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 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 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 3.30, Verses 24–34

Yoga Vashishtha 3.30.24–34

(Existence includes countless Universes dancing unknowingly in Infinite Space, mysterious, spontaneous, and free)

श्रीवसिष्ठ उवाच ।

आचाराद्वेदशास्त्राणामाद्य एवान्यथोदिते ।

आरम्भोऽपि तथान्येषामनित्यः संस्थितः क्रमः ॥ २४ ॥

केचिद्ब्रह्मादिपुरुषाः केचिद्विष्ण्वादिसर्गपाः ।

केचिच्चान्यप्रजानाथाः केचिन्निर्नाथजन्तवः ॥ २५ ॥

केचिद्विचित्रसर्गेशाः केचित्तिर्यङ्मयान्तराः ।

केचिदेकार्णवापूर्णा इतरे जनिवर्जिताः ॥ २६ ॥

केचिच्छिलाङ्गनिष्पिण्डाः केचित्कृमिमयान्तराः ।

केचिद्देवमया एव केचिन्नरमयान्तराः ॥ २७ ॥

केचिन्नित्यान्धकाराढ्यास्तथा शीलितजन्तवः ।

केचिन्नित्यप्रकाशाढ्यास्तथा शीलितजन्तवः ॥ २८ ॥

केचिन्मशकसंपूर्णा उदुम्बरफलश्रियः।

नित्यं शून्यान्तराः केचिच्छून्यस्पन्दात्मजन्तवः ॥ २९ ॥

सर्गेण तादृशेनान्ये पूर्णा येऽन्तर्धियामिह ।

कल्पनामपि नायान्ति व्योमपूर्णाचलो यथा ॥ ३० ॥

तादृगम्बरमेतेषां महाकाशं ततं स्थितम्।

आजीवितं प्रगच्छद्भिर्विष्ण्वाद्यैर्यन्न मीयते ॥ ३१ ॥

प्रत्येकस्याण्डगोलस्य स्थितः कटकरत्नवत् ।

भूताकृष्टिकरो भावः पार्थिवः स्वस्वभावतः ॥ ३२ ॥

यः सर्वविभवोऽस्माकं धियां न विषयं ततः ।

तज्जगत्कथने शक्तिर्न ममास्ति महामते ॥ ३३ ॥

भीमान्धकारगहने सुमहत्यरण्ये नृत्यन्त्यदर्शितपरस्परमेव मत्ताः ।

यक्षा यथा प्रवितते परमाम्बरेऽन्तरेवं स्फुरन्ति सुबहूनि महाजगन्ति ॥ ३४॥

Maharishi Vashishta continued:

3.30.24–28

> All systems of conduct, scriptures, and teachings begin in one way and later change. Even their beginnings are not permanent, for their order and form are temporary.

> Some Beings are like Brahmā, some like Viṣṇu who sustain Creation, some rule over other Beings, and some Beings exist without any ruler at all.

> Some preside over strange and varied worlds, some exist as animals and lower forms, some are filled entirely by vast oceans, and others are without birth altogether.

> Some are formed of stone-like bodies, some are made of worms and minute creatures, some are entirely Divine in nature, and others are human in form.

> Some live always in dense darkness and are accustomed to it; others live always in intense light and are accustomed to that.

3.30.29–34

> Some worlds are filled with mosquitoes and insects, some flourish like fig trees heavy with fruit; some are eternally empty, and some are Beings whose very nature is emptiness and subtle vibration.

> Other worlds exist in such a manner that, though complete in themselves, they never even arise in the imagination of Beings like us—just as a mountain remains unmoved within the vast sky.

> For such worlds, the vast sky itself becomes their Space, spreading everywhere; even the lifespan of creators like Viṣṇu cannot measure or exhaust it.

> In each Cosmic sphere, there exists a solid, earth-like force, fixed like a precious jewel in a bracelet, drawing Beings toward it according to their own nature.

> That supreme power which gives rise to all worlds does not become an object of our intellect; therefore, I do not possess the capacity to fully describe that Reality.

> Just as intoxicated spirits dance wildly in a terrifying dark forest without seeing one another, countless great Universes shimmer and move within Infinite Space.

Summary of the Teachings:

These verses present a radical vision of Reality in which nothing—neither scripture, law, nor cosmic order—is fixed or eternal in form. Even sacred systems arise, change, and dissolve according to time and circumstance. This teaching loosens attachment to rigid authority and invites the seeker to look beyond forms toward underlying truth.

The text then unfolds a vast plurality of existence. Countless types of Beings, worlds, and modes of life exist simultaneously— Divine, human, animal, inert, luminous, dark, subtle, and empty. Creation is not uniform or hierarchical but endlessly diverse, with no single template governing all realms.

A striking idea here is that many complete Universes exist beyond human imagination. Our inability to conceive them does not limit their Reality. 

This humbles the human intellect and challenges the assumption that what cannot be imagined does not exist.

The verses also introduce the notion of localized cosmic order: each world has its own gravitational or binding principle, drawing Beings into experiences suited to their nature. There is no universal “one-size-fits-all” law—each realm functions according to its own inner logic.

Finally, Vasiṣṭha acknowledges the limits of language and thought. The Ultimate Source of all these Universes cannot be grasped intellectually or fully described. Existence is likened to countless Universes dancing unknowingly in Infinite Space, mysterious, spontaneous, and free. The teaching gently guides the seeker toward humility, wonder, and inner silence.

Chapter 3.30, Verses 11–23

Yoga Vashishtha 3.30.11–23

(Countless Universes appear as mere dust particles in the infinite expanse of the Supreme Being -Brahm)

श्रीवसिष्ठ उवाच ।

अस्वातन्त्र्यात्प्रधावन्ति पदार्थाः सर्व एव यत् ।

ब्रह्माण्डे पार्थिवो भागस्तदधस्तूर्ध्वमन्यथा ॥ ११ ॥

पिपीलिकानां महतां व्योम्नि वर्तुललोष्टके ।

दशदिक्कमधः पादाः पृष्ठमूर्ध्वमुदाहृतम् ॥ १२ ॥

वृक्षवल्मीकजालेन केषांचिद्धृदि भूतलम् ।

ससुरानरदैत्येन वेष्टितं व्योम निर्मलम् ॥ १३ ॥

संभूतं सह भूतेन सग्रामपुरपर्वतम् ।

इदं कल्पनभूतेन पक्वाक्षोटमिव त्वचा ॥ १४ ॥

यथा विन्ध्यवनाभोगे प्रस्फुरन्ति करेणवः ।

तथा तस्मिन्पराभोगे ब्रह्माण्डत्रसरेणवः ॥ १५ ॥

तस्मिन्सर्वं ततः सर्वं तत्सर्वं सर्वतश्च यत् ।

तच्च सर्वमयो नित्यं तथा तदणुकं प्रति ॥ १६ ॥

शुद्धबोधमये तस्मिन्परमालोकवारिधौ।

अजस्रमेत्य गच्छन्ति ब्रह्मण्डाख्यास्तरङ्गकाः ॥ १७ ॥

अन्तःशून्याः स्थिताः केचित्संकल्पक्षयरात्रयः ।

तरङ्गा इव तोयेऽब्धौ प्रोह्यन्ते शून्यतार्णवे ॥ १८ ॥

केषांचिदन्तःकल्पान्तः प्रवृत्तो घर्घरारवः ।

न श्रुतोऽन्यैर्न च ज्ञातः स्वभावेन रसाकुलैः ॥ १९ ॥

अन्येषां प्रथमारम्भे शुद्धभूषु विजृम्भते ।

सर्गः संसिक्तबीजानां कोशेऽङ्कुरकला यथा ॥ २० ॥

महाप्रलयसंपत्तौ सूर्यार्चिर्विद्युतोऽद्रयः।

प्रवृत्ता गलितुं केचित्तापे हिमकणा इव ॥ २१ ॥

आकल्पं निपतन्त्येव केचिदप्राप्तभूमयः।

यावद्विशीर्य जायन्ते तथा संविन्मयाः किल ॥ २२ ॥

स्तब्धा इव स्थिताः केचित्केशोण्ड्रकमिवाम्बरे ।

वायोः स्पन्दा इवाभान्ति तथा प्रोदितसंविदः ॥ २३ ॥

Maharishi Vashishta continued:

3.30.11–14

> All objects in the Universe run helplessly due to lack of independence. The earthly part of the Cosmos is below, while the rest is above in a different way.

