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Adhyāyas / Viśvarūpa-Darśana Yogaḥ / verse 29

Mūla — the verse

Gita Press numbering
यथा प्रदीप्तं ज्वलनं पतङ्गा विशन्ति नाशाय समृद्धवेगाः। तथैव नाशाय विशन्ति लोका स्तवापि वक्त्राणि समृद्धवेगाः
yathā pradīptaṁ jvalanaṁ pataṅgā viśhanti nāśhāya samṛiddha-vegāḥ tathaiva nāśhāya viśhanti lokās tavāpi vaktrāṇi samṛiddha-vegāḥ
Triṣṭubh (U u u u)

Translation

Swami Gambhīrānanda · follows Śaṅkara-bhāṣya

As moths hasten with increased speed into a blazing fire for destruction, so too do creatures hasten into Your mouths with increased speed for destruction.

हिन्दी अनुवाद — Swami Tejomayānanda

जैसे पतंगे अपने नाश के लिए प्रज्वलित अग्नि में अतिवेग से प्रवेश करते हैं, वैसे ही ये लोग भी अपने नाश के लिए आपके मुखों में अतिवेग से प्रवेश करते हैं।।

Pronunciation — Vaamshii

from Vaamshii
यथा प्रदीप् तञ् ज्वलनम् पतङ्गाः
विशन्ति नाशाय समृद् धवेगाः
तथैव नाशाय विशन्ति लोकाः
तवापि वक्त्राणि समृद् धवेगाः
॥ २९ ॥
Pāda meters: Upendravajrā, Upendravajrā, Upendravajrā, Upendravajrā — 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
yathāas
pradīptamblazing
jvalanamfire
pataṅgāḥmoths
viśhantienter
nāśhāyato be perished
samṛiddha vegāḥwith great speed
tathā evasimilarly
nāśhāyato be perished
viśhantienter
lokāḥthese people
tavayour
apialso
vaktrāṇimouths
samṛiddha-vegāḥwith great speed

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.