10.62 · The Meeting of Ūṣā and Aniruddha

• yadu-uttamaḥ — the best of the Yadus (Aniruddha)
  Compound: yadu (the dynasty) + uttamaḥ (foremost). Aniruddha is Kṛṣṇa's grandson, fourth of the catur-vyūha (Vāsudeva-Saṅkarṣaṇa-Pradyumna-Aniruddha). Calling Him 'best of Yadus' inside this verse signals that what looks like a love-elopement is in fact a Vaiṣṇava expansion of the Lord acting.
• hari-śaṅkarayoḥ — between Lord Hari and Lord Śaṅkara
  Dual genitive: hari + śaṅkara. Gauḍīyas read every Hari–Hara encounter as Bhagavān instructing His greatest devotee (Śiva is vaiṣṇavānāṁ yathā śambhuḥ). The 'fight' is līlā — never a contest of philosophies.
• ghoram — fearsome
  Accusative of ghora. The Bhāgavatam does not aestheticize the war away — it really was terrible. But terror in līlā exists to magnify the rasa of resolution, like dark clouds for the flash of Kṛṣṇa's complexion.
• mahā-yogin — O great mystic
  Vocative compound: mahā (great) + yogin. Parīkṣit's address to Śukadeva. Śuka's yoga is not aṣṭāṅga isolation — it is the ability to see and narrate Kṛṣṇa's pastimes across time, the yoga proper to a Vaiṣṇava ācārya.
• samākhyātum — to explain
  Infinitive from sam + ā + √khyā (to declare fully). Not 'summarize' — to narrate in detail, with all the names and turnings. The Bhāgavatam's storytelling refuses compression; every limb of līlā is worth its own breath.

• Mukunda Datta Pr SB 10-62-01 - 2014-05-21 Dallas
  His Grace Mukunda Datta Prabhu· 2014-05-21· English
• Padaseva Pr SB 10-62-01 Oriya
  His Grace Padaseva Prabhu· Oriya
• Bhanu Sw SB 10-62-01-09 - Lord Shiva-One form of Supreme Lord Vishnu who manifests less qualities - ISKCON Chennai
  His Holiness Bhanu Swami· English

Like a child who first hears thunder and only then asks who threw the lightning, Parīkṣit hears of the Hari–Śaṅkara clash and turns to Śuka to learn how a mere demon's daughter could be the spark. The question itself is bhakti: he refuses to let any episode of Kṛṣṇa's life pass unheard.

• śiva-bhakti — devotion for Lord Śiva
  Compound: śiva + bhakti. Gauḍīyas distinguish śuddha-bhakti (to Viṣṇu/Kṛṣṇa) from devotion to demigods, which Kṛṣṇa says yields temporary fruit (BG 7.23). Bāṇa's bhakti is sincere but mis-directed — Śiva himself will later redirect him.
• vāmana-rūpāya — in the form of the dwarf, Vāmanadeva
  Dative compound: vāmana (dwarf) + rūpāya (to the form). Viṣṇu's fifth avatāra, who measured the universe in three steps. The verse anchors Bāṇa in salvation-history: his very existence depends on a līlā of Hari.
• satya-sandhaḥ — truthful, true to his word
  Compound: satya (truth) + sandhaḥ (bound to). The same epithet given to Rāma. That Bāṇa shares it warns us not to despise him — his ethical structure is intact; his target is wrong.
• dṛḍha-vrataḥ — firm in his vows
  Compound: dṛḍha (firm) + vrataḥ (vow). Vrata-niṣṭhā is a Vaiṣṇava virtue (cf. Ambarīṣa); here it is borrowed by a demon. Gauḍīyas note: outward discipline without proper object becomes the fuel of pride, not prema.
• tāṇḍave — while Śiva was dancing his tāṇḍava
  Locative of tāṇḍava. Śiva's cosmic dance of dissolution. Bāṇa played the drums for it with a thousand arms — a striking image of secondary devotion: useful service, but feeding the dancer of pralaya rather than the flute-player of Vraja.

• Padaseva Pr SB 10-62-02 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a fertile soil that can grow both wheat and weeds depending on what is sown, the seed of Bali Mahārāja — a great soul — produced Bāṇa, a powerful demon-devotee of Śiva. Lineage gives strength; the direction of devotion is still a personal choice.

• śaraṇyaḥ — the giver of shelter
  From √śri (to take refuge). The same root as śaraṇāgati, the central Vaiṣṇava act. Gauḍīyas reserve this word in its fullness for Bhagavān (sarva-dharmān parityajya, BG 18.66); here it is borrowed for Śiva as a vaiṣṇava-deva acting on Bhagavān's behalf.
• bhakta-vatsalaḥ — compassionate to his devotees
  Compound: bhakta + vatsalaḥ (cow-affectionate, hence tenderly loving). The epithet par excellence of Kṛṣṇa-Gopāla. Used here of Śiva to show that wherever this quality appears, it points back to Viṣṇu, whose servant Śambhu is.
• vareṇa — with a choice of benediction
  Instrumental of vara. The classical mechanism by which asuras gain power — ask a deva for a boon. Gauḍīyas read this carefully: aiśvarya granted in response to tapasya is never the prema of Vraja, which Kṛṣṇa cannot give as a boon, only as a gift.
• pura-adhipam — as the guardian of his city
  Compound: pura (city) + adhipam (lord). Bāṇa makes Śiva his city's doorkeeper — a colossal inversion. The verse quietly notes the danger of using the Lord rather than serving Him.

• Padaseva Pr SB 10-62-03 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a wealthy host who, pleased by a guest's song, hands over the keys to his house, Lord Śiva accepted Bāṇa's drumming and stationed himself as gatekeeper of Śoṇitapura. The Lord's compassion meets the devotee at the level of the devotee's wish — even when the wish is small.