> For huge ants moving on a round lump in space, the ten directions are below their feet, and their back is considered above.

> In the hearts of some Beings, the earth is covered with tree roots and anthills; the pure sky is wrapped around by gods, humans, and demons.

> This Universe, born along with Beings, including villages, cities, and mountains, is enveloped by imagination, just like a ripe berry is covered by its skin.

3.30.15–18

> Just as elephants appear flashing in the expanse of the Vindhya forest, in the same way, countless Universes appear as tiny dust particles in that supreme expanse.

> In that everything is contained, from that everything arises, that everything is everywhere, and it is eternally made of that everything; the same applies to each atom.

> In that Pure Consciousness ocean of Supreme Light, Universes named as Brahmandas rise and fall continuously like endless waves.

> Some waves remain internally empty, like nights of destroyed imagination; they dissolve into the ocean of emptiness like waves in water.

3.30.19–23

> In some, at the end of a cycle inside, a rumbling sound begins but is not heard or known by others, as it is absorbed in their own nature.

> In others, at the very beginning, Creation shines forth in Pure Beings, like the sprouting of tender shoots in seeds that have been watered.

> At the time of great dissolution, some mountains, suns, rays, and lightning begin to melt away, just like ice particles in heat.

> Some fall for an entire cycle without reaching the ground; they dissolve and are reborn again in the same way, being made of Pure Consciousness.

> Some remain still like hair standing in the sky or like the movements of air appearing; in the same way, awakened Consciousness es shine forth.

Summary of the teachings:

These verses describe the illusory and dependent nature of the entire Universe (Brahmanda). Sage Vasishta explains that nothing in creation has true independence—all objects and beings move helplessly under the force of Cosmic illusion (maya) or imagination. The structure of the Universe is relative: what is "below" or "above" depends on perspective, as illustrated by examples like ants on a floating lump or beings perceiving earth and sky differently. This shows that Space, direction, and physical reality are not absolute but conditioned by perception.

The Universe is portrayed as a product of imagination (kalpana), wrapped around Pure Consciousness like skin around a fruit. Countless Universes appear as mere dust particles in the infinite expanse of the Supreme Being (Brahm). Everything exists within this Supreme Reality, emerges from it, and is pervaded by it eternally—even at the atomic level. This teaches non-duality: the apparent multiplicity is nothing but the One Infinite Consciousness manifesting in various forms.

Universes are compared to waves rising and falling endlessly in the ocean of Pure Awareness (shuddha-bodha). Some Universes dissolve completely into emptiness when their imaginative constructs end, while others carry internal cycles of creation and destruction. This highlights the transient and dream-like quality of cosmic manifestation— Creation and dissolution happen continuously within the unchanging field of Consciousness, without affecting its Purity.

Different stages of Cosmic cycles are depicted: some Universes begin with fresh Creation like sprouting seeds, others reach dissolution where solid forms (mountains, suns) melt away like ice. Some fall endlessly through cycles without grounding, only to re-emerge, emphasizing that birth and death of worlds are mere appearances in Consciousness. 

Nothing truly perishes; forms shift while the Essence (Consciousness) remains.

Finally, some States remain suspended or still, like frozen motion in Space, yet they shine with awakened Awareness. The teaching underscores that the True Reality is Pure, Unchanging Consciousness (chit or samvid). All phenomena—creation, sustenance, dissolution—are its playful waves. Realizing this non-dual nature liberates one from the illusion of separateness, revealing the world as a superimposition on the self-luminous, Infinite Self.

Chapter 3.29, Verses 47–60

Yoga Vashishtha 3.29.47–60

(These verses describe a profound spiritual journey undertaken by Queen Lila and Goddess Sarasvati through increasingly subtle layers of Cosmic Reality)

लीलोवाच ।

तद्देवि भास्करादीनां क्वाधस्तेजो गतं वद ।

शिलाजठरनिष्पन्दं मुष्टिग्राह्यं तमः कुतः ॥ ४७ ॥

श्रीदेव्युवाच ।

एतावतीमिमां व्योम्नः पदवीमागतासि भोः ।

अर्कादीन्यपि तेजांसि यतो दृश्यन्त एव नो ॥ ४८ ॥

यथा महान्धकूपाधः खद्योतो नावलोक्यते ।

पृष्ठगेन तथेहातो नाधः सूर्योऽवलोक्यते ॥ ४९ ॥

लीलोवाच ।

अहो नु पदवीं दूरमावामेतामुपागते।

सूर्योऽप्यधोणुकणवन्न मनागपि लक्ष्यते ॥ ५० ॥

इत उत्तरमन्या स्यात्पदवी का नु कीदृशी ।

कथं च मातरेतव्या कथ्यतामिति देवि मे ॥ ५१ ॥

श्रीदेव्युवाच ।

इत उत्तरमग्रे ते ब्रह्माण्डपुटकर्परम् ।

यस्य चन्द्रादयो नाम धूलिलेशाः समुत्थिताः ॥ ५२ ॥

श्रीवसिष्ठ उवाच ।

इति प्रकथयन्त्यौ ते प्राप्ते ब्रह्माण्डकर्परम् ।

भ्रमर्याविव शैलस्य कुड्यं निबिडमण्डपम् ॥ ५३ ॥

अक्लेशेनैव ते तस्मान्निर्गते गगनादिव।

निश्चयस्थं हि यद्वस्तु तद्वज्रगुरु नेतरत् ॥ ५४ ॥

निरावरणविज्ञाना सा ददर्श ततस्ततम्।

जलाद्यावरणं पारे ब्रह्माण्डस्यातिभासुरम् ॥ ५५ ॥

ब्रह्माण्डाद्दशगुणतस्तोयं तत्र व्यवस्थितम् ।

आस्थितं वेष्टयित्वा तु त्वगिवाक्षोटपृष्ठगा ॥ ५६ ॥

तस्माद्दशगुणो वह्निस्तस्माद्दशगुणोऽनिलः ।

ततो दशगुणं व्योम ततः परममम्बरम् ॥ ५७ ॥

तस्मिन्परमके व्योम्नि मध्याद्यन्तविकल्पनाः ।

न काश्चन समुद्यन्ति वन्ध्यापुत्रकथा इव ॥ ५८ ॥

केवलं विततं शान्तं तदनादि गतभ्रमम्।

आद्यन्तमध्यरहितं महत्यात्मनि तिष्ठति ॥ ५९ ॥

आकल्पमुत्तमबलेन शिला पतेच्चेत्तस्मिन्बलात्पतगराडपि चोत्पतेच्चेत् ।

तद्योजनं न लभते विमलेऽम्बरेऽन्तर्माकल्पमेकजवगोऽप्यथ मारुतोऽपि ॥ ६० ॥

Queen Lila said:

3.29.47

> O Goddess, tell me where the light of the sun and others has gone below. How can there be darkness here that is still like stone in the belly and can be grasped by the fist? 

The Goddess said:

3.29.48–49 

> You have now reached this far extent in the sky, O dear one. Even the lights of the sun and others are no longer visible to us.  

> Just as a firefly at the bottom of a great dark well is not seen from above, so here the sun below is not visible from our position behind it. 

Queen Lila said:

 3.29.50–51 

> Alas, we have traveled so far on this path! Even the sun appears tiny like a particle and is hardly visible at all.  

> What kind of path lies further ahead from here? How should it be understood, O Goddess? Please tell me.

The Goddess said:

3.29.52  

> Beyond this, ahead of you, is the shell or covering of the Universe (brahmanda-karpura). In it, the moon, sun, and others rise like tiny specks of dust.

Sage Vasishtha said:

3.29.53–60 

> As they spoke thus, they reached the shell of the Universe, like bees reaching the dense vaulted hall of a mountain cave.  

> Without any effort, they emerged from it, just as from the sky. Whatever is firmly established in Reality is as hard as diamond; nothing else is.

> Then, with unobstructed Knowledge, she saw beyond that the brilliant covering of water surrounding the Universe on the other side.   

> Beyond the Universe is water, ten times greater in extent, placed there and enveloping it like the skin covering the surface of a castor-oil seed. 

> Beyond that is fire, ten times greater; beyond that, air ten times greater; beyond that, space ten times greater; and then the supreme ether.  

> In that Supreme Ether, no notions of middle, beginning, or end arise at all, just like stories of a barren woman's son.  

