Chapter 1.26, Verses 23–32

Yoga Vashishtha 1.26.23–32

(The illusion of Maya)

श्रीराम उवाच।

दिशोऽपि हि न दृश्यन्ते देशोऽप्यन्यापदेशभाक् ।

शैला अपि विशीर्यन्ते कैवास्था मादृशे जने ॥ २३ ॥

अद्यते सत्तयापि द्यौर्भुऽवन चापि ऊयते।

धरापि याति वैधुर्यं केवास्था मादृशे जने ॥ २४ ॥

शुष्यन्त्यपि समुद्राश्च शीर्यन्ते तारका अपि ।

सिद्धा अपि विनश्यन्ति कैवास्था मादृशे जने ॥ २५ ॥

दानवा अपि दीर्यन्ते ध्रुवोऽप्यध्रुवजीवितः ।

अमरा अपि मार्यन्ते कैवास्था मादृशे जने ॥ २६ ॥

शक्रोऽप्याक्रम्यते वक्रैर्यमोऽपि हि नियम्यते ।

वायुरप्येत्यवायुत्वं कैवास्था मादृशे जने ॥ २७ ॥

सोमोऽपि व्योमतां याति मार्तण्डोऽप्येति खण्डताम् ।

मग्नतामग्निरप्येति कैवास्था मादृशे जने ॥ २८ ॥

परमेष्ठ्यपि निष्ठावान्ह्रियते हीररप्यजः।

भवोऽप्यभावमायाति कैवास्था मादृशे जने ॥ २९ ॥

कालः संकाल्यते येन नियतिश्चापि नीयते ।

खमप्यालीयतेऽनन्तं कैवास्था मादृशे जने ॥ ३० ॥

अश्राव्यावाच्यदुर्दर्शतत्त्वेनाज्ञातमूर्तिना ।

भुवनानि विडम्ब्यन्ते केनचिद्भ्रमदायिना ॥ ३१ ॥

अहंकारकलामेत्य सर्वत्रान्तरवासिना।

न सोऽस्ति त्रिषु लोकेषु यस्तेनेह न बाध्यते ॥ ३२ ॥

Sriram said:

23. "Even the directions are no longer discernible, and regions appear to belong elsewhere. Mountains are crumbling—what stability can there be for someone like me?"

24. "Even the firm heavens are being consumed by Time, the sky is being torn, and the earth itself is losing its steadiness—what stability can there be for someone like me?"

25. "The oceans are drying up, stars are falling apart, even perfected beings (siddhas) are perishing—what stability can there be for someone like me?"

26. "Even the mighty demons are breaking apart, and the supposedly eternal Dhruva is of impermanent life. The gods themselves meet their end—what stability can there be for someone like me?"

27. "Even Indra (Śakra) is overcome by cunning forces, and Yama, the lord of law, is subdued. The wind itself loses its motion—what stability can there be for someone like me?"

28. "The moon (Soma) dissolves into the sky, the sun (Mārtaṇḍa) breaks into fragments, and fire itself is extinguished—what stability can there be for someone like me?"

29. "Even Brahmā (the creator), though steadfast, is undone; the unmanifest seed (Hiraṇyagarbha) is swept away, and Śiva too dissolves into non-being—what stability can there be for someone like me?"

30. "Time is consumed by that which transcends it, and even cosmic order (Niyati) is overruled. Space itself collapses into the Infinite —what stability can there be for someone like me?"

31. "The worlds are deluded and distorted by some unknowable, unseen, and indescribable power, taking a form we cannot grasp—something that causes them to appear and wander aimlessly."

32. "This illusion arises from a trace of ego, residing within all beings. There is no one in all the three worlds who is not disturbed or bound by it."

Summary of the Teachings: 

Building on this Realization, the verses serve as a contemplative turning point for the seeker. Rāma, observing the crumbling of all things—from stars to gods—reaches a state of deep existential insight. This is not despair in the ordinary sense, but the dawning of Wisdom through disillusionment. The Yoga Vāsiṣṭha uses such reflections to invite the aspirant to question: if all that is seen is fleeting, what remains when all appearances vanish?

The answer, implied though not yet directly stated in these verses, is the Self— Pure Consciousness, untouched by Time, Space, or Causation. 

Rāma’s growing detachment, expressed in repeated lines like “what stability can there be for someone like me?”, is an expression of viveka 

(discriminative Wisdom) leading toward Self-Inquiry. The repetition isn't rhetorical despair but an intentional mantra-like emphasis to draw the mind away from externalities.

Furthermore, the mention of ego (ahaṁkāra) in the final verse shifts the focus inward. It highlights the ego as the subtle veil that enmeshes the Self in illusion. This sets the philosophical stage for later teachings in the Yoga Vāsiṣṭha, where liberation (mokṣa) is shown to come not through escaping the world, but by discerning the unreality of the ego-bound world and resting in the Unchanging Awareness behind it.

