Posts
Yoga Vashishtha 3.46.1–15
(These verses form part of the story of Queen Lila in the Utpatti Prakarana, where Vasishta narrates to Rama the dramatic events involving King Viduratha, the husband of one form of Lila)
श्रीराम उवाच ।
एवं संकथयन्तीषु तासु तस्मिन्गृहोदरे ।
विदूरथः किमकरोन्निर्गत्य कुपितो गृहात् ॥ १ ॥
श्रीवसिष्ठ उवाच ।
विदूरथः स्वसदनान्निर्गतः परिवारितः ।
परिवारेण महता ऋक्षौघेणेव चन्द्रमाः ॥ २ ॥
सन्नद्धसर्वावयवो लग्नहारविभूषणः।
महाजयजयारावैः सुरेन्द्र इव निर्गतः ॥ ३ ॥
समादिशन्योधगणं शृण्वन्मण्डलसंस्थितिम् ।
आलोकयन्वीरगणानारुरोह नृपो रथम् ॥ ४ ॥
कूटाकारसमाकारं मुक्तामाणिक्यमण्डितम् ।
पताकापञ्चभिर्व्याप्तं द्युविमानमिवोत्तमम् ॥ ५ ॥
चक्रभित्तिपरिप्रोतप्रकचत्काञ्चनाङ्कुरम् ।
मुक्ताजालरणत्कारचारुविक्रमकूबरम् ॥ ६ ॥
सुग्रीवैर्लक्षणोपेतैः प्रशस्तैः प्रचलैः कृशैः।
जवोड्डयनवेगेन प्रवहद्भिः सुरानिव ॥ ७ ॥
वायुं जवेन सहसा असहद्भिर्गतिक्रमैः।
प्रोह्यद्भिरिव पश्चार्धमापिबद्भिरिवाम्बरम् ॥ ८॥
योजितैरिव संपूर्णैश्चन्द्रैश्चामरदीप्तिभिः ।
अश्वैरष्टभिराबद्धमाशापूरकहेषितैः ॥ ९ ॥
अथोदपतदुद्दामनागाभ्ररवनिर्भरः ।
शैलभित्तिप्रतिध्वानदारुणो दुन्दुभिध्वनिः ॥ १० ॥
मत्तसैनिकनिर्मुक्तैर्व्याप्तं कलकलारवैः।
किंकिणीजालनिर्ध्वानैर्हेतिसंघट्टघट्टितैः ॥ ११ ॥
धनुश्चटचटाशब्दैः शरसीत्कारगायनैः ।
परस्पराङ्गनिष्पिष्टकवचौघझणज्झणैः ॥ १२ ॥
ज्वलदग्निटणत्कारैरार्तिमत्क्रन्दनारवैः ।
परस्परभटाह्वानैर्बन्दिविक्षुब्धरोदनैः ॥ १३ ॥
शिलाघनीकृताशेषब्रह्माण्डकुहरो ध्वनिः ।
हस्तग्राह्योऽभवद्भीमो दशाशाकुञ्जपूरकः ॥ १४ ॥
अथोदपतदादित्यपथपीवररोधकम्।
रजोनिभेन भूपीठमम्बरोड्डयनोन्मुखम् ॥ १५ ॥
Sriram said:
2.46.1
> While the women were talking like this inside the tent, what did the angry Viduratha do after leaving the house?
Maharishi Vasishta said:
3.46.2–9
> Viduratha left his residence, surrounded by a large retinue, like the moon encircled by a mass of stars.
> His body fully armored, adorned with necklaces and jewels stuck to him, he emerged like Indra, the king of gods, amid loud cries of victory.
> He ordered his troops, listened to reports about the enemy's positions, observed his warriors, and then climbed onto his chariot.
> The chariot had a peaked shape, decorated with pearls and gems, covered by five flags, resembling a superb heavenly vehicle.
> Its walls were fitted with shining golden spikes, its yoke poles beautiful with the tinkling sound of pearl nets.
> It was yoked to excellent, swift, lean horses with good marks, moving with the speed of flight, carrying the gods as if.
> They rushed forward with such speed that they seemed to outpace the wind, dragging the rear part as if drinking up the sky.
> It was harnessed to eight horses, fully equipped, shining like moons with their white tails and manes, neighing to fill all directions.
3.46.10–15
> Then arose a terrible sound of war drums, fierce like the roar of wild elephants and clouds, echoing off mountain walls.
> The air was filled with the clamor of excited soldiers, the jingling of small bells, and the clashing sounds of weapons striking each other.
> There were the snapping sounds of bows, the whistling of arrows, the jingling of armor crushed against one another.
> Crackling noises of blazing fires, cries of pain, mutual calls of warriors, and the agitated weeping of bards.
> The sound became so intense that it seemed to fill the entire cavity of the Universe, a terrifying roar spreading through the ten directions.
> Then rose a thick cloud of dust, like earth itself rising upward, blocking the path of the sun and covering the ground as it flew into the sky.
Summary of the Teachings:
The scene depicts Viduratha's furious departure from his camp to wage war, after a Divine intervention and conversation among women, including Goddesses and queens. The vivid description highlights the transient and illusory nature of worldly power, glory, and conflict.
The king's grand exit, with his majestic chariot, armored body, victorious shouts, and massive army, symbolizes the ego's pomp and the mind's attachment to external strength and victory. Everything appears magnificent and invincible, yet it is all built on impermanence. The horses racing as if devouring the sky and the dust rising like the earth itself ascending illustrate how worldly pursuits create chaos and obscure true vision, much like dust clouds the sun.
The overwhelming noise—from drums, weapons, cries, and armor—represents the constant turmoil and agitation of the mind caught in desire, anger, and battle. This cacophony fills all directions, showing how delusion spreads everywhere when one is driven by rajasic (passionate) impulses. In the Yoga Vasishta's philosophy, such scenes demonstrate that what seems real and powerful in the world is merely a projection of the mind, like a dream or mirage.
The teaching subtly contrasts this display of royal might with the Higher Truth revealed in surrounding chapters: the world and its conflicts arise from ignorance of the Self. Viduratha's rage and march to war stem from attachment to his queen and kingdom, but the story ultimately points to Realization that all forms, relationships, and battles are appearances within Consciousness. True liberation comes from seeing beyond these illusions.
Overall, these verses serve as a dramatic illustration of samsara (worldly existence)—full of splendor, noise, and motion on the surface, but empty and unreal at the core. They encourage the seeker to turn inward, discriminate between the Eternal Self and transient phenomena, and recognize that even the grandest worldly drama is a play of maya, leading to peace through Knowledge and detachment.