> It is only vast, peaceful, beginningless, free from illusion, without beginning, end, or middle, and it exists in the Great Self.  

> Even if a stone were thrown with utmost force into it for an entire kalpa, or if the king of birds flew upward with full speed, or even if wind moved with the speed of one jump for a kalpa, it would not reach even a yojana's distance within that Pure Ether. 

Summary of the teachings:

These verses describe a profound spiritual journey undertaken by Queen Lila and Goddess Sarasvati through increasingly subtle layers of Cosmic Reality. Beginning from the visible world where the sun's light seems to vanish below, the dialogue illustrates how ordinary perception is limited. What appears as vast darkness or tiny specks (like the sun from afar) reveals the illusory nature of sensory experience. The teaching emphasizes that physical light and objects lose their grandeur as Consciousness ascends, showing the world as a small, localized phenomenon within Infinite Space.

The journey reaches the "shell of the brahmanda" (Cosmic egg or Universe), portrayed as a dense, cave-like enclosure. Emerging from it effortlessly symbolizes transcending the boundaries of the manifested Universe through Pure Awareness. The firm "diamond-like" Reality refers to the Unchanging Truth of the Self, contrasting with the relative, penetrable nature of cosmic structures. This teaches that spiritual progress involves piercing illusions without force, as True Knowledge naturally overcomes limitations.

Beyond the manifested world lie successive coverings (Water, Fire, Air, Space, and Supreme Ether), each ten times larger than the previous, echoing traditional cosmological models. These layers represent progressively subtler elements enveloping the gross world, like skins around a seed. The teaching conveys that the material Cosmos is finite and enclosed, while the path of inquiry leads to ever-expanding subtlety, revealing the Universe as a mere bubble in Infinite Consciousness.

In the Supreme Ether (paramam ambaram), all dualistic notions—beginning, middle, end—cease entirely, comparable to nonexistent tales (like a barren woman's son). This State is vast, tranquil, eternal, and illusion-free, abiding in the great Atman. The verses teach non-dual Advaita Reality: Ultimate Truth is Attri, Boundless Awareness where Time, Space, and Causation dissolve.

The final verse dramatically illustrates the Infinity of this Supreme Ether: no motion—whether a stone hurled for eons, a mighty bird flying, or wind rushing—can cover even a tiny fraction of it. This underscores the incomprehensibility of the Absolute; all effort, time, and movement are insignificant before the eternal, unmoving Self. The overall teaching inspires detachment from the finite world, urging Realization of one's identity with this limitless, peaceful Consciousness beyond all layers and illusions.

Chapter 3.29, Verses 33–46

Yoga Vashishtha 3.29.33–46

(Desires shape apparent Realities quickly; Space and distance are mental constructs; true travel is inward Realization; and the Final State is the recognition of the One, Unchanging Essence behind the Cosmic Play)

लीलावॉच ।

आ स्मृतं पूर्वमेतेन किलासीदभिवाञ्छितम् ।

शीघ्रं स्यामेव राजेति तीव्रसंवेगधर्मिणा ॥ ३३ ॥

दिनैरष्टभिरेवासौ तेन राज्यं समृद्धिमत्।

चिरकालप्रत्ययदं प्राप्तवान्परमेश्वरि ॥ ३४ ॥

अत्रासौ भर्तृजीवो मे स्थितो व्योम्नि गृहे नृपः ।

अदृश्यः खे यथा वायुरामोदो वानिले यथा ॥ ३५ ॥

इहैवाङ्गुष्ठमात्रान्ते तद्व्योम्न्येव पदं स्थितम् ।

मद्भर्तृराज्यं समवगतं योजनकोटिभाक् ॥ ३६ ॥

आवां खमेव स्वस्थं च भर्तृराज्यं ममेश्वरि ।

पूर्णं सहस्रैः शैलानां महामायेयमातता ॥ ३७ ॥

तद्देवि भर्तृनगरं पूनर्गन्तुं ममेप्सितम्।

तदेहि तत्र गच्छावः किं दूरं व्यवसायिनाम् ॥ ३८ ॥

श्रीवसिष्ठ उवाच ।

इत्युक्त्वा प्रणता देवीं सा प्रविश्याशु मण्डपम् ।

विहंगीव तया साकं पुप्लुवे सिनिभं नमः ॥ ३९ ॥

 भिन्नाञ्जनचयप्रख्यं सौम्यैकार्णवसुन्दरम् ।

नारायणाङ्गसदृशं भृङ्गपृष्ठामलच्छवि ॥ ४० ॥

मेघमार्गमतिक्रम्य वातस्कन्धावनिं तथा ।

सौरमार्गमथाक्रम्य चन्द्रमार्गमतीत्य च ॥ ४१ ॥

धुवमार्गोत्तरं गत्वा साध्यानां मार्गमेत्य च ।

सिद्धानां समतीत्योर्वीमुल्लङ्घ्य स्वर्गमण्डलम् ॥ ४२ ॥

ब्रह्मलोकोत्तरं गत्वा तुषितानां च मण्डलम् ।

गोलोकं शिवलोकं च पितृलोकमतीत्य च ॥ ४३ ॥

विदेहानां सदेहानां लोकानुत्तीर्य दूरगम् ।

दूराद्दूरमथो गत्वा किंचिद्बुद्धा बभूव सा ॥ ४४ ॥

पश्चादालोकयामास समतीतं नभस्थलम् ।

यावन्न किंचिच्चन्द्रार्कताराद्यालक्ष्यते ह्यधः ॥ ४५ ॥

तमस्तिमितगम्भीरमाशाकुहरपूरकम् ।

एकार्णवोदरप्रख्यं शिलोदरघनं स्थितम् ॥ ४६ ॥

Queen Lila continued:

3.29.33–38

> I remember that he had strongly desired this earlier — to quickly become a king himself, with intense eagerness.

> In just eight days, O Supreme Goddess, he attained that prosperous kingdom which gives lasting confidence and belief.

> Here, my husband's soul exists as a King in the sky, in his own home — invisible like air in Space, or fragrance in the wind.

> Right here, at the end of my thumb's measure, in that very Space, his kingdom is established — it spans millions of yojanas (vast distances).

> Both of us are established in Pure Space, O Goddess, and my husband's kingdom is also there — this great illusion spreads across thousands of mountains.

> O Goddess, I wish to go back to my husband's city again. Come, let us go there — what distance is too far for those with determination?

Sage Vasishta said: 

3.29.39–44

> After saying this and bowing to the Goddess, she quickly entered the pavilion. Like a bird, she flew up into the sky along with her.

> It was dark like a mass of collyrium (kohl), yet beautiful like a calm ocean; resembling the body of Narayana, with the pure luster of a bee's back.

> Crossing the path of clouds, the regions of wind clusters, then the solar path, and going beyond the lunar path,

> Passing the path of Dhruva (the pole star) to the north, reaching the path of the Sadhyas, surpassing the Siddhas, transcending the earthly realm and the heavenly circles,

> Going beyond Brahma-loka and the region of the Tushitas, beyond Goloka, Shiva-loka, and the world of the ancestors,

> Crossing the worlds of the Videhas (bodiless) and those with bodies, traveling far beyond the distant, she became somewhat aware after going extremely far.

3.29.45–46

> Then she looked back at the sky she had crossed — where nothing like the moon, sun, or stars could be seen below anymore.

> It was a dense, still, deep darkness filling the cavities of space — resembling the interior of a single ocean, solid like the inside of a rock.

Summary of the Teachings:

These verses highlight the illusory nature of Space, Time, and worlds in the grand dream of Consciousness. Lila recalls her husband's intense desire to become a king, which manifested instantly in just eight days within his own mind. This shows how strong mental resolve and imagination can create entire realities, including kingdoms and experiences, without any external effort. The teaching emphasizes that what we perceive as "achievement" or "attainment" is often the rapid unfolding of inner vasanas (latent tendencies) rather than objective events.

The core revelation is the non-locality of existence — Lila's husband's soul lives as a king in the sky, invisible yet fully Real, like air or fragrance. His vast kingdom exists right at the tip of her thumb in subtle space, spanning immense distances. This illustrates that all worlds, distances, and boundaries are projections of the mind within Infinite Consciousness. The "great illusion" (mahamaya) spreads across mountains and realms, yet everything remains contained in Pure, Unchanging Space (akasha), teaching that multiplicity arises from the one substratum.