• vīrya-durmadaḥ — intoxicated by his strength
  Compound: vīrya (prowess) + durmadaḥ (badly intoxicated). Gauḍīyas list mada (intoxication of strength, birth, learning, beauty, etc.) among the six enemies of bhakti. Bāṇa's bhakti has been infiltrated by mada precisely because Śiva has been so generous.
• kirīṭena — with his helmet
  Instrumental of kirīṭa. The bowing convention is forehead-to-feet; Bāṇa keeps his helmet on. The picture is of a devotee who refuses to put down what makes him impressive even when bowing. Vraja's pure bhaktas, by contrast, drop everything to touch the dust of Kṛṣṇa's feet.
• pada-ambujam — lotus feet
  Compound: pada (foot) + ambujam (lotus). Standard Vaiṣṇava image. The feet of any deva are 'lotus' only because they too take their fragrance from Hari's pada-padma (cf. SB 1.11.25). The image foreshadows where this episode actually ends: at Kṛṣṇa's feet.
• arka-varṇena — whose color was like the sun
  Compound: arka (sun) + varṇena (with color). The helmet outshines its wearer. In Vraja, the only true sun-effulgence is Kṛṣṇa's own (kṛṣṇa sūrya-sama); demonic ornament is borrowed brightness that will dim the moment Bhagavān appears.

• Padaseva Pr SB 10-62-04 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a king who, having just been given a kingdom, immediately tests the limits of his crown against the throne itself, Bāṇa touched Śiva's feet with his sun-bright helmet — the gesture of pratiṣṭhā-bhakti, devotion that uses worship as a stage for its own glitter.

• mahā-deva — O greatest of gods
  Vocative compound: mahā + deva. Standard epithet of Śiva. Gauḍīyas accept it in its place — Śiva is the greatest among the devas — while remembering Bhāg. 1.2.6: bhagavān eka eva, only one Bhagavān. The honorific is rank within the staff, not the master himself.
• apūrṇa-kāmānām — for those whose desires are unfulfilled
  Compound genitive: apūrṇa (incomplete) + kāmānām (of desires). The very category that Kṛṣṇa-bhakti rescues us from. Demigod-worship gives the rope to keep climbing the same well; bhakti to Viṣṇu ends the thirst.
• kāma-pūra — fulfilling desires
  Compound: kāma (desire) + pūra (filler). The wish-granting wood of heaven. In the Gauḍīya frame, Kṛṣṇa is kāma-deva-deva, but His prema does not fulfill kāma — it transmutes it. Bāṇa wants the heavenly tree, not the Vṛndāvana grove.
• amara-aṅghripam — the tree of the immortals
  Compound: amara (deathless ones) + aṅghripa (foot-drinker, i.e. tree). Heaven's wish-tree. Even paradise's gifts are temporary (kṣīṇe puṇye martya-lokaṁ viśanti, BG 9.21); Vraja's kalpa-vṛkṣas, by contrast, exist only to serve Kṛṣṇa, never to barter.

• Padaseva Pr SB 10-62-05 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a child who praises the gardener while standing on the gardener's land, Bāṇa hails Śiva as the kalpa-vṛkṣa who fulfills all desires — and immediately reveals what desire still gnaws at him: not śaraṇāgati, but a worthy opponent.

• doḥ-sahasram — one thousand arms
  Compound: doḥ (arm) + sahasram (thousand). Granted as a boon for drumming Śiva's dance. Gauḍīyas note: when sevā becomes a means to inflate the servant, the servant's instrument turns into ballast.
• bhārāya — (merely) a burden
  Dative of bhāra. The word that Vidura uses for an unused body (SB 3.5.45) and that Prabhupāda often repeats: 'this body is simply a burden if it does not serve Kṛṣṇa.' Bāṇa's complaint is accidentally true — and he is its proof.
• tri-lokyam — in the three worlds
  Locative compound: tri (three) + lokyam (worlds, bhūr-bhuvar-svar). Bāṇa scans only the cosmos of duality; he cannot see the spiritual world where Kṛṣṇa stands, who alone can answer him. The narrowness of asuric sight.
• pratiyoddhāram — an opposing fighter
  Accusative of prati-yoddhṛ. The very category Bāṇa craves is the opposite of bhakti — bhakti seeks a Lord, not an opponent. Gauḍīyas read his demand as the asuric reversal of śaraṇāgati: he wants someone to defeat, not someone to serve.

• Padaseva Pr SB 10-62-06 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a body-builder who, having no rival, complains to the very master who gave him his strength, Bāṇa calls his thousand arms a burden. Power without a higher object to serve always curdles into restlessness — the demonic mood in miniature.

• kaṇḍūtyā — with itching
  Instrumental of kaṇḍūti (itch). The body-image is precise: his arms 'itch' to strike. Gauḍīyas read this as the somatic form of mada — the senses, denied service, demand violence as a substitute scratch.
• dik-gajān — the elephants who rule the directions
  Compound: dik (direction) + gajān (elephants). The eight celestial elephants holding up the quarters (Airāvata etc.). Even cosmic guardians flee — a literary warning that Bāṇa has run out of legitimate opponents and now needs Bhagavān to come.
• ādya — O primeval one
  Vocative of ādya. Bāṇa calls Śiva 'the original.' In the Gauḍīya frame, only Kṛṣṇa is ādyaḥ puruṣaḥ (Brahma-saṁhitā 5.1). Bāṇa's mis-addressing of titles is, line by line, the chapter's quiet theology.
• cūrṇayan — crushing to powder
  Present participle of √cūrṇaya. The verb of pulverizing. Bāṇa's arms grind mountains; Kṛṣṇa's cakra (we will see) will grind those same arms. Action returns in kind — the law beneath every Kṛṣṇa-līlā of judgment.

• Mukunda Datta Pr SB 10-62-07 - 2014-05-22 Dallas
  His Grace Mukunda Datta Prabhu· 2014-05-22· English
• Padaseva Pr SB 10-62-07 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a man who breaks his own house's pillars to test his hammer, Bāṇa pulverizes mountains and rushes the dig-gajas — and finds even the elephants of the directions running away. Strength without an object devolves into vandalism dressed up as valor.