The mystery power hinted in verse 31, which stages the Cosmos yet remains unknown and formless, is the force of māyā—a central concept in Vedānta. The text carefully avoids naming it directly, maintaining the subtlety that this power itself is not ultimately Real, but a projection upon the screen of Consciousness. The seeker is thus nudged to move beyond conceptualization into direct insight.

Altogether, these verses perform an essential purificatory function in the Yoga Vāsiṣṭha. They cleanse the seeker of attachment to worldly grandeur and Cosmic structures, preparing the inner ground for the intuitive recognition of non-dual Reality. Rāma’s journey becomes a mirror for the reader’s own path—from disillusionment to Wisdom, from ego to Self, from impermanence to the unborn, undying Awareness.

Chapter 1.26, Verses 11–22

Yoga Vashishtha 1.26.11–22

(Disillusionment with wordly Pleasures & Desires)

श्रीराम उवाच।

शत्रवश्चेन्द्रियाण्येव सत्यं यातमसत्यताम् ।

प्रहरत्यात्मनैवात्मा मनसैव मनो रिपुः ॥ ११ ॥

अहंकारः कलङ्काय बुद्धयः परिपेलवाः ।

क्रिया दुष्फलदायिन्यो लीलाः स्त्रीनिष्ठतां गताः ॥ १२ ॥

वाञ्छाविषयशालिन्यः सच्चमत्कृतयः क्षताः ।

नार्यो दोषपताकिन्यो रसा नीरसतां गताः ॥ १३ ॥

वस्त्ववस्तुतया ज्ञातं दत्तं चित्तमहंकृतौ।

अभाववेधिता भावा भावान्तो नाधिगम्यते ॥ १४ ॥

तप्यते केवलं साधो मतिराकुलितान्तरा।

रागरोगो विलसति विरागो नोपगच्छति ॥ १५ ॥

रजोगुणहता दृष्टिस्तमः संपरिवर्धते ।

न चाधिगम्यते सत्त्वं तत्त्वमत्यन्तदूरतः ॥ १६ ॥

स्थितिरस्थिरतां याता मृतिरागमनोन्मुखी ।

धृतिर्वैधुर्यमायाता रतिर्नित्यमवस्तुनि ॥ १७ ॥

मतिर्मान्द्येन मलिना पातैकपरमं वपुः।

ज्वलतीव जरा देहे प्रतिस्फुरति दुष्कृतम् ॥ १८ ॥

यत्नेन याति युवता दूरे सज्जनसंगतिः।

गतिर्न विद्यते काचित्क्वचिन्नोदेति सत्यता ॥ १९ ॥

मनो विमुह्यतीवान्तर्मुदिता दूरतां गता ।

नोज्ज्वला करुणोदेति दूरादायाति नीचता ॥ २० ॥

धीरताऽधीरतामेति पातोत्पातपरो जनः।

सुलभो दुर्जनाश्लेषो दुर्लभः सत्समागमः ॥ २१ ॥

आगमापायिनो भावा भावना भवबन्धनी ।

नीयते केवलं क्वापि नित्यं भूतपरम्परा ॥ २२ ॥

Sriram said:

11. "The senses, though appearing as enemies, are truly under one's own control. It is the Self alone that strikes itself, and the mind alone becomes its own enemy."

12. "Ego is the blemish that taints perception; the intellect has become feeble. Actions bear bitter fruits, and life has fallen into a play of vain sensuality."

13. "Cravings have grown rich with sensory objects, while refined delights have turned dull. Women are portrayed as banners of faults, and pleasures have lost their savor."

14. "The distinction between Real and unreal has been confused; the mind is immersed in egotism. Emotions are shattered by non-being, and their transformation into Higher States remains unrealized."

15. "The mind of the seeker burns alone, inwardly disordered. The fever of desire rages, but dispassion does not arise."

16. "Sight is obscured by rajas (passion); tamas (inertia) flourishes. Sattva (purity) is not attained, and the Truth remains exceedingly distant."

17. "Stability has become unstable; death is ever near at hand. Endurance has faded into weakness, and attachment clings to what is unreal."

18. "The intellect is clouded by dullness, the body subject to repeated falls. Old age burns within, and past wrongs stir and flicker in the flesh."

19. "Youth departs with effort; companionship of the Wise is rare. Movement has no direction, and Truth never rises anywhere."

20. "The mind reels inwardly, joy has departed to far-off lands. Compassion does not shine forth, while baseness draws near from afar."

21. "Steadfastness becomes restlessness; people pursue downfall and upheaval. The wicked are easily found, but the company of the good is rare."

22. "Mental constructs rise and fall, and thoughts bind one to the world. The stream of existence continues endlessly, flowing somewhere without rest."

Summary of the Teachings:

These verses reflect a deeply introspective vision of the human condition, emphasizing the inner struggles of the Self with its own faculties—primarily the mind and senses. The text portrays the mind as both the instigator and sufferer of turmoil, where ego and delusion pollute the intellect and drive individuals toward suffering. Rather than external foes, it is the inner misalignment that breeds conflict.

