Skip to content
אתר זה לא תומך בגרסאות ישנות של אינטרנט אקספלורר
מומלץ להשתמש בדפדפן גוגל כרום או פיירפוקס מוזילה
(או באינטרנט אקספלורר / edge עדכני)
Enjoy Learning Sanskrit tips, tools, resources and more...

योगवासिष्ठः       yogavāsiṣṭhaḥ - book-1, chapter-25

Use the following checkboxes to set the display options for this chapter (You can also control the display of each verse separately):
what would you like to see in each verse:
श्रीराम उवाच अत्रैव दुर्विलासानां चूडमणिरिहापरः ।
करोत्यत्तीति लोकेऽस्मिन्दैवं कालश्च कथ्यते ॥ १ ॥
śrīrāma uvāca atraiva durvilāsānāṃ cūḍamaṇirihāparaḥ ,
karotyattīti loke'smindaivaṃ kālaśca kathyate 1
1. śrīrāma uvāca atra eva durvilāsānām cūḍāmaṇiḥ iha aparaḥ
karoti atti iti loke asmin daivam kālaḥ ca kathyate
1. śrīrāma uvāca atra eva durvilāsānām cūḍāmaṇiḥ aparaḥ
iha asmin loke daivam ca kālaḥ karoti atti iti kathyate
1. Śrī Rāma said: 'Here, indeed, is another supreme instance of malevolent forces. In this world, that which 'acts and consumes' is referred to as destiny and time.'
क्रियामात्रादृते यस्य स्वपरिस्पन्दरूपिणः ।
नान्यदालक्ष्यते रूपं न कर्म न समीहितम् ॥ २ ॥
kriyāmātrādṛte yasya svaparispandarūpiṇaḥ ,
nānyadālakṣyate rūpaṃ na karma na samīhitam 2
2. kriyāmātrāt ṛte yasya svaparispandarūpiṇaḥ na
anyat ālakṣyate rūpam na karma na samīhitam
2. yasya svaparispandarūpiṇaḥ kriyāmātrāt ṛte anyat rūpam na ālakṣyate,
karma na,
samīhitam na
2. Beyond mere action, whose intrinsic nature is self-movement, no other form is perceived, nor any [separate] activity (karma), nor any [distinct] intention.
तेनेयमखिला भूतसंततिः परिपेलवा ।
तापेन हिममालेव नीता विधुरतां भृशम् ॥ ३ ॥
teneyamakhilā bhūtasaṃtatiḥ paripelavā ,
tāpena himamāleva nītā vidhuratāṃ bhṛśam 3
3. tena iyam akhilā bhūta saṃtatiḥ paripelavā
tāpena himamālā iva nītā vidhuratām bhṛśam
3. tena iyam akhilā paripelavā bhūtasaṃtatiḥ,
tāpena himamālā iva,
bhṛśam vidhuratām nītā
3. By it (destiny and time), this entire fragile lineage of beings is led to great distress, just as a string of ice is brought to a state of melting by heat.
यदिदं दृश्यते किंचिज्जगदाभोगि मण्डलम् ।
तत्तस्य नर्तनागारमिहासावतिनृत्यति ॥ ४ ॥
yadidaṃ dṛśyate kiṃcijjagadābhogi maṇḍalam ,
tattasya nartanāgāramihāsāvatinṛtyati 4
4. yat idam dṛśyate kiṃcit jagat ābhogi maṇḍalam
tat tasya nartanāgāram iha asau atinṛtyati
4. idam yat kiṃcit ābhogi maṇḍalam jagat dṛśyate,
tat tasya nartanāgāram.
asau iha atinṛtyati
4. Whatever of this vast and encompassing world-sphere is seen, that is its (destiny's and time's) dancing hall, where it (destiny/time) dances with great vigor.