• kruddhaḥ — angry
  Past participle of √krudh. Śiva's anger is not the asuric anger of frustrated desire; it is the kind that Kṛṣṇa shows toward devotees who have hardened — the burning meant to soften.
• ketuḥ — (your) flag
  Nominative of ketu. The dhvaja is a king's pride made visible. 'Your flag will break' is shorthand for the destruction of pratiṣṭhā — the same lesson Sanātana Gosvāmī receives from Mahāprabhu: bhakti grows only where pratiṣṭhā has been pulled down.
• darpa-ghnam — destroying pride
  Compound: darpa (arrogance) + ghnam (destroying). The technical term for Bhagavān's appearance to humble His own devotees and the demons alike. Kṛṣṇa is darpa-hara (cf. SB 10.14: stealing the boys' calves to break Brahmā's darpa).
• mat-samena — with one equal to me
  Compound: mat (me) + samena (equal). Śiva names his own equal — and Gauḍīyas hear Kṛṣṇa pointed to obliquely (Kṛṣṇa is greater than equal; Śiva self-effacingly says 'equal'). The Lord humbles even His own delegated worship by remembering the source.
• mūḍha — O fool
  Vocative of mūḍha. The same word Kṛṣṇa uses (BG 7.15) for those whose intelligence is stolen by māyā. That Śiva uses it of his devotee shows divine love is not soft sentiment — it diagnoses and names the disease.

• Padaseva Pr SB 10-62-08 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a master who, hearing his student boast, calmly predicts the very humbling that the boast invites, Śiva tells Bāṇa his flag will fall when one equal to himself appears. The Lord's anger toward a devotee is always pedagogy, never abandonment.

• ku-matiḥ — foolish, of bad intelligence
  Compound: ku (bad) + matiḥ (intelligence). The same prefix that gives ku-mārga (wrong path). Gauḍīyas pair this with su-mati (Prahlāda) — buddhi is not raw intelligence; it is intelligence aimed correctly toward Kṛṣṇa.
• hṛṣṭaḥ — delighted
  From √hṛṣ (to bristle, thrill). Normally describes a devotee's romāñca at hearing Kṛṣṇa-nāma. Here it is parodied: the demonic mood produces the same body-signs for the prospect of a fight that the bhakta produces for the name of the Lord.
• pratīkṣan — waiting for
  Present participle of prati + √īkṣ. The verb the Gauḍīyas use for the gopīs awaiting Kṛṣṇa's return (kṛṣṇa-darśana-pratīkṣaṇa). Here it is the demonic mirror: Bāṇa awaits his own destruction with the same eagerness.
• sva-vīrya-naśanam — the destruction of his own prowess
  Compound: sva (own) + vīrya (prowess) + naśanam (destruction). The phrase quietly names the chapter's whole arc. Bhāgavata-style irony: the demon is given exactly what he wants, and that becomes his cure.

• Padaseva Pr SB 10-62-09 Oriya
  His Grace Padaseva Prabhu· Oriya
• DMS SB 10-62-09 - Banasura%27s itching for sense gratification - 2007-10-16
  His Holiness Devamrita Swami· 2007-10-16· English

Like a man who hears the doctor warn of an upcoming illness and goes home cheerful that something interesting is finally about to happen, Bāṇa is delighted by Śiva's prophecy of his ruin. Mada has reached the stage where even warnings sound like invitations.

• svapne — in a dream
  Locative of svapna. In the Bhāgavatam dreams can be revelatory (Dhruva's dream of Viṣṇu, Nanda's dream of Varuṇa). Gauḍīyas read Ūṣā's dream as the catur-vyūha Aniruddha entering wherever the heart is sealed against ordinary sight.
• prādyumninā — with the son of Pradyumna (Aniruddha)
  Instrumental patronymic from Pradyumna. Pradyumna is Kṛṣṇa's son and the catur-vyūha expansion presiding over mind; Aniruddha presides over ahaṅkāra. The grandson-of-Kṛṣṇa identity matters: this is not just a hero, but Bhagavān's own vyūha.
• kanyā — the unmarried maiden
  Nominative of kanyā. The word marks Ūṣā as never-touched. Gauḍīyas note: the dream comes precisely at the threshold between kanyā-vrata and marriageable life; bhakti can also begin at such thresholds, when the old identity loosens.
• adṛṣṭa-śrutena — never seen, never heard of
  Compound: adṛṣṭa (unseen) + śrutena (heard). The Bhāgavatam itself is the answer to this category: it makes Kṛṣṇa heard so He can be seen. Ūṣā is denied even śravaṇa, yet love arrives — testimony that the Lord can take initiative across every barrier.
• ratim — amorous encounter
  Accusative of rati. Same root that gives ratiḥ in Rūpa Gosvāmī's bhakti-rasāmṛta-sindhu (sthāyī-bhāva of mādhurya). Material rati is the dim, displaced echo of the rati gopīs feel for Kṛṣṇa. The Bhāgavatam stages the echo so the source can be heard.

• Padaseva Pr SB 10-62-10 Oriya
  His Grace Padaseva Prabhu· Oriya
• BCaitanyaS SB 10-62-10 - The Meeting of Usa and Aniruddha Part 01 - Durban
  His Holiness Bhakti Caitanya Swami· English
• BCaitanyaS SB 10-62-10
  His Holiness Bhakti Caitanya Swami· English
• Bhanu Sw SB 10-62-10-33 - Power of Krsna%27s Energies-Shakti - ISKCON Chennai
  His Holiness Bhanu Swami· English

Like a sealed garden where a fragrance arrives over the wall before its flower is named, Ūṣā meets Aniruddha first in a dream — never seen, never heard of, yet already loved. The Lord's expansions can enter the heart before they enter the eyes.

• kva asi kānta — where are You, my lover
  Phrase: kva (where) + asi (are) + kānta (lover, vocative). The exact syntactic shape of the gopī-cry in SB 10.30. The Bhāgavatam reuses gopī-syntax in unlikely mouths — a quiet way of teaching that all love-language is finally Vraja-language.
• vihvalā — disturbed, overwhelmed
  Past participle, from vi + √hval. Same word Rūpa Gosvāmī uses for the eight sāttvika-bhāvas overpowering a devotee. Used here for romantic disturbance — Gauḍīyas read it as the displaced shadow of the real thing.
• vrīḍitā — embarrassed
  Past participle from √vrīḍ (to feel shame). Lajjā is one of the thirty-three vyabhicāri-bhāvas in Gauḍīya rasa-śāstra and a defining ornament of the parakīyā-gopīs. The shame is itself a sign of the love's depth, not its impurity.
• sakhīnām madhye — in the midst of her girlfriends
  Phrase: sakhī (girlfriend) genitive plural + madhye (in the middle). The Vraja-structure of sakhīs is being mirrored: every Vraja love is mediated by friends. Citralekhā is to Ūṣā what Lalitā and Viśākhā are to Rādhā, structurally; only the rasa differs.