A central theme is the disillusionment with worldly pleasures and actions. Desires, sensual enjoyment, and even romantic or aesthetic engagements are described as losing their essence and vitality. Life becomes a stage for hollow pursuits, where the rewards of action are either bitter or futile. This detachment is not nihilistic but diagnostic—showing the spiritual aspirant the inherent limitations of external pursuits.

The mind's entrapment in rajas (passion) and tamas (inertia) is said to obstruct sattva (clarity and Truth), making true understanding and liberation seem remote. Dispassion, Truth, compassion, and clarity are no longer accessible, buried under layers of confusion, attachment, and ego. This is a critical observation in the yogic path, pointing to the necessity of purification and disciplined Self-Inquiry.

These verses also offer a somber view of human degeneration. The decay of physical vitality (as in youth and health), the corruption of moral values, and the rarity of noble company are presented as signs of a world veiled in ignorance. Truth and virtue, instead of being central to life, are marginalized and nearly absent.

Finally, the text emphasizes the cyclic and binding nature of thoughts and impressions. The “bhāvana” or mental construction is not inert—it actively perpetuates bondage in saṁsāra. The teaching concludes with a quiet warning: unless one disrupts this constant stream of inner and outer ignorance, one is carried away endlessly by the flow of worldly existence.

Chapter 1.26, Verses 1–10

Yoga Vashishtha 1.26.1–10

(Impermanence and sorrowful nature of worldly existence)

श्रीराम उवाच ।

वृत्तेऽस्मिन्नेवमेतेषां कालादीनां महामुने।

संसारनाम्नि कैवास्था मादृशानां वदत्विह ॥ १ ॥

विक्रीता इव तिष्ठाम एतैर्दैवादिभिर्वयम्।

मुने प्रपञ्चरचनैर्मुग्धा वनमृगा इव ॥ २॥

एषोऽनार्यसमाम्नायः कालः कवलनोन्मुखः ।

जगत्यविरतं लोकं पातयत्यापदर्णवे ॥ ३॥

दहत्यन्तर्दुराशाभिर्देवो दारुणचेष्टया।

लोकमुष्णप्रकाशाभिज्वालाभिर्दहनो यथा ॥ ४ ॥

धृतिं विधुरयत्येषा मर्यादारूपवल्लभा ।

स्त्रीत्वात्स्वभावचपला नियतिर्नियतोन्मुखी ॥ ५ ॥

ग्रसतेऽविरतं भूतजालं सर्प इवानिलम् ।

कृतान्तः कर्कशाचारो जरां नीत्वाऽजरं वपुः ॥ ६ ॥

यमो निर्घृणराजेन्द्रो नार्तं नामानुकम्पते ।

सर्वभूतदयोदारो जनो दुर्लभतां गतः ॥ ७॥

सर्वा एव मुने फल्गुविभवा भूतजातयः ।

दुःखायैव दुरन्ताय दारुणा भोगभूमयः ॥ ८ ॥

आयुरत्यन्तचपलं मृत्युरेकान्तनिष्ठुरः।

तारुण्यं चातितरलं बाल्यं जडतया हृतम् ॥ ९ ॥

कलाकलङ्कितो लोको बन्धवो भवबन्धनम् ।

भोगा भवमहारोगास्तृष्णाश्च मृगतृष्णिकाः ॥ १० ॥

Sriram said:

1. "O Great Sage, in this ever-repeating flow of worldly existence governed by Time and such forces, what real standing or stability can beings like me possibly have?"

2. "We seem to be like slaves, sold into the hands of these powers like fate, Time, and action—bewildered and deluded by the manifold designs of this illusory world, like deer lost in a forest."

3. "This Time —unrighteous and devourer of all—ceaselessly casts the people of the world into the endless ocean of suffering and calamity."

4. "With cruel conduct and scorching radiance, the god of desire consumes the world with inner flames of restless longing, just as a fire burns all in its path."

5. "This unpredictable force, which appears delightful and yet unsettles all inner stability, takes on the form of feminine charm and nature—capricious by essence—pulling all firmly toward its fixed direction."

6. "Just as a serpent devours its prey, death—harsh in conduct—ceaselessly swallows the entire multitude of beings, transforming youthful bodies into old age and decay."

7. "Yama, the relentless lord of death, shows no compassion toward the suffering—he, a merciless king, is unmoved by the cries of the afflicted; and truly compassionate souls are exceedingly rare in this world."

8. "O Sage, all Beings, however mighty, possess fleeting and meager glories—this realm of experience is, in truth, a harsh field of ceaseless sorrow and unbearable pain."

9. "Life itself is supremely fickle, and death is inexorably cruel. Youth vanishes in an instant, and childhood is marked by ignorance and helplessness."

10. "This world is stained by the flaws of Time; kinsfolk are themselves entangled in worldly bondage; enjoyments are no more than great diseases of existence; and desire is but a mirage in the desert."