Lila's desire to return to her husband's city demonstrates the power of will (sankalpa) — nothing is distant for one with firm determination. Accompanied by Saraswati, she travels through Cosmic paths (clouds, winds, sun, moon, Dhruva, Sadhyas, Siddhas, heavens, Brahma-loka, etc.), transcending layers of creation up to the highest lokas and beyond. This journey symbolizes the ascent of awareness through subtle planes, showing that spiritual travel is not physical movement but the dissolution of perceived limitations.

As she goes farther, she reaches a point of extreme transcendence where celestial bodies vanish, leaving only dense, profound darkness — still, deep, filling all directions like the womb of a single ocean or the solid interior of a rock. 

This represents the State beyond manifestation: Pure, Undifferentiated Void (shunya or tamas in its primordial form), where even subtle distinctions disappear. It teaches that Ultimate Reality lies in this Formless, Infinite Awareness, free from all objects and perceptions.

Overall, these verses teach non-duality (advaita): all experiences, worlds, journeys, and even gods' realms are appearances within Consciousness. Desires shape apparent Realities quickly; Space and distance are mental constructs; true travel is inward Realization; and the Final State is the recognition of the One, Unchanging Essence behind the Cosmic Play. This encourages detachment from illusory phenomena and abidance in the Self as Pure Being.

Chapter 3.29, Verses 16–32

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.

Chapter 3.29, Verses 1–15

Yoga Vashishtha 3.29.1–20

(True Freedom comes from turning inward, questioning "Who am I?" and recognizing the world as a fleeting appearance)

श्रीवसिष्ठ उवाच ।

तत्र ते पेततुर्देव्यौ ग्रामेऽन्तःशीतलात्मनि ।

भोगमोक्षश्रियौ शान्ते पुंसीव विदितात्मनि ॥ १ ॥

कालेनैतावता लीला तेनाभ्यासेन साभवत् ।

शुद्धज्ञानैकदेहत्वात्त्रिकालामलदर्शिनी ॥ २ ॥

अथ सस्मार सर्वास्ताः प्राक्तनीः संसृतेर्गतीः ।

सा स्वयं स्वरसेनैव प्राग्जन्ममरणादिकाः ॥ ३ ॥

लीलोवाच ।

देवि देशमिमं दृष्ट्वा त्वत्प्रसादात्स्मराम्यहम् ।

इह तत्प्राक्तनं सर्वं चेष्टितं चेष्टितान्तरम् ॥ ४ ॥

इहाभूवमहं जीर्णा शिरालाङ्गी कृशा सिता ।

ब्राह्मणी शुष्कदर्भाग्रभेदरूक्षकरोदरा ॥ ५ ॥

भर्तुः कुलकरी भार्या दोहमन्थानशालिनी ।

माता सकलपुत्राणामतिथीनां प्रियंकरी ॥ ६ ॥

देवद्विजसतां भक्ता सिक्ताङ्गी घृतगोरसैः ।

भर्जनी चरुकुम्भादिभाण्डोपस्करशोधिनी ॥ ७॥

नित्यमन्नलवाक्तैककाचकम्बुप्रकोष्ठका ।

जामातृदुहितृभ्रातृपितृमातृप्रपूजनी ॥ ८॥

आदेहं सद्मभृत्यैव प्रक्षीणदिनयामिनी।

वाचं चिरं चिरमिति वादिन्यनिशमाकुला ॥ ९ ॥

काहं क इव संसार इति स्वप्नेऽप्यसंकथा ।

जाया श्रोत्रियमूढस्य तादृशस्यैव दुर्धियः ॥ १० ॥

एकनिष्ठा समिच्छाकगोमयेन्धनसंचये ।

म्लानकम्बलसंवीतशिरालकृशगात्रिका ॥ ११ ॥

तर्णकीकर्णजाहस्थकृमिनिष्कासतत्परा ।

गृहशाकायनासेकसत्वराहूतकर्परा ॥ १२ ॥

नीलनीरतरङ्गान्ततृणतर्पिततर्णिका ।

प्रतिक्षणं गृहद्वारकृतलेपनवर्णका ॥ १३ ॥

नीत्यर्थं गृहभृत्यानामादीनकृतवाच्यता ।

मर्यादानियमादब्धेर्वेलेवानिशमच्युता ॥ १४ ॥

जीर्णपर्णसवर्णैककर्णदोलाधिरूढया ।

काष्ठताड्यजराभीतजीववृत्त्येव चिह्निता ॥ १५ ॥

Maharishi Vashishta said:

3.29.1–3

> There, in that cool and peaceful village within the mind, the two Goddesses — representing enjoyment and liberation — appeared to the man who knew the Self and remained calm.

> With the passage of time, through her continued practice, Lila became one whose body was Pure Knowledge alone, and she could see the past, present, and future clearly without impurity.

> Then she remembered all her previous paths and journeys in the cycle of existence. She herself, by her own natural joy, recalled her past births, deaths, and so on.

Queen Lila said: 

3.29.4–9

> O Goddess, seeing this place by your Grace, I remember everything — all the actions and other activities from my previous life here.

> Here I was an old woman, with veins showing, thin, white-haired. I was a Brahmin woman, my body rough and dry from handling dried sacrificial grass, with a worn-out stomach.

> I was the wife who managed my husband's family duties, skilled in milking cows and churning curd. I was the mother of all my sons and kind to guests.

> Devoted to gods, Brahmins, and good people, my body was anointed with ghee and cow products. I cleaned and tended the pots for offerings, rice, and other vessels.

> Always busy with small bits of food, with arms adorned with glass bangles and bracelets, I worshipped my son-in-law, daughter, brothers, father, and mother.

> Until the end of my body, I served the household like a slave, with days and nights passing in exhaustion. I kept saying "long, long" in my speech, always busy and troubled.

3.29.10–15

> I never asked myself "Who am I? What is this worldly life?" — not even in dreams. I was the foolish wife of such an ignorant, deluded Brahmin priest.

> Fixed in one duty, desiring only simple things like cow dung and fuel collection, wrapped in faded blankets, thin with visible veins.

> Always intent on removing worms from the ears of calves, quickly called to bring water for the household plants and vegetables.

> My young calves satisfied with grass at the edges of blue water waves. Every moment I applied fresh cow-dung paste at the house door.

> I never spoke harshly to the household servants from the beginning, always following the rules and boundaries like the ocean shore that never overflows.

> With ears hanging like dried leaves on a swing, marked by the fear of old age that strikes like a stick, I lived with a life force like a frightened being.

Summary of the Teachings:

These verses form part of the story of Lila (also known as Leela), where the Goddess Sarasvati grants her the power to recall her past lives through Pure Knowledge and yogic practice. The key teaching is the illusory nature of individual identity and time. Lila, now enlightened and Pure Consciousness, effortlessly remembers her former existence as an ordinary, aged Brahmin woman. This shows that the soul or Consciousness is eternal and transcends births and deaths — what seems like separate lives are mere appearances in the mind, like dreams. The Self remains unchanged, witnessing all without attachment.

The description of Lila's past life as a simple, dutiful housewife highlights the bondage of ignorance in worldly roles. She was deeply immersed in household chores, family duties, devotion to rituals, and survival tasks — milking cows, cleaning vessels, tending guests, and fearing old age. Yet she never questioned her existence or the nature of the world, even in dreams. This illustrates how 

ego-identification with the body, family, and daily routines creates the illusion of a separate self, trapping one in samsara (cycle of birth and death) without self-inquiry.

The contrast between Lila's current state (Pure Knowledge, seeing all times clearly) and her past ignorance emphasizes the transformative power of spiritual practice (abhyasa) and Grace. Through constant effort and Divine favor, the mind becomes purified, the body of Consciousness alone remains, and the veil of ignorance lifts. This teaches that Realization is not about abandoning the world externally but Realizing its unreality inwardly — past lives, actions, and sufferings are remembered as unreal once True Knowledge dawns.

The verses underscore detachment and self-inquiry as the path beyond worldly bondage. Lila's former life was filled with selfless service but lacked awareness of the Self, leading to mechanical existence marked by fear of aging and death. The teaching warns against such unexamined living, where one remains a "foolish wife" to delusion, bound by duties without freedom. True Freedom comes from turning inward, questioning "Who am I?" and recognizing the world as a fleeting appearance.