तृतीयं च कृतान्तेति नाम बिभ्रत्सुदारुणम् ।
कापालिकवपुर्मत्तं दैवं जगति नृत्यति ॥ ५ ॥
tṛtīyaṃ ca kṛtānteti nāma bibhratsudāruṇam ,
kāpālikavapurmattaṃ daivaṃ jagati nṛtyati 5
5. tṛtīyam ca kṛtānta iti nāma bibhrat sudāruṇam
kāpālikavapuḥ mattam daivam jagati nṛtyati
5. ca tṛtīyam sudāruṇam kṛtānta iti nāma bibhrat,
kāpālikavapuḥ mattam daivam jagati nṛtyati
5. And the third (aspect of the deity), bearing the exceedingly dreadful name 'Kṛtānta' (End-maker), appears as a divine being with the form of an intoxicated Kāpālika, dancing in the world.
नृत्यतो हि कृतान्तस्य नितान्तमिव रागिणः ।
नित्यं नियतिकान्तायां मुने परमकामिता ॥ ६ ॥
nṛtyato hi kṛtāntasya nitāntamiva rāgiṇaḥ ,
nityaṃ niyatikāntāyāṃ mune paramakāmitā 6
6. nṛtyataḥ hi kṛtāntasya nitāntam iva rāgiṇaḥ
nityam niyatikāntāyām mune paramakāmitā
6. mune,
hi nṛtyataḥ nitāntam iva rāgiṇaḥ kṛtāntasya niyatikāntāyām nityam paramakāmitā (asti)
6. O sage, indeed, for the dancing Kṛtānta (End-maker), who is exceedingly passionate, there is always an ultimate longing for his beloved, Fate (Niyati).
शेषः शशिकलाशुभ्रो गङ्गावाहश्च तौ त्रिधा ।
उपवीते अवीते च उभौ संसारवक्षसि ॥ ७ ॥
śeṣaḥ śaśikalāśubhro gaṅgāvāhaśca tau tridhā ,
upavīte avīte ca ubhau saṃsāravakṣasi 7
7. śeṣaḥ śaśikalāśubhraḥ gaṅgāvāhaḥ ca tau
tridhā upavīte avīte ca ubhau saṃsāravakṣasi
7. śaśikalāśubhraḥ śeṣaḥ ca gaṅgāvāhaḥ tau ubhau
tridhā upavīte ca avīte saṃsāravakṣasi (sthaḥ)
7. Śeṣa, shining like the crescent moon, and the flow of the Gaṅgā – both of these, threefold (like sacred threads), are simultaneously worn (as adornments) and unbound (or unworn), (resting) upon the chest of the cycle of rebirth (saṃsāra).
चन्द्रार्कमण्डले हेमकटकौ करमूलयोः ।
लीलासरसिजं हस्ते ब्रह्मन्ब्रह्माण्डकर्णिका ॥ ८ ॥
candrārkamaṇḍale hemakaṭakau karamūlayoḥ ,
līlāsarasijaṃ haste brahmanbrahmāṇḍakarṇikā 8
8. candrārkamaṇḍale hemakaṭakau karamūlayoḥ
līlāsarasijam haste brahman brahmāṇḍakarṇikā
8. brahman,
candrārkamaṇḍale karamūlayoḥ hemakaṭakau (sthaḥ); haste līlāsarasijam brahmāṇḍakarṇikā (ca asti)
8. O Brahmā, the two discs of the moon and sun (serve as) golden bracelets on his wrists, and a playful lotus (which is) the pericarp of the cosmic egg (universe) is in his hand.
ताराबिन्दुचितं लोलपुष्करावर्तपल्लवम् ।
एकार्णवपयोधौ तमेकमम्बरमम्बरम् ॥ ९ ॥
tārābinducitaṃ lolapuṣkarāvartapallavam ,
ekārṇavapayodhau tamekamambaramambaram 9
9. tārābinducitam lolapuṣkarāvartapallavam
ekārṇavapayodhau tam ekam ambaram ambaram
9. ekārṇavapayodhau tārābinducitam
lolapuṣkarāvartapallavam tam ekam ambaram ambaram
9. In the ocean of the great deluge, that one vast expanse, which is adorned with star-like dots and has tremulous, lotus-like eddies and sprouts, is indeed the (only) cosmic space.