• Padaseva Pr SB 10-62-11 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a sleeper who reaches across an empty bed at dawn, finding warmth where there is no body, Ūṣā sits up among her friends crying 'Where are You, beloved?' That cry — vipralambha, the love that intensifies in separation — is the same cry the gopīs will raise for Kṛṣṇa.

• mantrī — the minister
  Nominative of mantrin. Kumbhāṇḍa is Bāṇa's counselor; his daughter, by being Ūṣā's sakhī, sits at the structural seam between palace and inner-chamber. Gauḍīyas note: every līlā needs informed insiders — Akrūra, Vidura, Uddhava — to keep the plot moving.
• Citralekhā — Citralekhā
  Compound: citra (picture) + lekhā (drawing). Her very name foretells what she will do — she will draw, and through drawing identify the lover. Sanskrit characters often act out the meaning of their names; the poet is signaling.
• sakhī — girlfriend
  Feminine of sakhā. In Gauḍīya rasa-śāstra, sakhīs are essential — Rādhā's love for Kṛṣṇa is mediated by Lalitā, Viśākhā, and the rest. Even an asura-side love-story imitates this structure: love needs sakhī-mediation to come to form.
• kautūhala-samanvitā — full of curiosity
  Compound: kautūhala (curiosity) + samanvitā (endowed with). The sakhī's curiosity is the engine that turns mute longing into action. Gauḍīyas read curiosity itself as a junior form of śraddhā when its object is Kṛṣṇa-kathā.

• Padaseva Pr SB 10-62-12 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a confidante who notices the new color in her friend's face before her friend has named it, Citralekhā steps forward — the chapter's structural sakhī. In every līlā, love needs a witness to make itself articulate.

• manaḥ-rathaḥ — hankering, mind-chariot
  Compound: manaḥ (mind) + rathaḥ (chariot). The mind running like a chariot toward a desired object. Vaiṣṇavas redirect this very vehicle: let the manaḥ-ratha run, but toward Govinda (cf. Yāmunācārya's prayers).
• su-bhru — O fine-browed one
  Vocative compound: su (good) + bhru (eyebrow). Standard kāvya endearment. Gauḍīyas note: the Bhāgavatam preserves these refinements of address — beauty is not denied; it is rerouted to its source in Kṛṣṇa.
• hasta-grāham — a taker of the hand
  Compound: hasta (hand) + grāham (one who takes). Pāṇi-grahaṇa is the formal Vedic marriage act. The legal frame is invoked precisely so the reader sees Ūṣā's situation has now slipped outside it — yet not outside Kṛṣṇa's plan.
• rāja-putri — O princess
  Vocative compound: rāja (king) + putrī (daughter). The reminder of lineage is also the reminder of risk: a princess's love is never private. The structure of social danger is what makes Vraja-love (which gopīs accept) so radical — and Ūṣā's love so unstable.

• Padaseva Pr SB 10-62-13 Oriya
  His Grace Padaseva Prabhu· Oriya

Like an experienced midwife who asks the patient to describe the pain so she can name the cause, Citralekhā meets Ūṣā's distress with patient questions — not platitudes. Sakhī-service is first attentiveness, then action.

• śyāmaḥ — dark blue (in complexion)
  Nominative of śyāma. The defining hue of Kṛṣṇa (nava-jaladhara-śyāma). That Aniruddha shares it confirms what the catur-vyūha doctrine teaches: He is non-different from Kṛṣṇa in tattva, distinguished only by function.
• kamala-locanaḥ — lotus-eyed
  Compound: kamala (lotus) + locanaḥ (eyed). Padma-nayana is the Viṣṇu-tattva ocular signature. Whoever has 'lotus eyes' in the Bhāgavatam wears a Vaiṣṇava seal — the poet is naming Aniruddha's divinity through His features.
• pīta-vāsāḥ — yellow-garmented
  Compound: pīta (yellow) + vāsāḥ (clothing). Pītāmbara is Kṛṣṇa's iconographic mark. Brahma-saṁhitā 5.30 fixes Kṛṣṇa in pītāmbara; the cloth becomes a recognition-token, like Joseph's coat — Ūṣā's listing is already a confession of who He really is.
• hṛdayam-gamaḥ — going (straight) to the heart
  Compound: hṛdayam (heart) + gamaḥ (going to). The same epithet Vraja-poets give to Kṛṣṇa. Gauḍīyas distinguish two registers: in Vraja it points to nirupādhi prema; here it is the same magnetism heard at a lower octave.

• Padaseva Pr SB 10-62-14 Oriya
  His Grace Padaseva Prabhu· Oriya

Like someone who has glimpsed a face in a flash of lightning and can describe it only by its color, eyes, garments, arms — Ūṣā lists Aniruddha by the same iconographic register the Bhāgavatam uses for Kṛṣṇa Himself: śyāma, lotus-eyed, yellow-robed. The vyūha shares the Lord's signature.

• ādharam madhu — the honey of (His) lips
  Compound noun phrase: ādhara (lip) + madhu (honey). The phrase Mahāprabhu Himself uses in His Śikṣāṣṭaka and in the rasa-poetry He recites at Gambhīrā. Vraja's mādhurya is bodily and specific — lips, not abstractions.
• pāyayitvā — having made (me) drink
  Absolutive of the causative of √pā. The grammatical form does the theological work: the lover is the active causer; the beloved is made to drink. The Lord initiates the taste; the soul does not summon Him.
• vṛjina-arṇave — in the ocean of distress
  Compound: vṛjina (distress) + arṇave (in the ocean). Bhāgavata-imagery: bhava-arṇava (ocean of birth-and-death), duḥkha-arṇava (ocean of sorrow), and now vṛjina-arṇava. The remedy is always the same — Kṛṣṇa's hand, no other.
• spṛhayatīm — hankering for Him
  Present participle of √spṛh. Distinct from kāma: spṛhā is the directed reaching of the heart toward a person, not the bodily urge. Gauḍīyas honor spṛhā when it is for Kṛṣṇa — Rūpa Gosvāmī's last verses are pure spṛhā for the dust of Vraja.

• Padaseva Pr SB 10-62-15 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a cup pressed once to the lip and then withdrawn, leaving the taste but not the drink, Aniruddha's dream-kiss has cast Ūṣā into the ocean of separation. The Bhāgavatam keeps showing the same shape: a taste of the Lord is sweeter than every fulfillment — and more painful in its loss.