Ultimately, these verses convey the non-dual essence of reality: all experiences, births, and roles are projections within Consciousness. The enlightened one sees the unity behind multiplicity — the same Consciousness that was the old woman is now the queen and goddess-like figure. This Realization brings Peace, as one transcends time, causation, and individuality, abiding in the eternal Self beyond birth, death, and rebirth.

Chapter 3.28, Verses 33–46

Yoga Vashishtha 3.28.33–46

(Once the illusion of the external world is seen clearly as fleeting and mind-created, the seeker can rest in the Unchanging Self)

श्रीवसिष्ठ उवाच ।

पुष्पशेखरसंभारवसन ग्रामबालकम्।

खर्जूरनिम्बजम्बीरगहनोपान्तशीतलम् ॥ ३३ ॥

क्षौमाग्रहस्ताम्बरया मञ्जरीपूर्णकर्णया।

क्षुत्क्षीणयाक्रान्तरथ्यं ग्रामकीटककान्तया ॥ ३४ ॥

सरित्तरङ्गसंघट्टसंरावाश्रुतसंकथम् ।

कर्मजाड्यघनत्रासवाञ्छितैकान्तसंस्थितम् ॥ ३५ ॥

दधिलिप्तास्यहस्तांसैः स्निग्धपुष्पलताधरैः ।

नग्नैर्गोमयपङ्काङ्कैर्बालैराकुलचत्वरम् ॥ ३६ ॥

तीरशाद्वलवल्लीनां दोलान्दोलनकारिभिः ।

तरङ्गैर्वाह्यमानस्य लेखिकाङ्कितसैकतम् ॥ ३७ ॥

दधिक्षीरघनामोदमत्तमन्थरमक्षिकम् ।

कामभुक्तार्थतोद्वाष्पजर्जराबलबालकम् ॥ ३८ ॥

गोमयासिक्तवलयकरनारीकृतक्रुधम् ।

धम्मिल्लवलनाव्यग्रत्रस्तस्त्रीविहसज्जनम् ॥ ३९ ॥

दान्तपुष्पच्छदोत्सन्नपतत्ककुदवायसम् ।

गृहरथ्यागणद्वारकीर्णक्रूरकुरण्टकम् ॥ ४० ॥

गृहपार्श्वस्थितश्वभ्रकुञ्जैः कुसुमितप्रभैः ।

प्रत्यहं प्रातरागुल्फमाकीर्णकुसुमाजिरम् ॥ ४१ ॥

चरच्चमरसारङ्गजालजङ्गलखण्डकम् ।

गुञ्जानिकुञ्जसंजातशष्पसुप्तमृगार्भकम् ॥ ४२ ॥

एकान्तसुप्तवत्सैककर्णस्पन्दास्तमक्षिकम् ।

गोपोच्छिष्टीकृतदधिखसृक्किस्पन्दिमक्षिकम् ॥ ४३ ॥

समस्तसद्मसंक्षीणमक्षिकाक्षिप्तमाक्षिकम् ।

फुल्लाशोकद्रुमोद्यानकृतलाक्षिकमन्दिरम् ॥ ४४ ॥

सीकरासारमरुता नित्यार्द्रविकचद्रुमम्।

कदम्बमुकुलप्रोतसमस्तच्छादनतृणम् ॥ ४५ ॥

प्रतिकृत्तलताफुल्लकेतकोत्करपाण्डुरम् ।

वहत्प्राणालपटलीरणद्गुरुगुरारवम् ॥ ४६ ॥

Sage Vashishta continued:

3.28.33 – 37

> A village boy adorned with flowers in his hair, wearing simple clothes, in a cool shady spot surrounded by date palms, neem, and lemon trees.

> With fine silk cloth in hand, ears full of flower blossoms, hungry and tired, roaming the streets, charming like a village insect (playful child).

> Listening to the loud chatter of river waves clashing, staying alone in fear of the dullness caused by karma, desiring only solitude.

> Courtyards crowded with naked children smeared with curd on their faces, hands, and shoulders, holding soft flower vines, marked with cow dung.

> Riverbank lawns with creeping vines swinging like cradles, sandy shores marked by wave writings, carried by the flowing waves.

3.28.38–41

> Bees slow and intoxicated by the thick smell of curd and milk, old weak children crying from unfulfilled desires of pleasures.

> Women angry because their bangles are smeared with cow dung, laughing at frightened women busy with their hair braids.

> Crows dropping flower petals from their beaks onto house paths and doors, scattered with harsh thorny bushes.

> Every morning the courtyards near houses filled up to the ankles with flowers from blooming shrubs in pits and corners glowing with blossoms.

3.28.42–46

> Moving herds of deer and antelopes in forest patches, young deer sleeping on tender grass in groves buzzing with insects.

> Lone sleeping calves with one ear twitching at flies, cowherds' leftover curd attracting moving flies around their mouths.

> Houses losing all flies as they fly away, temples marked with red lac from ashoka trees blooming in gardens.

> Trees always wet and blooming from daily misty winds, grass covering all roofs pierced by kadamba buds.

> White with clusters of ketaki flowers cut and falling on creepers, carrying rows of water channels making loud gurgling sounds.

Summary of the Teachings:

These verses continue to paint a vivid, detailed picture of an ordinary Indian village scene, full of everyday sights, sounds, smells, and activities. Sage Vasishta describes this to Rama as part of illustrating the illusory nature of the world. The description includes playful children, busy women, flowing rivers, blooming plants, animals, insects, and domestic life — all mixed with messiness like cow dung, curd, hunger, and small conflicts. Nothing here is grand or special; it is common rural existence. This shows how the world appears real and attractive through the senses, but it is made of simple, changing elements.

The main teaching is about maya (illusion) and how the mind creates a sense of reality from ordinary things. Vasishta uses this long poetic description to show that what we call the "world" is just a collection of perceptions — colors, smells, movements, noises — without any solid, permanent substance. The village looks alive and full, but every detail is temporary and interdependent, like waves on a river or flies on curd. This helps Rama see that attachment to such a world is based on misunderstanding.

Another key idea is the contrast between the seeming charm and the underlying suffering or impermanence. Children play but are hungry or weak; women laugh but get angry over small things; nature blooms but gets messy with dung and mud. This mix of joy and discomfort points to the transient nature of worldly pleasures (bhoga). The Sage wants Rama to recognize that chasing these experiences leads only to repeated cycles of desire and disappointment, caused by karma and ignorance.

By focusing on such a mundane yet beautiful scene, Vasishta teaches detachment (vairagya). The world captivates us with its variety and details, but a wise person sees it as a dream-like appearance in consciousness. The village is not separate from the mind that perceives it; it arises and exists only in awareness. Realizing this non-dual truth (advaita) frees one from bondage to appearances.

Finally, these verses prepare for deeper teachings on Self-Realization. The elaborate description is not just poetry but a tool to tire the mind of worldly fascination, turning it inward. Once the illusion of the external world is seen clearly as fleeting and mind-created, the seeker can rest in the Unchanging Self (Atman). This sarga uses everyday realism to lead toward spiritual awakening, showing that Realization comes from understanding the unreal as unreal.

Chapter 3.28, Verses 17–32

Yoga Vashishtha 3.28.17–32

(The overwhelming splendor of the world is shown to be captivating yet deceptive, urging the aspirant to question its Reality and seek the Eternal Truth beyond appearances)