एवंरूपस्य तस्याग्रे नियतिर्नित्यकामिनी ।
अनस्तमितसंरम्भमारम्भैः परिनृत्यति ॥ १० ॥
evaṃrūpasya tasyāgre niyatirnityakāminī ,
anastamitasaṃrambhamārambhaiḥ parinṛtyati 10
10. evaṃrūpasya tasya agre niyatiḥ nityakāminī
anastamītasaṃrambham ārambhaiḥ parinṛtyati
10. evaṃrūpasya tasya agre nityakāminī niyatiḥ
anastamītasaṃrambham ārambhaiḥ parinṛtyati
10. Before that one of such a form, destiny (niyati), who is eternally yearning, dances with unceasing vigor through her various undertakings.
तस्या नर्तनलोलाया जगन्मण्डपकोटरे ।
अरुद्धस्पन्दरूपाया आगमापायचञ्चुरे ॥ ११ ॥
tasyā nartanalolāyā jaganmaṇḍapakoṭare ,
aruddhaspandarūpāyā āgamāpāyacañcure 11
11. tasyāḥ nartanalolāyāḥ jaganmaṇḍapakoṭare
aruddhaspandarūpāyāḥ āgamāpāyacañcure
11. tasyāḥ nartanalolāyāḥ aruddhaspandarūpāyāḥ
āgamāpāyacañcure (niyateḥ) jaganmaṇḍapakoṭare
11. Of her (destiny), who is trembling with the eagerness of her dance, whose nature is unhindered motion, and who is agile in creation and dissolution, (she dances) within the hollow of the world-pavilion.
चारुभूषणमङ्गेषु देवलोकान्तरावली ।
आपातालं नभोलम्बं कबरीमण्डलं बृहत् ॥ १२ ॥
cārubhūṣaṇamaṅgeṣu devalokāntarāvalī ,
āpātālaṃ nabholambaṃ kabarīmaṇḍalaṃ bṛhat 12
12. cārubhūṣaṇam aṅgeṣu devalokāntarāvalī
āpātālam nabholambam kabarīmaṇḍalam bṛhat
12. aṅgeṣu cārubhūṣaṇam.
bṛhat devalokāntarāvalī āpātālam nabholambam kabarīmaṇḍalam
12. On her limbs are beautiful ornaments; her vast mass of braided hair, which is a series of intermediate heavenly realms, extends down to Pātāla and reaches the sky.
नरकाली च मञ्जीरमाला कलकलोज्ज्वला ।
प्रोता दुष्कृतसूत्रेण पातालचरणे स्थिता ॥ १३ ॥
narakālī ca mañjīramālā kalakalojjvalā ,
protā duṣkṛtasūtreṇa pātālacaraṇe sthitā 13
13. naraka-ālī ca mañjīra-mālā kalakala-ujjvalā
protā duṣkṛta-sūtreṇa pātāla-caraṇe sthitā
13. naraka-ālī ca kalakala-ujjvalā mañjīra-mālā
duṣkṛta-sūtreṇa protā pātāla-caraṇe sthitā
13. A chain of hells (naraka), forming a brightly jingling anklet (mañjīramālā), is strung together by the thread of misdeeds (duṣkṛta) and rests upon Pātāla's feet.