• vyasanam — distress
  Accusative of vyasana. The same word used for the calamities of the Pāṇḍavas in exile. Citralekhā treats Ūṣā's love-pain as a real vyasana, not a triviality. Vaiṣṇava-sakhīs honor each other's heart-states; they don't dismiss them.
• manaḥ-hartā — thief of the heart
  Compound: manaḥ (heart/mind) + hartā (thief). Hari Himself is the original manaḥ-hartā (hence the name Hari — 'one who steals'). Whoever steals the heart in the Bhāgavatam is, structurally, Hari operating at one remove.
• varam — husband-to-be
  Accusative of vara. The same root that gives the verse of svayaṁ-vara — choosing one's groom. Gauḍīyas read every legitimate varaṇa (choosing) as a faint echo of the soul's choosing of Kṛṣṇa as eternal varaḥ.
• tri-lokyām — within the three worlds
  Locative compound: tri (three) + lokyām (in the worlds). Citralekhā's scope is cosmic — she will scan the three lokas to find Him. Gauḍīyas note: her yogic reach is real, but it is bound to the trilokī; Kṛṣṇa's actual abode is beyond, and He has condescended to step into the trilokī to be found.

• Padaseva Pr SB 10-62-16 Oriya
  His Grace Padaseva Prabhu· Oriya
• BCaitanyaS SB 10-62-16 - The Meeting of Usa and Aniruddha Part 02 - Durban
  His Holiness Bhakti Caitanya Swami· English

Like a friend who, instead of explaining away a fever, fetches the right medicine, Citralekhā does not lecture Ūṣā — she promises to bring the beloved Himself. Bhakti's sakhīs work the same way: they do not philosophize about Kṛṣṇa, they arrange the meeting.

• deva-gandharva — demigods and Gandharvas
  Compound: deva + gandharva. The upper-celestial categories. Gauḍīyas note: Citralekhā starts at the top of the hierarchy and works down, expecting Ūṣā's lover to be among the devas — but Bhagavān's vyūha is hidden among the 'humans,' the Yadus.
• alikhat — she drew
  Imperfect of ā + √likh. The same root that gives lekhā in her name. Citralekhā does what she is named to do — Sanskrit's habit of letting nāma and karma coincide is one of the small consolations of reading the Bhāgavatam slowly.
• yathā — accurately
  Adverb ("in the manner that is real"). Her drawings are not stylized — they are faithful. Gauḍīyas note: bhakti-art is realist about Kṛṣṇa, not abstract; the goal is recognition, not aesthetic distance.

• Padaseva Pr SB 10-62-17 Oriya
  His Grace Padaseva Prabhu· Oriya
• Vraja Bihari Pr SB 10-62-17-19 - Heart Is Satisfied to the Extent We Are Krishna Centered - 2015-05-24 ISKCON Chowpatty
  His Grace Vraja Bihari Prabhu· 2015-05-24· English

Like a scholar who lays out every coin in the kingdom on a table so the merchant can pick out the one she remembers, Citralekhā draws devas, gandharvas, daityas, humans — the whole catalogue of conditioned beings — to find the one face that is not catalogued at all.

• vṛṣṇīn — the Vṛṣṇis
  Accusative plural. Kṛṣṇa's own dynasty. Gauḍīyas note: the Lord descends inside a family, and to recognize Him you eventually have to recognize the family — Vasudeva, Devakī, Balarāma, Pradyumna, Aniruddha — His entourage is inseparable from Him.
• rāma-kṛṣṇau — Balarāma and Kṛṣṇa
  Dual compound: rāma + kṛṣṇa. The two brothers always together — Caitanya-caritāmṛta repeatedly notes that wherever Kṛṣṇa is, Balarāma is. Ūṣā's portrait-album, even at the asura-frontier, must carry both.
• lajjitā — becoming shy
  Past participle of √lajj. At seeing Pradyumna, she felt shy — at seeing Aniruddha, she bowed her head. The poet calibrates two shades of lajjā: family-resemblance triggers it; the Beloved Himself confirms it. Gauḍīyas treasure this gradient of lajjā in the gopīs.
• saḥ asau asau iti — "That's the one! That's the one!"
  Demonstrative phrase: saḥ (he) + asau (that one) repeated. The doubled cry of recognition. Gauḍīyas hear in this the same syntactic shape as Mahāprabhu's 'ei se! ei se!' in the Jagannātha temple — recognition outruns grammar.
• smayamānā — smiling
  Present participle of √smi (smiling, blooming). The smile of recognition is itself a bhāva-sign. The pointing finger plus the smile plus the bowed head is the full body-grammar of love arriving at certainty.

• Padaseva Pr SB 10-62-18 Oriya
  His Grace Padaseva Prabhu· Oriya
• Revati Raman Pr SB 10-62-18-19 - 2013-02-19 ISKCON Tirupati
  His Grace Revati Raman Prabhu· 2013-02-19· Telugu

Like a seeker who, looking at portrait after portrait, finally cries 'this one!' when the face of Kṛṣṇa appears, Ūṣā moves down the album bashful at Pradyumna, head-bowed at Aniruddha. The recognition is not learned — it is awakened. The Lord's family is already known by the heart.

• pautram kṛṣṇasya — the grandson of Kṛṣṇa
  Compound noun phrase: pautram (grandson) + kṛṣṇasya (of Kṛṣṇa). The verse names what the entire chapter is really about: this is a Kṛṣṇa-līlā disguised as a love-elopement. The genealogy is the theology.
• yoginī — female mystic
  Feminine of yogin. Citralekhā has aṣṭa-siddhis. Gauḍīyas place yoga at the service of bhakti: siddhis are useful only when they serve a Kṛṣṇa-līlā. Here her mystic powers exist solely to fly Aniruddha into the plot.
• vihāyasā — by the mystic skyway
  Instrumental of vihāyas. The aerial path used by siddhas and devas. The Bhāgavatam's cosmology takes the sky as a real corridor; the wonder is treated as ordinary, the way Vraja takes flute-music as ordinary.
• kṛṣṇa-pālitām — protected by Kṛṣṇa
  Compound: kṛṣṇa + pālitām (past participle of √pāl, to protect). Dvārakā's defining feature is Kṛṣṇa's protection. Gauḍīyas note: protection-by-Kṛṣṇa, not walls or weapons, is what makes a city safe. Bāṇa's Śoṇitapura has Śiva at the gate; Dvārakā has Kṛṣṇa Himself.