श्रीवसिष्ठ उवाच ।

आदृश्ये ग्रामलोकेन प्रेक्षमाणे पुरोगिरिम् ।

चुम्बिताकाशकुहरं संस्पृष्टादित्यमण्डलम् ॥ १७ ॥

नानावर्णाखिलोत्फुल्लविचित्रवननिर्मलम् ।

नानानिर्झरनिर्ह्रादकूजद्वनविहंगमम् ॥ १८ ॥

विचित्रमञ्जरीपुञ्जपिञ्जराम्बुदमण्डलम् ।

स्वभ्रमच्छगुलुच्छाग्रविश्रान्तखगसारसम् ॥ १९ ॥

सारवञ्जुलविस्तारगुप्ताखिलसरित्तटम् ।

असमाप्तशिलाश्वभ्रलतावर्तनमारुतम् ॥ २० ॥

पुष्पाग्रपिहिताकाशकोशकुड्यकवारिदम् ।

पतद्दीर्घसरित्स्रोतः स्फुरन्मुक्ताकलापकम् ॥ २१ ॥

चलद्वृक्षवनव्यूहवातवेल्लिसरित्तटम् ।

नानावनाकुलोपान्तच्छायासततशीतलम् ॥ २२ ॥

अथ ते ललने तत्र तदा ददृशतुः स्वयम्।

तं गिरिग्रामकं व्योम्नः स्वर्गखण्डमिव च्युतम् ॥ २३ ॥

रटत्प्रणालीपटलं पूर्णपुष्करिणीगणम् ।

द्विजैः कुचकुचैः कूजत्स्वलीलाश्वभ्रकच्छकम् ॥ २४॥

गच्छद्गोवृन्दहुंकारकरालाखिलकुञ्जकम् ।

कुञ्जगुल्मकखण्डाढ्यं सच्छायघनशाद्वलम् ॥ २५ ॥

दुष्प्रवेशार्ककिरणं दृशन्नीहारधूसरम्।

उदग्रमञ्जरीपुञ्जजटालं विशिखान्तरम् ॥ २६ ॥

शिलाकुहरवाःस्फालप्रोच्चलन्मुक्तनिर्झरैः ।

स्मारिताचलनिर्धूत्क्षीरोदकजलश्रियम् ॥ २७ ॥

फलमाल्यमहाभारभासुरैरजिरद्रुमैः ।

आनीय पुष्पसंभारं तिष्ठद्भिरिव संकुलम् ॥ २८ ॥

तरत्तरङ्गझांकारकारिमारुतकम्पितैः ।

कीर्णपुष्पसमावृष्टं द्रुमैरपि रसाकुलैः ॥ २९ ॥

अशङ्कितशिलाकूटस्रवदब्बिन्दुटंकृतैः।

किंचित्कृतरवं गुप्तैरशङ्कैः शङ्कितैः खगैः ॥ ३० ॥

उत्फाललहरीश्रान्तसीकरास्वादनाकुलैः।

नद्यामुडुपरावर्तवृत्तिभिर्विहगैर्वृतम् ॥ ३१ ॥

उत्तालतालविश्रान्तकाकालोकनशङ्कितैः ।

बालैः प्रगोपितामिक्षाखण्डं जीर्णस्वभुक्तकैः ॥ ३२ ॥

Maharishi Vashishta continued:

3.28.17–21

> In the invisible village located on the mountain peak, seen by the people of the village ahead, it touches the cavity of the sky and kisses the orb of the sun.

> It is adorned with forests blooming in various colours and all kinds of pure, charming flowers; many waterfalls resound, and birds sing sweetly in the woods.  

> Clusters of multi-coloured blossoms make the cloud clusters golden; swans and other birds rest peacefully on the swaying tips of tree branches.  

> Broad mango groves completely conceal the riverbanks; unfinished stone caves are filled with swirling creepers, and winds move through them. 

> The tips of flowers cover the sky like walls holding the clouds; long cascading rivers sparkle with clusters of pearl-like water drops.

3.28.22 

Groups of swaying trees make the riverbanks tremble with wind; the dense forests at the edges provide constant cool shade.

3.28.23–27

> Then those two young men (Rama and Lakshmana) themselves saw that mountain village appearing in the sky, looking like a fragment of heaven that had fallen down.

> It has channels filled with gurgling streams, groups of full ponds; birds sweetly coo in their playful caves and hollows. 

> Moving herds of cows fill every grove with their low humming sounds; it is rich with thickets and clusters of bushes, covered with good shade and lush green grass.

> Difficult to enter because of the sun’s rays, yet it appears misty with dew; high clusters of blossoms hang like matted locks in the spaces between the paths. 

> From the cavities in the rocks, high-splashing waterfalls leap forth, reminding one of mountains pouring streams of milky water.

3.28.28–32  

> Trees in the courtyards shine with the heavy burden of fruits and flower garlands, as if they have brought heaps of blossoms and stand crowded together.

> Winds shake the branches with wave-like sounds; the juice-filled trees shower falling flowers everywhere.

> Suddenly from the stone peaks, dripping water drops produce tinkling sounds; hidden birds make soft calls—some fearless, some fearful and cautious.

> Birds, tired from leaping on the waves, taste the spray drops; the river is surrounded by birds circling like revolving stars in whirlpools.

> Crows rest on tall palm trees, looking around suspiciously; children hide pieces of fresh cream, protecting them from old monkeys who have already eaten their share.

Summary of the teachings:

These verses form part of a vivid poetic description in the Yoga Vasishta, where Sage Vasishta paints an extraordinarily beautiful and lively picture of a heavenly-like mountain village seen by Rama and Lakshmana. This scene is not merely a travelogue but a deliberate illustration of how the mind perceives the world. The detailed imagery—from sun-kissed peaks and blooming forests to flowing rivers, singing birds, and playful animals—shows the richness and diversity of creation as it appears to the senses. The teaching here is that the external world, though enchanting and full of variety, is a projection of Consciousness, appearing Real and solid only because of the mind's attention and imagination.

The village is described as "fallen from heaven" yet visible in the sky, blending the earthly and Divine. This suggests the illusory (maya) nature of perceived Reality: what seems like a concrete place is actually a mental construct, transient and dream-like. Vasishta uses this to teach Rama that the world we experience is not ultimately Real but a beautiful appearance arising in the Infinite Consciousness (Brahm). Just as a dream village feels vivid while dreaming, the waking world too is a long dream of the self, full of sensory delights but lacking independent existence.

The abundance of nature—flowers, fruits, waters, birds, and animals living in harmony—symbolizes the fullness and Joy inherent in Pure Being when untainted by ego or desire. Yet the verses subtly hint at impermanence: falling flowers, dripping waters, swaying branches, and suspicious crows all point to constant change and movement. The teaching emphasizes detachment: one should appreciate beauty without clinging, recognizing it as a play of consciousness rather than a source of lasting fulfillment or bondage.

A deeper layer reveals non-duality (advaita). The village, though described with dualistic details (high and low, hidden and open, fearful and bold), exists within the One Unchanging Awareness. Rama is being guided to see beyond the multiplicity to the singular substratum. The scene serves as a meditative object: by contemplating such perfect yet unreal beauty, the seeker Realizes the world's relativity and turns inward to the Self that witnesses it all without being affected.

Ultimately, these verses prepare the ground for dispassion (vairagya) and inquiry. The overwhelming splendor of the world is shown to be captivating yet deceptive, urging the aspirant to question its Reality and seek the Eternal Truth beyond appearances. This leads to Realization, where one abides in the Self, free from the illusion of a separate world, much like waking from a beautiful but unreal dream.

Chapter 3.28, Verses 1–16

Yoga Vashishtha 3.28.1–16

(The world shines brightly yet is ultimately asat - unreal - within the Essence of Pure Awareness)