Summary of Teachings:

These verses, voiced by Śrī Rāma in dialogue with Sage Vasiṣṭha, express a deeply philosophical inquiry into the impermanence and sorrowful nature of worldly existence. Rāma reflects on how forces like Time, fate, and karma appear as dominating powers under which beings like him live without true autonomy, tossed and turned in the ocean of saṁsāra. He questions the stability or worth of worldly life when such mighty and relentless forces seem to have total control.

The metaphor of being sold or enslaved to these forces paints a vivid picture of the human condition: not as free agents, but as bewildered beings caught in the illusion of the phenomenal world. This illusion, likened to a net of designs or vanamṛga (forest deer), causes people to wander aimlessly, unaware of the Ultimate Truth. Rāma laments the unceasing nature of suffering brought about by Time, desire, and death—each one portrayed as destructive, consuming powers indifferent to human hopes or grief.

Desire is described as a devouring fire that burns within, driving action and suffering through its relentless heat. The force of attraction and beauty, especially in the form of feminine charm, is shown to be both delightful and dangerous—symbolizing the unpredictable nature of attachment and the destabilization of inner peace. These forces, which appear enchanting, are deeply tied to the cycles of bondage and rebirth.

Death and Time, personified as Yama and Kṛtānta, are portrayed as merciless rulers, insensitive to suffering, consuming even the youthful and strong without mercy. Compassion and virtue are acknowledged, but seen as exceedingly rare, emphasizing the rarity of truly awakened beings who transcend the ordinary currents of worldly existence.

Ultimately, Rāma concludes that the world is stained by the imperfections of Time and desire. Relationships, pleasures, and aspirations—all are described as illusions or sources of deeper bondage. This series of verses sets the tone for the Yoga Vāsiṣṭha's broader philosophical message: that liberation (mokṣa) lies beyond these fleeting worldly structures, and True Wisdom comes from deep inquiry into the Nature of Reality, impermanence, and the Self.

Chapter 1.25, Verses 23–32

Yoga Vashishtha 1.25.23–32

(The illusory Noose of Time)

श्रीराम उवाच ।

एकस्मिञ्छ्रवणे दीप्ता हिमवानस्थिमुद्रिका ।

अपरे च महामेरुः कान्ता काञ्चनकर्णिका ॥ २३ ॥

अत्रैव कुण्डले लोले चन्द्रार्कौ गण्डमण्डले।

लोकालोकाचलश्रेणी सर्वतः कटिमेखला ॥ २४ ॥

इतश्चेतश्च गच्छन्ती विद्युद्वलयकर्णिका।

अनिलान्दोलिता भाति नीरदांशुकपट्टिका ॥ २५ ॥

मुसलैः पट्टिशैः प्रासैः शूलैस्तोमरमुद्गरैः।

तीक्ष्णैः क्षीणजगद्वान्तकृतान्तैरिव संभृतैः ॥ २६ ॥

संसारबन्धनादीर्घे पाशे कालकरच्युते।

शेषभोगमहासूत्रप्रोते मालास्य शोभते ॥ २७ ॥

जीवोल्लसन्मकरिकारत्नतेजोभिरुज्ज्वला ।

सप्ताब्धिकङ्कणश्रेणी भुजयोरस्य भूषणम् ॥ २८ ॥

व्यवहारमहावर्ता सुखदुःखपरम्परा ।

रजःपूर्णतमःश्यामा रोमाली तस्य राजते ॥ २९ ॥

एवंप्रायः स कल्पान्ते कृतान्तस्ताण्डवोद्भवाम् ।

उपसंहृत्य नृत्येहां सृष्ट्वा सह महेश्वरम् ॥ ३० ॥

पुनर्लास्यमयीं नृत्यलीलां सर्गस्वरूपिणीम् ।

तनोतीमां जराशोकदुःखाभिभवभूषिताम् ॥ ३१॥

भूयः करोति भुवनानि वनान्तराणि लोकान्तराणि जनजालककल्पनां च ।

आचारचारुकलनामचलां चलां च पङ्काद्यथार्भकजनो रचनामखिन्नः ॥ ३२॥

Sriram said:

23. "In a single moment of hearing, a dazzling vision appeared: a shining ring of bones formed like the Himalayas, and on another side, a magnificent Meru, with delicate earrings made of gold."

24. "In the swaying loops of those earrings, the sun and the moon shone on the cheeks like ornaments, while the entire range of Lokāloka mountains formed a glowing girdle around the waist."

25. "Dancing in all directions, the lightning-like earrings glimmered as if set in motion by the wind, appearing like flowing silk garments made of clouds."

26. "Weapons such as clubs, spears, tridents, and hammers — fierce and sharp — seemed to surround the scene like destructive forces ready to dissolve the weary world."

27. "Time, like a dark noose cast from its hand, bound all in the long chain of worldly existence. Upon this noose gleamed a garland, strung with the grand serpent of Śeṣa as its thread."