कस्तूरिकातिलककं क्रियासंख्योपकल्पितम् ।
चित्रितं चित्रगुप्तेन यमे वदनपट्टके ॥ १४ ॥
kastūrikātilakakaṃ kriyāsaṃkhyopakalpitam ,
citritaṃ citraguptena yame vadanapaṭṭake 14
14. kastūrikā-tilakakam kriyā-saṅkhyā-upakalpitam
citritam citraguptena yame vadana-paṭṭake
14. kriyā-saṅkhyā-upakalpitam kastūrikā-tilakakam
citraguptena yame vadana-paṭṭake citritam
14. A musk tilaka, fashioned by the tally of deeds (karma), is painted by Citragupta upon Yama's forehead-tablet.
कालास्यं समुपादाय कल्पान्तेषु किलाकुला ।
नृत्यत्येषा पुनर्देवी स्फुटच्छैलघनारवम् ॥ १५ ॥
kālāsyaṃ samupādāya kalpānteṣu kilākulā ,
nṛtyatyeṣā punardevī sphuṭacchailaghanāravam 15
15. kāla-āsyam samupādāya kalpa-anteṣu kila ākulā
nṛtyati eṣā punaḥ devī sphuṭat-śaila-ghana-āravam
15. kila kalpa-anteṣu ākulā eṣā devī kāla-āsyam
samupādāya punaḥ sphuṭat-śaila-ghana-āravam nṛtyati
15. Taking up the visage of Time (kāla), this very Goddess (devī), agitated at the ends of cosmic cycles (kalpa), dances again with the sound of splitting mountains and roaring clouds.
पश्चात्प्रालम्बविभ्रान्तकौमारभृतबर्हिभिः ।
नेत्रत्रयवृहद्रन्ध्रभूरिभाङ्कारभीषणैः ॥ १६ ॥
paścātprālambavibhrāntakaumārabhṛtabarhibhiḥ ,
netratrayavṛhadrandhrabhūribhāṅkārabhīṣaṇaiḥ 16
16. paścāt prālamba-vibhrānta-kaumāra-bhṛta-barhibhiḥ
netra-traya-vṛhat-randhra-bhūri-bhāṅkāra-bhīṣaṇaiḥ
16. paścāt prālamba-vibhrānta-kaumāra-bhṛta-barhibhiḥ
netra-traya-vṛhat-randhra-bhūri-bhāṅkāra-bhīṣaṇaiḥ
16. Behind her, with dangling peacocks held by bewildered Kumāras, and with terrifying, abundant roars emanating from the vast apertures of her three eyes.
लम्बलोलजटाचन्द्रविकीर्णहरमूर्धभिः ।
उच्चरच्चारुमन्दारगौरीकबरचामरैः ॥ १७ ॥
lambalolajaṭācandravikīrṇaharamūrdhabhiḥ ,
uccaraccārumandāragaurīkabaracāmaraiḥ 17
17. lambalolajaṭācandravikīrṇaharamūrdhabhiḥ
uccaraccārumandāragaūrīkabaracāmaraiḥ
17. lāmbalolajaṭācandravikīrṇaharamūrdhabhiḥ
uccaraccārumandāragaūrīkabaracāmaraiḥ
17. Adorned with the heads of (god) Hara (Śiva), from whose long, swaying matted locks the moon's light is scattered, and with beautiful mandāra flowers, white braided hair, and yak-tail whisks emerging (from her form).
उत्ताण्डवाचलाकारभैरवोदरतुम्बकैः ।
रणत्सशतरन्ध्रेन्द्रदेहभिक्षाकपालकैः ॥ १८ ॥
uttāṇḍavācalākārabhairavodaratumbakaiḥ ,
raṇatsaśatarandhrendradehabhikṣākapālakaiḥ 18
18. uttaṇḍavācalākārabhairavodaratumbakaiḥ
raṇatsaśatarandhrendradehabhikṣākapālakaiḥ
18. uttaṇḍavācalākārabhairavodaratumbakaiḥ
raṇatsaśatarandhrendradehabhikṣākapālakaiḥ
18. Adorned with calabashes (bowls) made from the terrifying bellies of those resembling intensely dancing mountains, and with skull-bowls for alms, made from Indra's body which has a hundred sounding holes.
शुष्कशारीरखट्वाङ्गभरैरापूरिताम्बरम् ।
भीषयत्यात्मनात्मानं सर्वसंहारकारिणी ॥ १९ ॥
śuṣkaśārīrakhaṭvāṅgabharairāpūritāmbaram ,
bhīṣayatyātmanātmānaṃ sarvasaṃhārakāriṇī 19
19. śuṣkaśārīrakhaṭvāṅgbharaiḥ āpūrita ambaram
bhīṣayati ātmanā ātmānam sarvasaṃhārakāriṇī
19. sarvasaṃhārakāriṇī śuṣkaśārīrakhaṭvāṅgbharaiḥ
ambaram āpūrita ātmanā ātmānam bhīṣayati
19. With heaps of dry, skeletal staffs (khaṭvāṅga), filling the entire space, the one who causes the destruction of all (sarvasaṃhārakāriṇī) frightens her own self (ātman) by her own form.