श्रीराम उवाच ।

वज्राङ्गसाराद्ब्रह्माण्डकुड्यान्निबिडमण्डलात् ।

कोटियोजनसंपुष्टात्कथं ते निर्गतेऽबले ॥ १ ॥

श्रीवसिष्ठ उवाच ।

क्व ब्रह्माण्डं क्व तद्भित्तिः क्वात्रासौ वज्रसारता ।

किलावश्यं स्थिते देव्यावन्तःपुरवराम्बरे ॥ २ ॥

तस्मिन्नेव गिरिग्रामे तस्मिन्नेवालयाम्बरे ।

ब्राह्मणः स वसिष्ठाख्य आस्वादयति राजताम् ॥ ३ ॥

तमेव मण्डपाकाशकोणकं शून्यमात्रकम् ।

चतुःसमुद्रपर्यन्तं भूतलं सोऽनुभूतवान् ॥ ४ ॥

आकाशात्मनि भूपीठं तस्मिंस्तद्राजपत्तनम् ।

राजसद्मानुभवति स च सा चाप्यरुन्धती ॥ ५ ॥

लीलाभिधाना सा जाता तया च ज्ञप्तिरर्चिता ।

ज्ञप्त्या सह समुल्लङ्घ्य खमाश्चर्यमनोहरम् ॥ ६ ॥

प्रादेशमात्रे नभसि सा तत्रैवगृहोदरे ।

ब्रह्माण्डान्तरमासाद्य गिरिग्रामकमन्दिरे ॥ ७ ॥

ब्रह्माण्डात्परिनिर्गत्य स्वगृहे स्थितिमाययौ ।

स्वप्नात्स्वप्नान्तरं प्राप्य यथा तल्पगतः पुमान् ॥ ८ ॥

प्रतिभामात्रमेवैतत्सर्वमाकाशमात्रकम् ।

न ब्रह्माण्डं न संसारो न कुड्यादि न दूरता ॥ ९ ॥

स्वचित्तमेव कचति तयोस्तादृङ्मनोहरम् ।

वासनामात्रसोल्लेखं क्व ब्रह्माण्डं क्व संसृतिः ॥ १० ॥

निरावरणमेवेदं ज्ञप्त्याकाशमनन्तकम् ।

किंचित्स्वचित्तेनोन्नीतं स्पन्दयुक्त्येव मारुतः ॥ ११ ॥

चिदाकाशमजं शान्तं सर्वत्रैव हि सर्वदा।

चित्त्वाज्जगदिवाभाति स्वयमेवात्मनात्मनि ॥ १२ ॥

येन बुद्धं तु तस्यैतदाकाशादप शून्यकम्।

न बुद्धं येन तस्यैतद्वज्रसाराचलोपमम् ॥ १३ ॥

गृह एव यथा स्वप्ने नगरं भाति भासुरम् ।

तथैतदसदेवान्तश्चिद्धातौ भाति भास्वरम् ॥ १४ ॥

यथा मरौ जलं बुद्धं कटकत्वं च हेमनि ।

असत्सदिव भातीदं तथा दृश्यत्वमात्मनि ॥ १५ ॥

एवमाकथयन्त्यौ ते ललने ललिताकृती।

गृहान्निर्ययतुर्बाह्यं चारुचक्रमणक्रमैः ॥ १६ ॥

Sriram said:

3.28.1

How did the lady, being weak, escape from this Universe which is like a solid diamond wall, densely formed and vast like millions of yojanas?

Sage Vashishta replied:

3.28.2

Where is the Universe? Where is its wall? Where is that diamond-like hardness? Indeed, O Goddess, you two are surely present in the inner chamber of the sky itself.

3.28.3–5

In that very mountain village, in that very house in the sky, the Brahmin named Vasistha enjoys royal splendor.

He himself experienced that empty corner of the pavilion in the sky as the entire earth bounded by the four oceans.

In that sky-nature, the earthly seat, and in it that royal city; he and Arundhati experience the royal palace.

3.28.6–8

She who is named Lila was born there, and by her, Consciousness (jnana) was worshipped. With that Consciousness, crossing the wonderful and charming sky...

In a small space of the sky, right there inside the house, she reached another Universe within the mountain village temple.

Emerging from that Universe, she returned to her own home. Just as a man in bed goes from one dream to another dream.

3.28.9–11

All this is mere appearance, nothing but empty Space. There is no Universe, no worldly life, no wall, no distance.

One's own mind alone shines forth with such charming forms for them both. It is merely a trace of latent impressions (vasanas). Where is the Universe? Where is worldly existence?

This is indeed the uncovered, Infinite Space of Consciousness. Something is projected by one's own mind, like wind stirred by motion.

3.28.12

The Space of Consciousness is Unborn, Peaceful, All-pervading and Evere-present. Due to its nature as Consciousness, it appears as the world, shining by itself in itself.

3.28.13–15

For one who knows it, this is even emptier than empty Space. For one who does not know it, this is like a diamond-hard mountain.

Just as in a dream within the house a shining city appears, so this unreal thing shines brightly within the Essence of Consciousness.

As water is seen in a desert mirage, or bracelet-form in gold, this unreal appears as Real in the Self, so the seen world appears in the Self.

3.28.16

Thus speaking, days Vashishta, the two charming ladies, with graceful forms, left the house and went outside, walking beautifully in graceful steps.

Summary of the Teachings:

These verses form part of the Lila story in the Utpatti Prakarana, emphasizing the illusory nature of the Universe and the Reality of Pure Consciousness. Rama questions how Lila could exit the vast, impenetrable-seeming universe, highlighting the common perception of the world as solid and distant. Vasistha explains that the Universe has no real substance or boundaries—it exists only as an appearance within Consciousness. The "diamond wall" and immense size are mental projections, not objective realities. This sets the foundation for understanding that Creation is mind-made, without inherent existence apart from Awareness.

The narrative illustrates how the same Consciousness (jnana) manifests multiple layers of experience, like Vasistha and Arundhati enjoying royal life in a tiny sky-pavilion that appears as the entire earth. Lila, born from this, worships Consciousness and travels through nested "Universes" within a small space, showing that all worlds are contained within the mind's projections. This journey resembles entering one dream from another while asleep, proving that transitions between States of existence are illusory shifts in perception, not movements in real Space.

The core teaching is non-duality: everything perceived is mere appearance (pratibha) in empty Space (akasha), with no True Universe, samsara, walls, or distances. The mind alone projects charming forms through vasanas (latent tendencies or impressions), creating the illusion of multiplicity. When vasanas are seen as such, the question of "where is the world?" dissolves, revealing that bondage and liberation depend on mental conviction.

Consciousness (cidakasha) is described as Unborn, Eternal, Peaceful, and All-pervading. It appears as the world due to its own nature, self-shining within itself. For the ignorant, the world feels solid and immovable like a diamond mountain; for the Knower, it is emptier than emptiness. This relativity of perception underscores that Reality depends on Realization —ignorance hardens illusion, while Knowledge reveals its non-existence.

The verses use analogies like dream-cities, mirage-water, and gold-bracelets to show how the unreal appears Real in the substratum (the Self or Consciousness). The world shines brightly yet is ultimately asat (unreal) within the essence of Pure Awareness. The ladies' graceful exit symbolizes liberated beings moving freely in the world without attachment, embodying the teaching that true freedom comes from recognizing the dream-like nature of existence and resting in the Unchanging Self.

Chapter 3.27, Verses 51–59

Yoga Vashishtha 3.27.51–59

(The painful and restless nature of worldly life, is compared to a long, turbulent river where the jiva is helplessly tossed by the winds of desire and karma)

लीलोवाच ।

कनकस्यन्दसंदोह सुन्दरैरङ्गपञ्जरैः।

स्वर्गेऽप्सरोम्बुजिन्याशु तोषिताः सुरषट्पदाः ॥ ५१ ॥

मणिकाञ्चनमाणिक्यमुक्तानिकरभूतले ।

कल्पद्रुमवने मेरौ यूना सह रतं कृतम् ॥ ५२ ॥

कल्लोलाकुलकच्छासु लसद्गुच्छलतासु च ।

वेलावनगुहास्वब्धेश्चिरं कूर्मतया स्थितम् ॥ ५३ ॥

तरत्तारतरङ्गासु दोलनं सरसालिनाम्।

चलच्छदपटालीषु राजहंस्यं मया कृतम् ॥ ५४ ॥

शाल्मलीदललोलानामान्दोलनदरिद्रताम् ।

मशकस्य मयालोक्य दीनं मशकया स्मितम् ॥ ५५ ॥

तरत्तारतरङ्गासु चञ्चद्वीच्यग्रचुम्बनैः।

भ्रान्तं शैलस्रवन्तीषु जलवञ्जुललीलया ॥ ५६ ॥

गन्धमादनमन्दारमन्दिरे मदनातुरा ।

पातिताः पादयोः पूर्वं विद्याधरकुमारकाः ॥ ५७ ॥

कर्णिकर्पूरपूरेषु तल्पेषु व्यसनातुरा ।

चिरं विलुलितास्मीन्दुबिम्बेष्विव शशिप्रभा ॥ ५८ ॥

योनिष्वनेकविधदुःखशतान्वितासु भ्रान्तं मयोन्नमनसन्नमनाकुलात्मा।

संसारदीर्घसरितश्चलया लहर्या दुर्वारवातहरिणीसरणक्रमेण ॥ ५९ ॥

Queen Lila continued:

3.27.51

In heaven, as a beautiful Apsara with a body shining like flowing molten gold and lovely lotus-like features, I quickly pleased the gods who are like bees.

3.27.52

On the jewel-strewn golden ground in the forests of wish-fulfilling trees on Mount Meru, I enjoyed youthful pleasures with young companions.

3.27.53

For a long time I stayed as a tortoise in the ocean's wave-filled shores, among shining clusters of creeping vines and in the caves of the seashore forests.

3.27.54

I acted as a royal swan, swaying on the trembling waves full of stars' reflections, among the fluttering rows of lotus leaves in lakes.

