Bhagavad Gita - Chapter 11 - Shloka (Verse) 10

व्याख्या--'अनेकवक्त्रनयनम्'--विराट्रूपसे प्रकट हुए भगवान्के जितने मुख और नेत्र दीख रहे हैं, वे सब-के-सब दिव्य हैं। विराट्रूपमें जितने प्राणी दीख रहे हैं, उनके मुख, नेत्र, हाथ, पैर आदि सबकेसब अङ्ग विराट्रूप भगवान्के हैं। कारण कि भगवान् स्वयं ही विराट्रूपसे प्रकट हुए हैं।

जो अनेक मुख और नेत्रोंवाला है अर्थात् जिस रूपमें अनेक मुख और नेत्र हैं? तथा अनेक अद्भुत दृश्योंवाला है अर्थात् जिसमें आश्चर्य उत्पन्न करनेवाले अनेक दृश्य हैं? जो अनेक दिव्य भूषणोंसे युक्त है यानी जिसमें अनेक दिव्य आभूषण हैं और जो हाथमें उठाये हुए अनेक दिव्य शस्त्रोंसे युक्त है यानी जिस रूपके हाथोंमें अनेक दिव्य शस्त्र उठाये हुए हैं? ऐसा वह रूप भगवान्ने अर्जुनको दिखलाया। इस श्लोकका पूर्वश्लोकके दर्शयामास शब्दसे सम्बन्ध है।,

He qualifies that very form—with 'Aneka' etc.

'Divyani'—ornaments (bhushana) like necklaces, armlets, etc.; 'Udyatani'—raised up.

He qualifies the supreme Divine Form.

That in which there are many faces and eyes. That in which there are many wondrous sights. And that in which there are many divine (supernatural) ornaments like armlets etc. And that in which there are many divine raised weapons [sights].

The connection is with the previous 'Darshayamasa' (He showed).

'Hari'—because He takes the share of all sacrifices.

Indeed, in the Mokshadharma it is said: "Invoked by Ida in the homes (sacrificial halls), I take (harami) the share in the sacrifices. My color is 'Harita' (green/resplendent), therefore I am remembered as 'Hari'." (This commentary refers to 'Hari' in verse 9 but is translated here as provided in the source text).

He qualifies that very form in two verses—beginning with 'Aneka'.

'Anekavaktranayanam'—that in which there are many (infinite) faces and eyes.

'Anekadbhutadarshanam'—that in which there are many wonderful sights.

'Anekadivyabharanam'—that in which there are many divine ornaments. 'Divyanekodyatayudham'—that in which there are many divine uplifted weapons like the discus etc.

'Devam'—Shining; 'Anantam'—incapable of being limited by space and time due to being the support of the entire universe existing in the three times; 'Vishvatomukham'—having faces turned towards all directions of the universe; endowed with divine garments, scents, garlands, ornaments, and weapons befitting Him.

He qualifies that very radiance indicated by the word 'Deva' (in the next verse)—

What was it like? To this He says—'Aneka' etc.

'Anekavaktranayanam'—that in which there are many mouths and eyes.

'Anekadbhutadarshanam'—that in which there is the sight of many wonders.

'Anekadivyabharanam'—that in which there are many divine ornaments.

'Divyanekodyatayudham'—that in which there are many divine uplifted weapons.

The multiplicity in garments, ornaments, and weapons should be understood as due to the variety of their types. Indeed, in the Bhagavat-shastras (Pancharatra etc.), the connection with many faces of various types is recited in the meditation on the Vishvarupa; otherwise, the mention of 'many eyes' would be meaningless, as that would be established merely by the multiplicity of faces.

'Anekadbhutadarshanam' means one whose appearance is many and wonderful; meaning, being seen as an boundless, excessive wonder. 'Divyatvam' means supernatural nature. 'Sarvashcharyamayam' means being the support of all entities which are wonders. Therefore, there is no repetition with 'Anekadbhutadarshanam'. One should contemplate on 'This universe is the great wonderful form of that Great Soul' [Vishnu Purana 5.19.7] etc.

To rule out the restriction of the word 'Deva' here merely to a specific species (like Devas) which is unsuitable, and to show that it refers to One qualified by a specific form, [the Bhashya] says 'Dyotamanam' (Shining).

He states the mode of Infinity and its cause with—'Nikhila' etc. Since being the support of the entire universe is explicitly stated, being the support of what exists in the three times is also implied. The result of both is the unsuitability of being limited by space and time, which is here applied to the Form as far as possible, and also directly [to the Essence]. However, Infinity belongs to the essential nature. Since the word 'Ananta' (Infinite) is placed amidst the group of adjectives describing the Form, it also refers to the Form. In 'Drishtvadbhutam' [11.20], He will speak of the Form itself as 'Infinite in length and breadth, wonderful and terrible.' Therefore, others say the purport is merely to show extreme vastness etc. Thus, the translation of 'Anantayamavistare' (Infinite in length and breadth) to be mentioned later is also justifiable.

Even for this all-pervading Form, due to special power, non-obstruction everywhere is appropriate. A special perfection (siddhi) of sinking into and rising from the earth is mentioned even for Yogis with eightfold powers. Therefore, its being the support of the entire universe including Prakriti, which will be described, is not unreasonable. Hence, one should not suspect that 'being the support of all' is said here in the form of weapons and ornaments; because there, in 'The body of the God of gods', adjectives like 'infinite length and breadth' are used for the body. Nor should it be said that it is a revelation of containing everything within a minute space through the power of impossible-feat (aghatita-ghatana) or in a subtle form, like the form lying on the banyan leaf; because it is not stated so, and the opposite is stated. Therefore, the meaning is exactly as heard (literal). And this has been established in the opening Bhashya itself by the word 'Achintya' (Inconceivable).