28. "Glowing with the radiance of jewels and crocodile-shaped ornaments on the living beings, a splendid string of seven-ocean bangles adorned the arms and chest as ornaments."

29. "A swirling whirlpool of worldly affairs, the unending sequence of pleasure and pain, formed a dark and dusty garland made of passion and ignorance that adorned this vision."

30. "At the end of the kalpa (Cosmic age), Time — appearing like the destructive Tandava of death — ends this dance that was jointly created with the great Lord Maheshvara."

31. "Then again, it unfolds into a playful dance — the form of creation — adorned with old age, sorrow, and suffering, as if these were its very jewels."

32. "Once more, it fashions worlds, forests, dimensions, and clusters of living beings — beautifully imagined forms of conduct and culture, both fixed and shifting — much like a child plays tirelessly with mud, creating again and again."

Summary of Teachings:

1. The World as a Dreamlike Vision:

These verses present a powerful poetic imagery of the Universe as a dazzling vision perceived in a moment of deep contemplation. Using elaborate metaphors — Himalayas as bones, earrings containing the sun and moon, Lokāloka 

mountains as waist-ornaments — the text illustrates how the entire cosmos appears as an ornamented body. This imagery implies that the phenomenal world is an internally projected illusion or dream-like appearance, not ultimately Real.

2. Nature of Māyā and Cosmic Ornaments:

The ornaments and weapons described are not literal but symbolic. They represent the various forces of nature and time — creation, sustenance, and destruction. The swaying ornaments, flashing like lightning, and garments like clouds suggest the transitory, insubstantial nature of worldly forms. Māyā (illusion) dresses up the formless Absolute in the colorful play of the elements and dualities of experience.

3. Time as the Great Binder and Destroyer:

Time (Kāla) is depicted as the wielder of bondage — casting nooses that tie beings into the long cycle of samsāra (worldly existence). Yet, this very Time is also the creator and destroyer of worlds. The image of Time collaborating with Maheshvara 

(Shiva) to create and dissolve the cosmic dance suggests that all phenomena are cyclic, impermanent, and rooted in cosmic rhythm.

4. Ornamentation of Sorrow and Duality:

Even suffering, old age, and sorrow are portrayed as ornaments of this cosmic dance. The chain of pleasure and pain, woven with rajas (activity) and tamas (inertia), forms the emotional texture of life. The world is not just adorned with beauty but also decorated with suffering, indicating that joy and pain are both part of the same divine play.

5. Creation as Play (Līlā):

The final verse powerfully asserts that the Universe is a child’s play — endless, effortless, and filled with imagination. Like a child repeatedly making mud structures without weariness, the creative Consciousness continually weaves and re-weaves the tapestry of Existence. This reveals the Yogic insight: that the entire world is a spontaneous projection of Consciousness, where bondage and liberation depend on one’s understanding of its illusory nature.

Chapter 1.25, Verses 11–22

Yoga Vashishtha 1.25.11–22

(Cosmic energy of Time as a dancing Goddess)

श्रीराम उवाच।

तस्या नर्तनलोलाया जगन्मण्डपकोटरे ।

अरुद्धस्पन्दरूपाया आगमापायचञ्चुरे ॥ ११ ॥

चारुभूषणमङ्गेषु देवलोकान्तरावली।

आपातालं नभोलम्बं कबरीमण्डलं बृहत् ॥ १२ ॥

नरकाली च मञ्जीरमाला कलकलोज्ज्वला ।

प्रोता दुष्कृतसूत्रेण पातालचरणे स्थिता ॥ १३ ॥

कस्तूरिकातिलककं क्रियासंख्योपकल्पितम् ।

चित्रितं चित्रगुप्तेन यमे वदनपट्टके ॥ १४॥

कालास्यं समुपादाय कल्पान्तेषु किलाकुला ।

नृत्यत्येषा पुनर्देवी स्फुटच्छैलघनारवम् ॥ १५ ॥

पश्चात्प्रालम्बविभ्रान्तकौमारभृतबर्हिभिः ।

नेत्रत्रयवृहद्रन्ध्रभूरिभाङ्कारभीषणैः ॥ १६॥

लम्बलोलजटाचन्द्रविकीर्णहरमूर्धभिः ।

उच्चरच्चारुमन्दारगौरीकबरचामरैः ॥ १७॥

उत्ताण्डवाचलाकारभैरवोदरतुम्बकैः ।

रणत्सशतरन्ध्रेन्द्रदेहभिक्षाकपालकैः ॥ १८॥

शुष्कशारीरखट्वाङ्गभरैरापूरिताम्बरम् ।

भीषयत्यात्मनात्मानं सर्वसंहारकारिणी ॥ १९ ॥

विश्वरूपशिरश्चक्रचारुपुष्करमालया ।

ताण्डवेषु विवल्गन्त्या महाकल्पेषु राजते ॥ २० ॥

प्रमत्तपुष्करावर्तडमरोड्डामरारवैः ।

तस्याः किल पलायन्ते कल्पान्ते तुम्बुरादयः ॥ २१ ॥

नृत्यतोऽन्तः कृतान्तस्य चन्द्रमण्डलभासिनः ।

तारकाचन्द्रिकाचारुव्योमपिच्छावचूलिनः ॥ २२ ॥

Sriram said:

11. "O Sage, within the grand theater of the Universe, that ever-dancing and restless energy sways—a force whose vibrations cannot be restrained, whose motion marks both the arrival and departure of worlds."

