shady trees, and frothy waves—contrasts with the inner emptiness it conceals. Sarasvati's affectionate pointing ("this is mine") reveals how the mind projects charm onto the external world, yet all is conditioned by change, noise, and eventual decay. The village stream's wild energy and the cool shade symbolize fleeting pleasures that mask the underlying restlessness of conditioned existence.
The verses teach detachment by showing that what seems real and personal is merely a play of perception. Sarasvati's husband, described as formless "living space" and lord of the earth up to the four oceans, points to the Ultimate Truth: the True Self transcends the limited body and home, merging into boundless Consciousness. This hints at the non-dual reality where the individual soul realizes its identity with the infinite.
Overall, these verses impart Advaita Vedanta's core insight: the world of names, forms, possessions, and relationships is a dream-like projection of the mind. True Realization comes from recognizing this illusion, letting go of "mine" and "I," and abiding in the formless Self. Sarasvati's tour serves as a mirror for the seeker to see their own attachments, urging renunciation of ego-driven identifications for Realization of Eternal Peace.
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