• LMM SB 10-62-20-26 - 2015-03-25 ISKCON Alachua
  Her Grace Laxmimoni Mataji· 2015-03-25· English
• Padaseva Pr SB 10-62-20 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a courier who, once the addressee is identified, takes immediately to the air, Citralekhā recognizes Aniruddha as Kṛṣṇa's grandson and flies the mystic skyway to Dvārakā. Bhakti's sakhīs know that the meeting must be arranged inside the Lord's own city, not outside it.

• suptam — asleep
  Past participle of √svap. The Lord's permitting Himself to be moved while asleep is a sign — like Kṛṣṇa permitting Yaśodā to bind Him — that aiśvarya recedes for the sake of līlā. Gauḍīyas read both as 'consent-to-be-carried.'
• paryaṅke — on a (fine) bed
  Locative of paryaṅka. The royal bed of Dvārakā. The contrast is deliberate: He is taken from luxury into Bāṇa's fortress, the way every Kṛṣṇa-līlā moves the Lord from comfort into the place where He is needed.
• yogam āsthitā — using mystic power
  Phrase: yogam (yoga) + āsthitā (having taken up). Citralekhā again — yoga as a service-instrument. Gauḍīyas read this as the right ordering: yoga subordinated to a līlā-purpose, not pursued for its own glamour.
• priyam — her beloved
  Accusative of priya. Citralekhā does not present Aniruddha to Ūṣā as 'the Yadu prince' or 'Kṛṣṇa's grandson' — she presents Him as priyam. Love's vocabulary, not lineage's, is the right one for the heart.

• Padaseva Pr SB 10-62-21 Oriya
  His Grace Padaseva Prabhu· Oriya
• Revati Raman Pr SB 10-62-21 - 2013-02-20 ISKCON Tirupati
  His Grace Revati Raman Prabhu· 2013-02-20· Telugu

Like a mother who lifts a sleeping child without waking him and carries him to where he needs to be, Citralekhā lifts Aniruddha from His Dvārakā bed and sets Him down in Śoṇitapura. He sleeps through the journey — even Bhagavān's vyūha consents to be carried in His own līlā.

• sundara-varam — the most beautiful of men
  Compound: sundara (beautiful) + varam (best). Gauḍīyas reserve absolute sundara-tva for Kṛṣṇa (tribhuvana-sundara). Aniruddha as catur-vyūha shares it. The chapter keeps using Kṛṣṇa's epithets for Aniruddha — the theology is in the adjectives.
• mudita-ānanā — her face joyful
  Compound: mudita (joyful) + ānanā (faced). The body-sign of bhāva. In Rūpa Gosvāmī's catalog, mukha-prasāda (gladness of face) is among the early sāttvika signs — love announces itself first at the face, before the speech.
• duṣprekṣye — not (even) to be seen
  Locative of duṣprekṣya (dur + prekṣya, 'hard to look upon'). The inner-most apartment of an asura's daughter, forbidden to men's sight — and yet the Lord's vyūha is now inside. Gauḍīyas note: no fortress keeps Kṛṣṇa out when love invites Him in.
• reme — she enjoyed
  Imperfect of √ram. The same verb-root used for Kṛṣṇa's rāsa-rati with the gopīs (reme ramayan, SB 10.33). The poet's word-choice signals: this is a displaced echo of that rati, played at the asura-frontier; the rasa is incomplete because the Person is misidentified as private property.

• Padaseva Pr SB 10-62-22 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a hidden lamp finally lit inside a forbidden room, Aniruddha enters the kanyā-pura, and Ūṣā's face — the room's only mirror — lights up. The episode now begins to slide outside dharma's outer rules; the Bhāgavatam will let it run, because something larger is being arranged.

• śuśrūṣaṇa-arcitaḥ — worshiped with faithful service
  Compound: śuśrūṣaṇa (eager hearing/service) + arcitaḥ (worshiped). Two limbs of navadhā-bhakti compressed into one word. That the Bhāgavatam uses arcana-vocabulary for Ūṣā's care of Aniruddha indicates that love and worship are not separable categories; they reach for the same shape.
• srak-gandha-dhūpa-dīpa-āsana — garlands, fragrance, incense, lamps, seat
  Compound list: srak + gandha + dhūpa + dīpa + āsana. The exact substances of pañca-upacāra arcana. Gauḍīyas note: arcana's vocabulary keeps surfacing in Vraja-style love-stories because vraja-prema is the parā-bhakti that includes arcana's substance and exceeds its frame.
• gūḍhaḥ — kept hidden
  Past participle of √guh (to hide). The Lord-as-vyūha is gūḍha within Bāṇa's palace. Gauḍīyas hear the larger pattern: Kṛṣṇa hidden inside the gopīs' hearts (gopī-hṛdaya-gūḍha) is the topmost mystery. Hiddenness, in bhakti, intensifies presence.
• apahṛta-indriyaḥ — His senses diverted (by Ūṣā)
  Compound: apahṛta (carried away) + indriyaḥ (senses). The Lord's senses being 'carried away' by His devotee is the standard Vraja-pattern (Yaśodā binding, gopīs leading by the hand). Even Aniruddha submits to this pattern — Bhagavān's joy is to be conquered by love.
• pravṛddha-snehayā — by her ever-increasing affection
  Compound: pravṛddha (greatly increased) + sneha (affection). Sneha is one of the higher stages of prema-bhakti in Rūpa Gosvāmī's bhakti-rasāmṛta-sindhu (rati → prema → sneha → māna → praṇaya → rāga → anurāga → bhāva → mahābhāva). Even displaced, the vocabulary tracks the same ladder.

• Padaseva Pr SB 10-62-23 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a deity served with daily upacāra in a closed shrine, Aniruddha receives garments, garlands, fragrance, incense, lamps, seats, food, drink — the sixteen-fold pūjā translated into a love-room. Gauḍīyas notice: even when prema is mis-framed as private possession, the servings instinctively follow the arcana pattern.