12. "Her limbs are adorned with beautiful ornaments, an array reflecting the splendor of celestial realms. Her vast hair, flowing down from the sky to the netherworld, forms a mighty canopy of locks."

13. "She wears anklets that resonate with a fearsome jingling sound, like a garland of hells, strung together by the thread of misdeeds, stationed on the very threshold of the underworld."

14. "Her forehead bears a fragrant musk mark, meticulously formed by the subtle arithmetic of karma, and inscribed upon the forehead-panel of Yama by Chitragupta, the cosmic scribe."

15. "With the gaping jaws of Time upon her, she becomes frenzied at the ends of aeons, dancing wildly with a roar that echoes through immovable mountains."

16. "Behind her sway plumes from youthful peacocks who have lost their way, while her triple eyes open vast and deep, terrifying with their tremendous expression."

17. "Her wild and swaying matted locks, adorned with the moon, scatter across the crowns of Shiva himself; they wave like royal fans made from the hair of the goddess Gaurī."

18. "As she rises in her Supreme Cosmic dance, the drums of Bhairava—the dreadful one—resound, while skull-bowls clatter from hundreds of severed Indras, rattling in fierce ecstasy."

19. "The sky is filled with the clatter of emaciated skeletal clubs and bones; she terrifies even herself, this all-consuming force of dissolution."

20. "She wears a garland of lotus-like heads in her universal form, whirling in her dance through the long cycles of Time, gleaming in her terrible splendor."

21. "In the thunderous whirlpools of her intoxicated dance, the damaru drums sound fiercely, and even celestial musicians like Tumburu flee at the end of the world-age."

22. "As she dances, Death himself moves within her, crowned with the light of the moon-disk, his trident adorned with the delicate feathers of starlit space and the soft grace of moonbeams."

Summary and Interpretation:

These verses present a vivid and terrifying personification of Cosmic energy as a dancing Goddess —an allegorical embodiment of Mahāmāyā or Kālaśakti, the power of Time and illusion (Maya). Her dance symbolizes the restless and cyclical nature of creation, preservation, and dissolution. This imagery underscores the idea that the Universe itself is a transient stage where appearances arise and dissolve endlessly under the sway of Time and karma.

She is adorned with the ornaments of Divine and infernal realms, pointing to her dominion over all levels of existence—from the heights of the heavens to the depths of the netherworlds. Her anklets made of hells and her hair stretching from sky to underworld suggest her all-encompassing reach, while the reference to karma and 

Chitragupta implies that all beings are bound by the consequences of their actions in this Cosmic theater.

The ferocity of her dance at the end of cosmic cycles (kalpa) is particularly emphasized—skulls of gods, roaring drums, and terrifying features evoke a vision of the universal dissolution (pralaya). Yet, there is also grandeur in her dance, a rhythm that echoes the underlying law of the cosmos, where even deities flee from her unstoppable force.

Through these symbols, the verses encourage the seeker to understand the impermanent nature of the world. All forms, powers, pleasures, and terrors arise from the same energy and dissolve back into it. The dance is not only of destruction but of change, a perpetual transformation governed by Time (Kāla) and witnessed by the Self (Ātman), which alone remains untouched.

Thus, these verses are both poetic and philosophical. They challenge the aspirant to perceive the dance of the world not with fear, but with detachment and insight. By recognizing the dancer behind the dance—the Consciousness that animates all—one transcends illusion and attains the wisdom of Realization (jñāna).

Chapter 1.25, Verses 1–10

Yoga Vashishtha 1.25.1–10

(Suffering of Beings caught in this Cosmic play)