विश्वरूपशिरश्चक्रचारुपुष्करमालया ।
ताण्डवेषु विवल्गन्त्या महाकल्पेषु राजते ॥ २० ॥
viśvarūpaśiraścakracārupuṣkaramālayā ,
tāṇḍaveṣu vivalgantyā mahākalpeṣu rājate 20
20. viśvarūpaśiraścakracārupuṣkaramālayā
tāṇḍaveṣu vivalgantyā mahākalpeṣu rājate
20. sā mahākalpeṣu tāṇḍaveṣu vivalgantyā
viśvarūpaśiraścakracārupuṣkaramālayā rājate
20. She shines splendidly during the great aeons (mahākalpa) in her cosmic dances (tāṇḍava), (adorned) with a beautiful lotus garland, made of circles of Viśvarūpa's heads, which is itself leaping and swaying.
प्रमत्तपुष्करावर्तडमरोड्डामरारवैः ।
तस्याः किल पलायन्ते कल्पान्ते तुम्बुरादयः ॥ २१ ॥
pramattapuṣkarāvartaḍamaroḍḍāmarāravaiḥ ,
tasyāḥ kila palāyante kalpānte tumburādayaḥ 21
21. pramattapuṣkarāvartaḍamaroḍḍāmarāravaiḥ tasyāḥ
kila palāyante kalpa ante tumburu ādayaḥ
21. kila pramattapuṣkarāvartaḍamaroḍḍāmarāravaiḥ
tasyāḥ kalpa ante tumburu ādayaḥ palāyante
21. Indeed, Tumburu and other celestial beings flee from her at the end of a cosmic age (kalpa), amidst the tumultuous and deafening roars of the frenzied Puṣkarāvarta clouds.
नृत्यतोऽन्तः कृतान्तस्य चन्द्रमण्डलभासिनः ।
तारकाचन्द्रिकाचारुव्योमपिच्छावचूलिनः ॥ २२ ॥
nṛtyato'ntaḥ kṛtāntasya candramaṇḍalabhāsinaḥ ,
tārakācandrikācāruvyomapicchāvacūlinaḥ 22
22. nṛtyataḥ antaḥ kṛtāntasya candramaṇḍalabhāsinaḥ
tārakācandrikācāruvyomapicchāvacūlinaḥ
22. antaḥ kṛtāntasya nṛtyataḥ candramaṇḍalabhāsinaḥ
tārakācandrikācāruvyomapicchāvacūlinaḥ
22. Of him who is dancing within Death (Kṛtānta), shining like the orb of the moon, and adorned with a beautiful sky-plume of stars and moonlight.
एकस्मिञ्छ्रवणे दीप्ता हिमवानस्थिमुद्रिका ।
अपरे च महामेरुः कान्ता काञ्चनकर्णिका ॥ २३ ॥
ekasmiñchravaṇe dīptā himavānasthimudrikā ,
apare ca mahāmeruḥ kāntā kāñcanakarṇikā 23
23. ekasmin śravaṇe dīptā himavān asthimudrikā
apare ca mahāmeruḥ kāntā kāñcanakarṇikā
23. ekasmin śravaṇe himavān dīptā asthimudrikā;
ca apare mahāmeruḥ kāntā kāñcanakarṇikā
23. In one ear, the resplendent Himālaya mountain (Himavān) is a bone-earring (asthi-mudrikā), and in the other (ear), the beautiful Mount Meru (Mahāmeru) is a golden earring.