• yadu-vīreṇa — by the hero of the Yadus
  Instrumental compound: yadu + vīreṇa (hero). The guards do not know His name; the poet names Him by His dynasty. The Vṛṣṇi-house is the public face by which the world will identify Bhagavān's vyūha when His private name is unknown.
• hata-vratām — whose (virgin) vow was broken
  Compound: hata (struck down) + vratām (vowed). The technical phrase for the breaking of kanyā-vrata. The Bhāgavatam does not euphemize — the rules of social dharma have been crossed, and the next chapters will reckon with that even as the larger līlā moves forward.
• ā-prītām — extremely happy
  Compound: ā (intensifier) + prītām (pleased). The same prīti-root that names the highest stage of Vaikuṇṭha-bhakti (prīti as the sthāyī-bhāva of dāsya-rasa). Used here for romantic happiness — the chapter keeps borrowing bhakti-vocabulary for its love-plot.
• kula-dūṣaṇam — the besmirching of the family
  Compound: kula (family) + dūṣaṇam (defilement). The phrase Arjuna uses in BG 1 when refusing to fight. Honor-language is the asura-realm's highest value; in Vraja, gopīs accept exactly this kula-dūṣaṇa for Kṛṣṇa's sake — the contrast is being set up.

• Padaseva Pr SB 10-62-25 Oriya
  His Grace Padaseva Prabhu· Oriya

Like rain that cannot stay inside one cloud forever, the secret breaks at the edges — the guards see what love cannot hide. The Bhāgavatam moves from inner room to public report; the war is being summoned from inside the heart's own joy.

• anapāyibhiḥ — who have never gone away
  Instrumental plural: an (not) + apāyin (gone away). The guards stress their faultlessness. The Bhāgavatam's lesson: human vigilance is real, but the Lord's reach is not bounded by it. Bāṇa's fortress contains everything except what matters.
• guptāyāḥ — of her who has been well guarded
  Genitive of guptā (past participle of √gup). The same root as gopī (the protected ones, also: the secret-keepers). The verse uses the protection-vocabulary that elsewhere names the Vraja-girls — the poet keeps building the asura-side rhyme.
• duṣprekṣyāyāḥ — impossible to be seen
  Genitive of duṣprekṣyā. The same word at verse 22 used of her chamber — now used of her person. The Bhāgavatam's poetic economy: words travel from setting to character, tightening the image.
• na vidmahe — we do not understand
  Verb: na (not) + vidmahe (we know, 1st pl middle). Honest admission of failure. Gauḍīyas note: the moment human guarding admits its limit is the moment the Lord's hand is named — every līlā has this admission-point.

• Padaseva Pr SB 10-62-27 Oriya
  His Grace Padaseva Prabhu· Oriya

Like watchmen who, despite never sleeping at their posts, still cannot explain how the king's apple has been eaten, the guards confess the impossible. The Lord's līlā enters where vigilance cannot reach — He arranges meetings inside locked rooms.

• pravyathitaḥ — very agitated
  Past participle of pra + √vyath. Beyond ordinary anger — Bāṇa is shaken to the foundation. Gauḍīyas note: pride that has had no rival for a lifetime collapses inward when it finally encounters its limit, and the body shows it first.
• yadu-udvaham — the most eminent of the Yadus
  Compound: yadu + udvaham (the one who carries forward, the standard-bearer). The narrator's name for Aniruddha — not Bāṇa's. The poet stamps the verse with His true identity before Bāṇa even sees Him.
• kanyakā-āgāram — the quarters of the unmarried girls
  Compound: kanyakā (maiden) + āgāram (chamber). The innermost private room. The Bhāgavatam's geography is precise — and now the most private space and the most public general (Bāṇa) collide. The chapter is at its narrative crux.
• adrākṣīt — he saw
  Aorist of √dṛś. The same verb that names darśana — the seeing of the Lord. The verb is doing the work the verse's grammar refuses to say outright: Bāṇa, for an instant, is granted darśana, even if he cannot read it as such.

• Padaseva Pr SB 10-62-28 Oriya
  His Grace Padaseva Prabhu· Oriya

Like a father bursting into his daughter's room only to find a thunderhead seated on her cushion, Bāṇa rushes in expecting to scold a girl and meets instead 'the pride of the Yadus.' Bhakti enters precisely where it is unwelcome; the Lord chooses the moment of His own discovery.

• kāma-ātmajam — the son of Cupid (Pradyumna)
  Compound: kāma (Cupid, also a name of Pradyumna) + ātmajam (son). Aniruddha is grandson of Kṛṣṇa, son of Pradyumna (Kāmadeva incarnate). Gauḍīyas read this lineage as the catur-vyūha embedded in Vraja-tinted family-language.
• bhuvana-eka-sundaram — the exclusive beauty of all the worlds
  Compound: bhuvana (worlds) + eka (sole) + sundaram (beautiful). The phrase reserved for Kṛṣṇa in countless ślokas. Used here of Aniruddha because the catur-vyūha shares it. The poet's vocabulary refuses to let the reader forget who this 'prince' really is.
• piśaṅga-ambaram — yellow-garmented
  Compound: piśaṅga (yellow) + ambaram (garment). The Kṛṣṇa-iconography in one stroke, paired with śyāmam in the same verse. Brahma-saṁhitā 5.30 fixes Kṛṣṇa as nava-jaladhara-śyāma in pītāmbara; Aniruddha wears the same uniform — the iconography is the doctrine.
• stana-kuṅkuma-srajam — the garland with kuṅkuma from her breasts
  Compound: stana (breast) + kuṅkuma (saffron-powder) + srajam (garland). The kuṅkuma-stained garland is a Vraja-poetry signature: love leaves its trace on the lover's body, which then becomes a public confession. The image is iconographic, not merely descriptive.
• madhu-mallikā — spring-jasmines
  Compound: madhu (springtime, also: honey) + mallikā (jasmine). The flower of madhura-rati. Gauḍīyas note: spring-jasmine, kuṅkuma, dice — the entire furniture of mādhurya-līlā has been transplanted into Bāṇa's daughter's room. The chapter wants the rasa-vocabulary clearly heard.
• vismitaḥ — amazed
  Past participle of vi + √smi. Vismaya is one of the eight sthāyī-bhāvas in Sanskrit dramaturgy, and adbhuta-rasa's anchor. Bāṇa is for an instant inside adbhuta-rasa — the precondition for any darśana, even the unwelcome kind.