श्रीराम उवाच।

अत्रैव दुर्विलासानां चूडमणिरिहापरः।

करोत्यत्तीति लोकेऽस्मिन्दैवं कालश्च कथ्यते ॥ १ ॥

क्रियामात्रादृते यस्य स्वपरिस्पन्दरूपिणः ।

नान्यदालक्ष्यते रूपं न कर्म न समीहितम् ॥ २ ॥

तेनेयमखिला भूतसंततिः परिपेलवा ।

तापेन हिममालेव नीता विधुरतां भृशम् ॥ ३ ॥

यदिदं दृश्यते किंचिज्जगदाभोगि मण्डलम् ।

तत्तस्य नर्तनागारमिहासावतिनृत्यति ॥ ४ ॥

तृतीयं च कृतान्तेति नाम बिभ्रत्सुदारुणम् ।

कापालिकवपुर्मत्तं दैवं जगति नृत्यति ॥ ५ ॥

नृत्यतो हि कृतान्तस्य नितान्तमिव रागिणः ।

नित्यं नियतिकान्तायां मुने परमकामिता ॥ ६ ॥

शेषः शशिकलाशुभ्रो गङ्गावाहश्च तौ त्रिधा ।

उपवीते अवीते च उभौ संसारवक्षसि ॥ ७ ॥

चन्द्रार्कमण्डले हेमकटकौ करमूलयोः।

लीलासरसिजं हस्ते ब्रह्मन्ब्रह्माण्डकर्णिका ॥ ८ ॥

ताराबिन्दुचितं लोलपुष्करावर्तपल्लवम् ।

एकार्णवपयोधौ तमेकमम्बरमम्बरम् ॥ ९ ॥

एवंरूपस्य तस्याग्रे नियतिर्नित्यकामिनी ।

अनस्तमितसंरम्भमारम्भैः परिनृत्यति ॥ १० ॥

Sriram said:

1. "O Sage, among the evils of this world, there is no greater ornament of cruelty than this force which consumes all—it is called fate or Time."

2. " Apart from its ceaseless movement, self-propelled and without conscious action or desire, nothing can be observed of it—no shape, no intention, no act."

3. " By its influence alone, all Beings of this Universe are brought to a state of affliction, like the snowy Himalayas scorched by heat, consumed by intense misery."

4. "Whatever is seen in this world, this entire realm of experience, is nothing but the grand stage where this Time-Force performs its Cosmic dance."

5. "Time bears a terrifying name—“The Ender” (Kṛtānta)—and takes on the dreadful appearance of a mad ascetic, a skull-bearing dancer, drunken and wild, spinning in the theatre of the world."

6. "In his wild dance, he appears as if passionately united with his eternal consort, Destiny (Niyati), like a fervent lover, ever attached and ever aroused."

7. "Time is adorned with ornaments: the pure white crescent moon and the river-bearing serpent Śeṣa, worn like sacred threads, decorating the chest of this cosmic being—the world."

8. "In the orbs of the sun and moon, he wears golden bracelets upon his hands, and in his palms lies the playful lotus—the very core of the cosmic egg, the essence of creation."

9. "He is clad in the vast garment of sky, and holds in his single ocean-like body all waters, adorned with stars and whirling lotuses, ever restless and vibrant."

10. "Before this Cosmic Being, Destiny, the eternal beloved, dances with unstoppable passion, initiating endless beginnings and efforts, never resting, never ceasing."

Summary of the Teachings in These Verses:

These ten verses from the Yoga Vāsiṣṭha present a striking and poetic personification of Time (Kāla) and Destiny (Niyati) as the Ultimate governing principles of the Cosmos. Time is depicted as an omnipresent and unstoppable force— self-driven, unperceivable in its essence, and devoid of intention, yet behind all activity, transformation, and destruction in the universe. It is not just mechanical; it is portrayed as a wild, terrifying, and mysterious dancer in the theatre of life, acting out the inexorable destiny of all beings.

The imagery used—of Time as the ascetic dancer bearing skulls, intoxicated and dancing with his consort Destiny—serves to highlight the inseparability of Cosmic order and inevitable change. Time and Destiny are shown as eternal lovers engaged in a perpetual dance, symbolizing the relentless movement of creation and dissolution. This pairing also hints at the idea that all outcomes and events in the Universe are predetermined and bound to unfold through the law of causality and Divine rhythm.

The verses speak to the suffering of beings caught in this Cosmic play. Just as snow melts under unexpected heat, all life, however stable or noble, is vulnerable to the scorching passage of Time. The beauty, order, and grandeur of the Cosmos are not denied—in fact, they are deeply revered—but they are all seen as part of a larger choreography beyond human control.

Further, the description of celestial ornaments—the moon, sun, stars, and rivers—emphasizes the universality of Time’s domain. All elements of nature, from macrocosmic spheres to delicate lotuses, are part of this Cosmic dancer’s body. This vivid visualization reminds the seeker of the vastness and interconnectedness of all things within this ever-moving Reality.

Ultimately, these verses point toward a deep metaphysical insight central to the Yoga Vāsiṣṭha: that liberation lies in understanding the nature of Time and Destiny not as external tyrants but as expressions of the Self’s own dreamlike projection. The path of wisdom lies in transcending their apparent power through inquiry, discrimination, and inner awakening, rather than being swept helplessly in their dance.