3.27.55

Seeing a female mosquito poor and deprived, swinging on the trembling leaves of the silk-cotton tree, I smiled with pity as a mosquito myself.

3.27.56

With the playful movements of water plants, I wandered on mountain streams, kissing the dancing wave tips with restless swift waves.

3.27.57

In the temple of mandara flowers on Gandhamadana mountain, love-stricken Vidhyadhara youths fell at my feet in devotion.

3.27.58

Overcome by passion, I rolled for a long time on beds filled with camphor and kunkuma, like moonlight scattered on the moon's orb.

3.27.59

With my mind rising and falling in confusion, I wandered through countless wombs full of hundreds of pains, carried along the long river of worldly existence by the unsteady waves, running helplessly like a deer chased by an irresistible wind.

Summary of the Teachings:

These verses form part of Lila's recollection of her countless past lives, as narrated in the Yoga Vasistha to illustrate the illusory and transient nature of individual existence. Lila describes her births in diverse forms—from a divine celestial nymph enjoying heavenly pleasures, to youthful enjoyments on sacred mountains, to an animal like a tortoise enduring long periods in the ocean, and even lowly insects like a mosquito. This shows how the soul (jiva), driven by karma and desires, cycles through high and low births without any lasting stability or true fulfillment.

The core teaching emphasizes that all forms of life, whether exalted like an Apsara in heaven or humble like a tortoise or mosquito, are equally bound by the cycle of samsara. Pleasures in higher realms or playful moments in nature are fleeting and ultimately lead to the same dissatisfaction. Even Divine enjoyments or romantic passions end in exhaustion and repetition, highlighting the futility of seeking happiness in external or bodily experiences.

A deeper lesson is the unreality of individuality across births. Lila's "I" has inhabited bodies as varied as a swan gliding on lakes, a love-maddened youth pursued by admirers, or a being tormented in painful wombs. This demonstrates that personal identity is not fixed but a product of mind and memory, shifting like waves in the river of existence. The soul appears to move through these states, yet in truth, it remains untouched as Pure Consciousness.

The verses underscore the painful and restless nature of worldly life, compared to a long, turbulent river where the jiva is helplessly tossed by the winds of desire and karma. No birth is free from suffering—whether the subtle pains of passion or the gross hardships of lower forms. This Realization aims to create detachment (vairagya), urging the seeker to recognize the impermanence and sorrow inherent in all conditioned existence.

Ultimately, these descriptions serve the larger Advaita teaching of the Yoga Vasistha: the world and its endless cycle of births are appearances in Consciousness, like dreams. By recollecting such diverse lives, Lila (and through her, the reader) is led to question the Reality of the ego and the body, paving the way for understanding one's true nature as the Unchanging Self beyond birth and death.

Chapter 3.27, Verses 43–50

Yoga Vashishtha 3.27.43–50

(The soul is Eternal and Pure Consciousness, unbound by any form, yet appears bound through identification with bodies and desires)

लीलोवाच ।

वर्षाण्यष्टौ सुराष्ट्रेषु देवि गोत्वं कृतं मया ।

मोहाद्दुर्जनदुष्टाज्ञबालगोपाललीलया ॥ ४३ ॥

विहंग्या वैरविन्यस्ता वागुरा विपिनावनौ ।

क्लेशेन महता च्छिन्ना अधमा वासना इव ॥ ४४ ॥

कर्णिकाक्रोडशय्यासु विश्रान्तमलिना सह ।

पद्मकुड्मलकोशेषु भुक्तकिंजल्कया रहः ॥ ४५ ॥

भ्रान्तमुत्तुङ्गशृङ्गासु हरिण्या हारिनेत्रया ।

वनस्थलीषु रम्यासु किराताहतमर्मया ॥ ४६ ॥

दृष्टं नष्टासु दिक्ष्वब्धिकल्लोलैरुह्यमानया ।

मत्स्याम्बुकच्छपाच्छोडे मोघमाननताडनम् ॥ ४७ ॥

पीतं चर्मण्वतीतीरे गायन्त्या मधुरस्वरम् ।

पुलिन्द्या सुरतान्तेषु नालिकेररसासवम् ॥ ४८ ॥

सारसीसरसालिन्या सीत्कारमधुरस्वरम् ।

सारसः सुरतैः स्वैरं सामन्तश्चारुरञ्जितः ॥ ४९ ॥

तालीतमालकुञ्जेषु तरलानननेत्रया।

क्षीबप्रेक्षणविक्षोभैः कृतं कान्तावलोकनम् ॥ ५० ॥

Queen Lila continued:

3.27.43

For eight years in the country of Surashtra, O Goddess, I lived as a cow due to delusion, playing the role of an ignorant, naughty cowherd boy among wicked people.

3.27.44

In the forest, like a cruel net of enmity spread by birds, my lowly tendencies were cut with great effort, like bad habits.

3.27.45

I rested secretly with a dirty bee in the hollows of lotus stalks and in the sheaths of lotus buds, having enjoyed the pollen.

3.27.46

I wandered on high mountain peaks with a deer having captivating eyes, in beautiful forest groves, struck in the vital parts by a hunter.

3.27.47

I saw, while being carried away by ocean waves in lost directions, the useless slapping of the face in vain by a fish, turtle, or frog in water.

3.27.48

On the banks of the Charmanyvati river, I drank sweet coconut liquor sung in melodious voice by a Pulinda woman at the end of love-making.

3.27.49

With a lake-bird (crane) lady making sweet cooing sounds, the swan (saras) was freely delighted in love sports, charmingly adorned by attendants.

3.27.50

In the groves of palm and tamala trees, with a woman having trembling face and eyes, passionate glances caused disturbance while looking at the beloved.

Summary of the Teachings:

These verses form part of Lila's recollection of her numerous past existences, as revealed through yogic insight and Divine Grace. Lila describes transmigrating through various lower forms of life—animal, bird, insect, and human-like tribal—highlighting how the soul, driven by ignorance (moha) and deep-rooted desires (vasanas), undergoes endless cycles of birth. The narrative begins with her existence as a cow in delusion and ignorance, showing how even seemingly innocent playful roles bind the soul due to association with impure influences. This illustrates the teaching that the jiva (individual soul) is not fixed in any single form but wanders endlessly due to karma and vasanas, emphasizing impermanence and the futility of worldly identifications.

The imagery of cutting lowly tendencies "with great effort, like a cruel net" points to the arduous process of spiritual purification. Just as a net of enmity traps birds, vasanas ensnare the soul across lifetimes. Lila's effort to break free symbolizes sadhana (spiritual practice) required to destroy bad habits and attachments. The Yoga Vasishta teaches that liberation comes not from avoiding births but from recognizing and uprooting the subtle impressions (vasanas) that propel rebirth, often through discrimination (viveka) and intense inner work.

The verses vividly portray sensual and instinct-driven experiences in animal and semi-human forms—resting in lotus with a bee (symbolizing attachment to fleeting pleasures), wandering as a deer hunted down (showing vulnerability to death and desire), or indulging in intoxicating drinks and love sports as tribal women or birds. These depict how the same consciousness assumes diverse bodies to fulfill latent desires, whether for food, mating, or sensory enjoyment. The teaching here is that all embodied experiences, high or low, arise from the mind's projections and conditioning; there is no essential difference between human "nobility" and animal "baseness"—both are illusions born of ignorance.

A deeper teaching emerges in the futility and suffering inherent in these lives: the "useless slapping" in ocean waves, the strike of the hunter, or the temporary delights of love and intoxication. They reveal samsara's nature as transient, painful, and ultimately empty. Lila's survey of these lives serves to awaken detachment (vairagya), showing that chasing pleasures across forms leads only to repeated bondage. The text uses these graphic recollections to demonstrate that the world is a dream-like play of Consciousness (chit), where births occur due to self-imposed limitations.

Ultimately, these verses reinforce the central doctrine of the Yoga Vasishta: the soul is Eternal and Pure Consciousness, unbound by any form, yet appears bound through identification with bodies and desires. Lila's ability to remember and narrate these lives proves the power of Knowledge (jnana) to transcend time and rebirth. The teaching urges the seeker to realize the non-dual Self (Atman/Brahm), beyond all forms and vasanas, as the only way to end the cycle. By seeing the illusory nature of all existences—as Lila does—the aspirant attains Freedom here and now.