• Padaseva Pr SB 10-62-29 Oriya
  His Grace Padaseva Prabhu· Oriya
• Revati Raman Pr SB 10-62-29 - 2013-02-27 ISKCON Tirupati
  His Grace Revati Raman Prabhu· 2013-02-27· Telugu

Like a connoisseur who, expecting to confront a thief, finds himself facing a deity instead — śyāma, lotus-eyed, pītāmbara, garlanded with kuṅkuma-smeared jasmines from His beloved's breast — Bāṇa is rooted in vismaya. The Bhāgavatam loves this moment: the asura's first unintentional darśana of Bhagavān.

• mādhavaḥ — Aniruddha (descendant of Madhu)
  Nominative of Mādhava — a name shared by Kṛṣṇa Himself. Mādhava means 'lord of Lakṣmī,' 'descendant of Madhu,' and 'related to springtime.' That this name appears here, in Aniruddha's combat-pose, confirms the vyūha identity once more.
• maurvam parigham — His club made of muru iron
  Compound: maurvam (made of muru iron) + parigham (iron bar). The parigha is a heavy mace. Aniruddha is armed for serious combat. Gauḍīyas note: bhakti has its kṣatriya register — the same Lord who flutes in Vraja wields the parigha in Śoṇitapura.
• anṭakaḥ — death personified
  Nominative of antaka (the ender; spelled anṭakaḥ in the source synonyms). Comparing Aniruddha to Yama in His combat-form. The Bhāgavatam keeps the Vaiṣṇava theology even in martial passages: the same Lord who is svayaṁ bhagavān is the ender of those who refuse Him.
• daṇḍa-dharaḥ — bearing the rod of punishment
  Compound: daṇḍa (rod) + dharaḥ (bearer). Yama's iconography. Gauḍīyas note: Bhagavān bears the venu (flute) for the surrendered and the daṇḍa for the offending; the same hand holds both. Bāṇa's guards meet the daṇḍa-hand of the Lord they have ignored.
• jighāṁsayā — ready to strike
  Instrumental of jighāṁsā (desiderative of √han). The mood-name for combat-readiness. The verse is precise about Aniruddha's intent — defensive, not aggressive: He waits for them to come.

• Padaseva Pr SB 10-62-31 Oriya
  His Grace Padaseva Prabhu· Oriya

Like Yama himself appearing at the door with his rod of punishment, Aniruddha rises with His iron club ready. Even the gentle catur-vyūha shows His daṇḍa-form when His beloved is threatened — the Lord's protection of His own is non-negotiable.

• śūkara-yūtha-paḥ — the leader of a pack of boars
  Compound: śūkara (boar) + yūtha (group) + paḥ (leader). A Varāha-allusion in metaphor — Aniruddha to the guards as the boar-leader to the dogs. The Bhāgavatam loves to slip its own avatāra-bestiary into similes for catur-vyūha combat — the doctrine is in the imagery.
• jighṛkṣayā — wanting to grab Him
  Instrumental of jighṛkṣā (desiderative of √grah). To want to grab Bhagavān, to want to capture His vyūha — the impulse will define Bāṇa's defeat. You cannot grasp the Ungraspable; the attempt itself is your destruction.
• nirbhinna-mūrdha-ūru-bhujāḥ — with broken heads, thighs, arms
  Compound: nir (out) + bhinna (broken) + mūrdha (head) + ūru (thigh) + bhuja (arm). The Bhāgavatam's anatomy of defeat. Gauḍīyas note: arms in particular — Bāṇa's whole pride was in his arms; the war that will follow strikes the head of that pride directly.
• pradudruvuḥ — they fled
  Aorist of pra + √dru. The same verb the demigods use in SB 8.10 when fleeing from the asuras. Here it is flipped: the asura's army flees from Bhagavān's vyūha. The Bhāgavatam's verb-choices keep the cosmic ledger straight.

Like the great boar in a forest, ringed by dogs, lowering his head and clearing the circle with one swing of his tusks, Aniruddha disperses Bāṇa's guards. The image is from the Bhāgavatam's own bestiary — the Lord is again identified, this time at the level of metaphor, with the Varāha-mood.

• nāga-pāśaiḥ — with the mystic nāga-noose
  Instrumental plural compound: nāga (serpent) + pāśaiḥ (with nooses). The classical asura-weapon against avatāras (used against Rāma by Indrajit). Gauḍīyas note: the nāga binds the Lord's vyūma only because the Lord consents to be bound, the way He consents to Yaśodā's rope.
• bali-nandanaḥ balī — the powerful son of Bali
  Compound phrase: bali (Bali Mahārāja) + nandanaḥ (son) + balī (powerful). The poet quietly puns: bali (the great Vaiṣṇava) and balī (strong) — Bāṇa has inherited his father's strength but not his father's surrender. Lineage of force without lineage of bhakti.
• śoka-viṣāda-vihvalā — overwhelmed by sorrow and discouragement
  Compound: śoka (sorrow) + viṣāda (despair) + vihvalā (overwhelmed). Viṣāda is the same word Arjuna's first chapter is named after (Arjuna-viṣāda-yoga). Gauḍīyas note: viṣāda before the Lord is the threshold of bhakti — Ūṣā's tears at this moment are the seed of the next chapter's deliverance.
• aśru-kalā-akṣī — with tears in her eyes
  Compound: aśru (tear) + kalā (a drop, also: an art) + akṣī (eyed). Tears in the Bhāgavatam are never neutral — they are the body's strongest evidence of bhāva. Even when the love is asura-side and immature, the tear shares form with the gopīs' tears for Kṛṣṇa.
• arautsīt — she cried
  Aorist of √rud. The verb of weeping. The chapter ends on her weeping, the way SB 10.39 ends on the gopīs weeping after Akrūra drives Kṛṣṇa away from Vraja. Vipralambha is the Bhāgavatam's preferred chapter-ending — it pulls the next chapter forward.

Like a great bird caught in a magician's silken net, Aniruddha is bound by the nāga-pāśa — and Ūṣā weeps. The chapter ends in tension on purpose: the Lord's vyūma is in fetters, His beloved in tears, and the only remedy is the arrival of Kṛṣṇa Himself. The setup for the Bāṇāsura-yuddha is complete.