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Adhyāyas / Viśvarūpa-Darśana Yogaḥ / verse 27

Mūla — the verse

Gita Press numbering
वक्त्राणि ते त्वरमाणा विशन्ति दंष्ट्राकरालानि भयानकानि। केचिद्विलग्ना दशनान्तरेषु संदृश्यन्ते चूर्णितैरुत्तमाङ्गैः
vaktrāṇi te tvaramāṇā viśanti daṁṣṭrā-karālāni bhayānakāni kecid vilagnā daśanāntareṣu sandṛśyante cūrṇitair uttamāṅgaiḥ
Triṣṭubh (I I I s)(!!) irregular in source

Translation

Swami Gambhīrānanda · follows Śaṅkara-bhāṣya

They rapidly enter into Your terrible mouths with cruel teeth! Some are seen sticking in the gaps between the teeth, with their heads crushed!

हिन्दी अनुवाद — Swami Tejomayānanda

तीव्र वेग से आपके विकराल दाढ़ों वाले भयानक मुखों में प्रवेश करते हैं और कई एक चूर्णित शिरों सहित आपके दांतों के बीच में फँसे हुए दिख रहे हैं।।

Pronunciation — Vaamshii

from Vaamshii
वक्त्राणि ते त्वर माणा विशन्ति (!!)
दंष्ट्रा करा लानि भया नकानि
केचिद् विलग्ना दशनान् तरेषु
सन्दृश् यन्ते चूर्णि तैरुत्त माङ्गैः
॥ २७ ॥
Pāda meters: Indravajrā, Indravajrā, Indravajrā, Śālinī — 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
vaktrāṇimouths
teYour
tvaramāṇāḥfearful
viśantientering
daṁṣṭrāteeth
karālāniterrible
bhayānakānivery fearful
kecitsome of them
vilagnāḥbeing attacked
daśanāntareṣubetween the teeth
sandṛśyantebeing seen
cūrṇitaiḥsmashed
uttama-aṅgaiḥby the head

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.