Chapter 1.24, Verses 1–10

Yoga Vashishtha 1.24.1–10

(Time, the central force behind the workings of Saṁsāra)

श्रीराम उवाच ।

अस्योड्डामरलीलस्य दूरास्तसकलापदः ।

संसारे राजपुत्रस्य कालस्याकलितौजसः ॥ १ ॥

अस्यैवाचरतो दीनैर्मुग्धैर्भूतमृगब्रजैः ।

आखेटकं जर्जरिते जगज्जङ्गलजालके ॥ २ ॥

एकदेशोल्लसच्चारुवडवानलपङ्कजा ।

क्रीडापुष्करिणी रम्या कल्पकालमहार्णवः ॥ ३ ॥

कटुतिक्ताम्लभूताद्यैः सदधिक्षीरसागरैः ।

तैरेव तैः पर्युषितैर्जगद्भिः कल्ववर्तनम् ॥ ४ ॥

चण्डी चतुरसंचारा सर्वमातृगणान्विता ।

संसारवनविन्यस्ता व्याघ्री भूतौघघातिनी ॥ ५ ॥

ज्ञध्वी करतले ज्ञथ्वी पानपात्री रसान्विता ।

कमलोत्पलकह्लारलोलजालकमालिता ॥ ६ ॥

विरावी विकटास्फोटो नृसिंहो भुजपञ्जरे ।

सटाविकटपीनांसः कृतः क्रीडाशकुन्तकः ॥ ७ ॥

अलाबुवीणामधुरः शरद्व्योमलसच्छविः ।

देवः किल महाकालो लीलाकोकिलबालकः ॥ ८ ॥

अजस्रस्फूर्जिताकारो वान्तदुःखशरावलिः।

अभावनामकोदण्डः परिस्फुरति सर्वतः ॥ ९ ॥

अनुत्तमस्त्वधिकविलासपण्डितो भ्रमच्चलन्परिविलसन्विदारयन् ।

जरज्जगज्जनितविलोलमर्कटः परिस्फुरद्वपुरिह काल ईहते ॥ १० ॥

Sriram said:

1. "The calamities that plague the world are far removed from this wild and fantastic play of Time, which dances within the forest of worldly existence as the prince of illusion and unfathomable power."

2. "While Time moves about freely, the innocent and ignorant beings—like bewildered animals of the forest—are hunted and torn apart in this tangled jungle that is the world."

3. "This grand ocean of Time, like a beautiful lotus-filled play-lake, glows with the fires of dissolution in a single region, though its charm spans the entire age of the cosmos."

4. "The world is but a dish of ever-fermenting flavors—bitter, pungent, sour—drawn from the elemental ocean of curd, milk, and salt; and beings consume it, not knowing it is decayed."

5. "Time is like the fierce goddess Chaṇḍī, roaming with her retinue of all-devouring Mothers in the wilderness of saṁsāra, slaughtering the hosts of beings as a tiger does its prey."

6. "The Earth herself lies as a bowl on the palm of Time, mixed with all the tastes and decorated with webs of lotuses, water lilies, and waving tendrils."

7. "Time has become a terrible lion, roaring dreadfully, locked in a cage of arms, with a thick and fearsome mane—playing with the world as if it were a helpless bird."

8. "Sweet as the music of a gourd-veena and radiant as the autumn sky, the great god Time appears as a delightful child-cuckoo, though he is verily the terrifying Mahākāla."

9. "Time, who is everywhere active, ceaselessly shoots out volleys of pain-tipped arrows of misfortune and wields the bow of negation, which he draws in all directions."

10. "Supreme in his mastery of illusion, skilled beyond comparison in the play of creativity, Time dances and spins, tears apart the decaying world like a frenzied monkey, manifesting in a form that vibrates with unstoppable momentum."

Summary of Teachings:

These verses present a vivid and poetic exposition of kāla (Time) as the central force behind the workings of saṁsāra—the cyclical world of birth, death, and suffering. Time is not merely an abstract concept but is anthropomorphized as a mighty and mysterious force that governs all activity, change, and destruction in the cosmos. It is depicted as powerful, playful, fierce, and all-consuming, bringing both delight and devastation.

The imagery used in these verses is deeply symbolic and rich in metaphor. Time is likened to a hunter, goddess, lion, and even a playful child. These depictions serve to show that Time does not discriminate; it envelops all beings in its drama—regardless of their knowledge, power, or ignorance. Every form, flavor, and experience in the world is but an expression of Time’s vast and ungraspable play.

One of the central teachings here is the illusory nature of worldly pleasures and sufferings. Beings are shown as helpless and unaware—caught in a jungle of illusions where Time hunts without pause. The world, despite its beauty and complexity, is presented as ultimately ephemeral, flavored with suffering, and incapable of offering lasting satisfaction.

The verses also introduce the concept of Mahākāla—the Great Time or the Ultimate Destroyer. Even the Divine is portrayed as subservient to Time, which can appear gentle and sweet, yet hides within it the ferocity of dissolution. Through such portrayals, the text aims to shake the reader’s attachment to the world and inspire a deeper inquiry into what lies beyond this Cosmic game.

In summary, these verses urge the seeker to recognize the impermanence and deceptive allure of worldly existence governed by Time. Only through deep wisdom, inner stillness, and detachment from the world’s constant flux can one transcend the suffering and discover the changeless essence—the Self—beyond the reach of Time.