With the intent that what was stated as 'Aneka-vaktra...' is qualified here by the word 'Vishvatomukham', [the Bhashya] says—'Faces existing in all directions of the universe.' Since it directly refers to the Form, the 'connection with the power of the face everywhere' [metaphorical sense] as in 'Eyes everywhere, faces everywhere' [Rigveda 4.7.27.1 etc.] is not intended here. And the interpretation by others (Shankara) as 'Endowed with faces everywhere' is inappropriate, because faces are absent in hands, feet, etc.—this is the idea.

Disregarding the textual order due to the sequence of indistinct and distinct perception, 'Devam' etc. [from the next verse] is explained first. For, the perception of being qualified by separately existing substances (garments, ornaments) occurs only after the perception of one's own form, and such a presentation is appropriate; with this intent, although garments etc. were mentioned earlier [in the verse], they are shown later [in the Bhashya]—with 'Svochita' (Befitting Him) etc. Here too, the instruction in the order of garments etc., violating the textual order, is to show the gradation of intimacy and externality. Here, the connection of 'Darshayamasa' (He showed) is with the previous [verse].

See commentary under 11.11

Regarding 'Maha-Yogeshvara Hari', [the commentator] states the meaning of the word 'Hari' suitable to the context—'Hari' etc.

'Geheshu' means in the houses of sacrifice (Ishti-griha). The suffix 'i' is added to the root 'Hri'. 'Shreshtha' (Best) means supernatural/non-material.

When His simultaneous presence in infinite places of worship, in His own essential form, as one having a supernatural body and form, [is established], then what need is there to speak of His status as the Great Lord of Yoga? (This commentary refers to 'Maha-Yogeshvara' and 'Hari' in verse 9 but is translated here as provided in the source text).

He qualifies that very form—'Aneka' etc.

That form in which there are many mouths and eyes. That in which there is the sight of many wonders, i.e., causes of amazement. That in which there are many divine ornaments (abharana). That in which there are many divine and wonderful weapons (ayudha/astra); such is that form.

He describes the nature of both (Purushottama and Aishvara forms)—'Aneka' etc. 'Anekavaktranayanam'—that in which there are many faces and eyes; meaning, accompanied by all forms consisting of divine play (lila).

'Anekadbhutadarshanam'—that in which there are many supernatural sights consisting of divine play.

'Anekadivyabharanam'—that in which there are many divine (supernatural) ornaments.

'Divyanekodyatayudham'—that in which there are many divine (supernatural) uplifted weapons like conch, mace, etc., which remove all sorrows.

'Anekavaktranayanam'—That form in which there are many mouths and eyes is 'Anekavaktranayanam'.

'Anekadbhutadarshanam'—That form in which there are many wonderful, i.e., amazing, sights is 'Anekadbhutadarshanam'.

And 'Anekadivyabharanam'—That in which there are many divine ornaments is 'Anekadivyabharanam'.

And 'Divyanekodyatayudham'—That in which there are many divine uplifted weapons like swords etc. is 'Divyanekodyatayudham'.

The connection is with the previous verb 'Darshayamasa'. Moreover—

And what is it like? Listen to that—beginning from 'Anekavaktranayanam' up to 'Vishvatomukham' are adjectives of the Form. And this is shown like the form of the Mahakala-Purusha, which is to be worshipped by those devoted to the path of Maryada (Maryada-marga), having hands and feet everywhere, and this should be understood as supernatural, the essential nature of the Aggregate Person (Samashti-Purusha), immutable (Kutastha), the cause of all causes, and devoid of material qualities (Nirguna).

The meaning of 'Divya' is clear. 'Ambara' (Garments) are of the nature of Chhandas (Vedas) and Maya; ornaments like the crown etc. are of the nature of Parameshthya (supreme sovereignty) etc.; weapons are of the nature of the five elemental principles;

such a Universal Form (Vishvarupa), having faces everywhere and incomparable splendor, He showed.

अनेकवक्त्रनयनम् with numerous mouthsand eyes? अनेकाद्भुतदर्शनम् with numerous wonderful sights? अनेकदिव्याभरणम् with numerous divine ornaments? दिव्यानेकोद्यतायुधम् with numerous divine weapons uplifted.Commentary Countless faces appeared there. Arjuna looked at this Cosmic Form in all its magnificence. He saw the Lord everywhere and in everything. The whole manifestation appeared as one gigantic body of the Lord. He saw the Lord as the allinall.

A form aneka-vaktra-nayanam, having many faces and eyes; aneka-adbhuta-darsanam, possessing many wonderful sights; as also aneka-divya-abharanam, adorned with numerous celestial ornaments; and divya-aneka-udyata-ayudham, holding many uplifted heavenly weapons. This whole portion is connected with the verb '(He) showed' in the earlier verse.

Moreover,

'Divyam' means resplendent. 'Anantam' (boundless) means that form is not limited by time and space because of its being the foundation of the entire universe in the past, present and future. 'Visvatomukham' means facing in all directions. This form is adorned with divine raiments, perfumes, garlands, ornaments and weapons appropriate to it.
He explains the same resplendence expressed by the term 'Divyam':