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Adhyāyas / Viśvarūpa-Darśana Yogaḥ / verse 16

Mūla — the verse

Gita Press numbering
अनेकबाहूदरवक्त्रनेत्रं पश्यामि त्वां सर्वतोऽनन्तरूपम्। नान्तं न मध्यं न पुनस्तवादिं पश्यामि विश्वेश्वर विश्वरूप
aneka-bāhūdara-vaktra-netraṁ paśhyāmi tvāṁ sarvato ’nanta-rūpam nāntaṁ na madhyaṁ na punas tavādiṁ paśhyāmi viśhveśhvara viśhva-rūpa
Triṣṭubh (U s I I)

Translation

Swami Gambhīrānanda · follows Śaṅkara-bhāṣya

I see You with numerous arms, bellies, mouths, and eyes; with infinite forms all around. O Lord of the Universe, O Cosmic Person, I see no limit, no middle, nor beginning!

हिन्दी अनुवाद — Swami Tejomayānanda

हे विश्वेश्वर! मैं आपकी अनेक बाहु, उदर, मुख और नेत्रों से युक्त तथा सब ओर से अनन्त रूपों वाला देखता हूँ। हे विश्वरूप! मैं आपके न अन्त को देखता हूँ और न मध्य को और न आदि को।।

Pronunciation — Vaamshii

from Vaamshii
अनेक बाहू दर वक् त्र नेत्रम्
पश्या मित्वां सर्व तोऽनन्त रूपम्
नान्तन् न मध्यन् न पुनस् तवादिम्
पश्यामि विश्वे श्वर विश्व रूप
॥ १६ ॥
Pāda meters: Upendravajrā, Śālinī, Indravajrā, Indravajrā — I = Indravajrā, u = Upendravajrā, s = Śālinī pāda
Read each split group as one breath-unit; hyphens join pādas kept whole for the meter or a compound word. Symbols: # upadhmānīya (visarga before p/ph), % jihvāmūlīya (visarga before k/kh), ऽ avagraha (an elided a). Full method →

Word by word

padārtha
anekainfinite
bāhuarms
udarastomachs
vaktrafaces
netrameyes
paśhyāmiI see
tvāmyou
sarvataḥin every direction
ananta-rūpaminifinite forms
na antamwithout end
nanot
madhyammiddle
nano
punaḥagain
tavayour
ādimbeginning
paśhyāmiI see
viśhwa-īśhwaraThe Lord of the universe
viśhwa-rūpauniversal form

Themes

from The Thematic Companion to the Bhagavad Gītā

Meaning — Questions & Solutions

from Q&A with KnA
11.15–11.31The Magnificent, the Magnanimous and the Mighty.

Arjuna beholds all the gods and hosts of beings within the one Form; Brahmā on his lotus, the sages, the celestial serpents; boundless, without beginning, middle or end; with innumerable arms, faces, eyes; blazing immeasurably, “if a thousand suns were to rise at once in the sky”. Then the vision turns terrible: the warriors of both armies rushing into the flaming mouths, some crushed between the teeth, “as moths rush headlong into a blazing fire to their destruction”. The description moves deliberately from wonder (the beauty and vastness) to terror (the devouring) — because the Real is both. A God who is only sweetness is a sentimental idol; the true Absolute contains creation and destruction, the nursery and the crematorium. Arjuna is being shown the whole, not the comfortable half.