अत्रैव कुण्डले लोले चन्द्रार्कौ गण्डमण्डले ।
लोकालोकाचलश्रेणी सर्वतः कटिमेखला ॥ २४ ॥
atraiva kuṇḍale lole candrārkau gaṇḍamaṇḍale ,
lokālokācalaśreṇī sarvataḥ kaṭimekhalā 24
24. atra eva kuṇḍale lole candrārkau gaṇḍamaṇḍale
lokālokācalaśreṇī sarvataḥ kaṭimekhalā
24. atra eva gaṇḍamaṇḍale candrārkau lole kuṇḍale;
lokālokācalaśreṇī sarvataḥ kaṭimekhalā
24. Here itself, the Moon and the Sun are the two swaying earrings on his cheek-regions. All around (him), the Lokāloka mountain range serves as his waist-belt.
इतश्चेतश्च गच्छन्ती विद्युद्वलयकर्णिका ।
अनिलान्दोलिता भाति नीरदांशुकपट्टिका ॥ २५ ॥
itaścetaśca gacchantī vidyudvalayakarṇikā ,
anilāndolitā bhāti nīradāṃśukapaṭṭikā 25
25. itaḥ ca cetaḥ ca gacchantī vidyutvalayakarṇikā
anilāndolitā bhāti nīradāṃśukapaṭṭikā
25. vidyutvalayakarṇikā gacchantī itaḥ ca cetaḥ
ca anilāndolitā nīradāṃśukapaṭṭikā bhāti
25. The ear-ornament, a circular flash of lightning, moving hither and thither, swayed by the wind, shines like a sash made of cloud-fabric.
मुसलैः पट्टिशैः प्रासैः शूलैस्तोमरमुद्गरैः ।
तीक्ष्णैः क्षीणजगद्वान्तकृतान्तैरिव संभृतैः ॥ २६ ॥
musalaiḥ paṭṭiśaiḥ prāsaiḥ śūlaistomaramudgaraiḥ ,
tīkṣṇaiḥ kṣīṇajagadvāntakṛtāntairiva saṃbhṛtaiḥ 26
26. musalaiḥ paṭṭiśaiḥ prāsaiḥ śūlaiḥ tomaramudgaraiḥ
tīkṣṇaiḥ kṣīṇajagadvāntakṛtāntaiḥ iva saṃbhṛtaiḥ
26. tīkṣṇaiḥ kṣīṇajagadvāntakṛtāntaiḥ iva musalaiḥ
paṭṭiśaiḥ prāsaiḥ śūlaiḥ tomaramudgaraiḥ saṃbhṛtaiḥ
26. Adorned with maces, "paṭṭiśa" spears, lances, pikes, and javelins and hammers (tomara-mudgara) - all sharp and resembling destroyers who have consumed the world and then cast out its remains.
संसारबन्धनादीर्घे पाशे कालकरच्युते ।
शेषभोगमहासूत्रप्रोते मालास्य शोभते ॥ २७ ॥
saṃsārabandhanādīrghe pāśe kālakaracyute ,
śeṣabhogamahāsūtraprote mālāsya śobhate 27
27. saṃsārabandhanādīrghe pāśe kālakaracyute
śeṣabhogamahāsūtraprote mālā asya śobhate
27. asya mālā saṃsārabandhanādīrghe kālakaracyute
śeṣabhogamahāsūtraprote pāśe śobhate
27. His garland shines, resembling a noose (pāśa) - exceedingly long due to the bonds of cyclic existence (saṃsāra), released from the hand of time, and threaded upon a great string that is the hood of shesha.
जीवोल्लसन्मकरिकारत्नतेजोभिरुज्ज्वला ।
सप्ताब्धिकङ्कणश्रेणी भुजयोरस्य भूषणम् ॥ २८ ॥
jīvollasanmakarikāratnatejobhirujjvalā ,
saptābdhikaṅkaṇaśreṇī bhujayorasya bhūṣaṇam 28
28. jīvollasanmakarikāratnatejobhiḥ ujjvalā
saptābdhikaṅkaṇaśreṇī bhujayoḥ asya bhūṣaṇam
28. asya bhujayoḥ saptābdhikaṅkaṇaśreṇī
jīvollasanmakarikāratnatejobhiḥ ujjvalā bhūṣaṇam
28. A brilliant series of bracelets of the seven oceans, gleaming with the radiance of gems from crocodile-shaped ornaments that appear alive, is the ornament for his two arms.
व्यवहारमहावर्ता सुखदुःखपरम्परा ।
रजःपूर्णतमःश्यामा रोमाली तस्य राजते ॥ २९ ॥
vyavahāramahāvartā sukhaduḥkhaparamparā ,
rajaḥpūrṇatamaḥśyāmā romālī tasya rājate 29
29. vyavahāramahāvartā sukhaduḥkhaparamparā
rajaḥpūrṇatamaḥśyāmā romālī tasya rājatē
29. tasya romālī vyavahāramahāvartā
sukhaduḥkhaparamparā rajaḥpūrṇatamaḥśyāmā rājatē
29. His line of hair (romālī) appears resplendent, a vast whirlpool of worldly activities, a continuous chain of joy and sorrow, and dark, filled with passion and ignorance.
एवंप्रायः स कल्पान्ते कृतान्तस्ताण्डवोद्भवाम् ।
उपसंहृत्य नृत्येहां सृष्ट्वा सह महेश्वरम् ॥ ३० ॥
evaṃprāyaḥ sa kalpānte kṛtāntastāṇḍavodbhavām ,
upasaṃhṛtya nṛtyehāṃ sṛṣṭvā saha maheśvaram 30
30. evaṃprāyaḥ saḥ kalpāntē kṛtāntaḥ tāṇḍavodbhavām
upasaṃhṛtya nṛtyēhām sṛṣṭvā saha maheśvaram
30. saḥ evaṃprāyaḥ kṛtāntaḥ kalpāntē tāṇḍavodbhavām
nṛtyēhām upasaṃhṛtya saha maheśvaram sṛṣṭvā
30. Such is He, the Destroyer (kṛtāntaḥ). At the end of a cosmic eon, having withdrawn his desire for the dance that arose from the Taṇḍava, and having simultaneously created Maheśvara (the Great Lord)...
पुनर्लास्यमयीं नृत्यलीलां सर्गस्वरूपिणीम् ।
तनोतीमां जराशोकदुःखाभिभवभूषिताम् ॥ ३१ ॥
punarlāsyamayīṃ nṛtyalīlāṃ sargasvarūpiṇīm ,
tanotīmāṃ jarāśokaduḥkhābhibhavabhūṣitām 31
31. punar lāsyamayīm nṛtyalīlām sargasvarūpiṇīm
tanoti imām jarāśokaduḥkhābhibhavabhūṣitām
31. punar imām lāsyamayīm sargasvarūpiṇīm
jarāśokaduḥkhābhibhavabhūṣitām nṛtyalīlām tanoti
31. ...he again performs this dance-play, which is gentle (lāsyamayī), embodies the form of creation, and is adorned by the onset of old age, sorrow, and suffering.
भूयः करोति भुवनानि वनान्तराणि लोकान्तराणि जनजालककल्पनां च ।
आचारचारुकलनामचलां चलां च पङ्काद्यथार्भकजनो रचनामखिन्नः ॥ ३२ ॥
bhūyaḥ karoti bhuvanāni vanāntarāṇi lokāntarāṇi janajālakakalpanāṃ ca ,
ācāracārukalanāmacalāṃ calāṃ ca paṅkādyathārbhakajano racanāmakhinnaḥ 32
32. bhūyaḥ karoti bhuvanāni vanāntarāṇi
lokāntarāṇi janajālakakalpanām ca
ācārācārukalānām acalām calām ca paṅkāt
yathā arbhakajanaḥ racanām akhinnaḥ
32. bhūyaḥ (saḥ) bhuvanāni vanāntarāṇi lokāntarāṇi
janajālakakalpanām ca ācārācārukalānām
acalām calām ca racanām karoti yathā
akhinnaḥ arbhakajanaḥ paṅkāt racanām (karoti)
32. Furthermore, he creates worlds, inner forests, other realms, and the formation of hosts of beings; and a creation that is a beautiful arrangement of natural law (dharma), both fixed and dynamic, just as an untiring child effortlessly creates a structure from mud.