Book 3 C12

Chapter 12 – Creation of Rudra, the mind-born Sons and of Manu and Śatarūpā

Maitreya said:

1. Oh Vidura, the greatness of the Kāla-form of the Supreme Lord is thus described to you. Now know from me how, Vedagarbha (god Brahmā) proceeded with the creation.

2. To begin with, Brahmā, the first creator evolved the five varieties of ignorance viz., Tamas (ignorance about one’s own self), Moha (self-identification with the body etc.), Mahāmoha (the craving for enjoyment), Tāmisra (anger) and Andhatāmisra (looking upon death as one’s own end).

Special Note –

The Five Varieties of Ignorance (Pañca Kleśas or Pañca Parvas)

The five varieties of ignorance are deeply significant in various schools of thought, particularly in Sāṃkhya and Yoga philosophies, where they are often referred to as Kleśas (क्लेश – afflictions) or Pañca Parvas (पञ्च पर्व – five knots/stages of darkness). They are considered the root causes of suffering and the cycle of rebirth (saṃsāra – संसार).

1. Tamas (तमस्) (Ignorance about one’s own self)

Meaning: This is the most fundamental form of ignorance. It represents a deep-seated lack of awareness or understanding of one’s true nature.
Impact: Instead of recognizing oneself as the pure, eternal Ātman (आत्मन् – Soul or Self), one identifies with temporary and fleeting aspects like the physical body, mind, emotions, or social roles. This leads to a constant search for happiness outside oneself, in material possessions or external validations, which are ultimately unsatisfying. It’s the primary veil that obscures self-realization.

2. Moha (मोह) (Self-identification with the body etc.)

Meaning: While related to Tamas, Moha is more specific. It’s the strong, mistaken belief that “I am this body,” “I am this mind,” “I am these feelings,” or “I am this intellect.” It extends to identifying with one’s possessions, family, and social status.
Impact: This identification leads to attachment. When the body experiences pleasure, one feels “I am happy.” When it experiences pain, “I am suffering.” This false identification fuels ego and creates a sense of possessiveness and territoriality. It’s the root of much of our personal suffering and conflict.

3. Mahāmoha (महामोह) (The craving for enjoyment)

Meaning: Often translated as “great delusion” or “intense infatuation,” Mahāmoha is the powerful desire and craving for sense objects and worldly pleasures. It’s the relentless pursuit of gratification through the senses – delicious food, beautiful sights, pleasing sounds, comfortable sensations, and sexual indulgence.
Impact: This craving is insatiable. Even when desires are fulfilled, new ones arise, leading to a perpetual state of restlessness and dissatisfaction. It binds the individual to the material world, making it difficult to turn inwards towards spiritual pursuits. It’s the fuel for endless striving and accumulation.

4. Tāmisra (तामिस्र) (Anger)

Meaning: Tāmisra refers to anger, hatred, or aversion. It arises when desires are obstructed, or when one perceives a threat to their ego, possessions, or loved ones. It’s the emotional reaction to perceived loss or deprivation.
Impact: Anger clouds judgment, leads to irrational actions, and harms relationships. It creates mental turmoil and inner unrest, preventing peace of mind. From a spiritual perspective, it is a significant obstacle to developing compassion and equanimity.

5. Andhatāmisra (अन्धतामिस्र) (Looking upon death as one’s own end)

Meaning: This is often translated as “blind darkness” or “utter darkness.” It signifies the deep-seated fear of death and the mistaken belief that death is the absolute annihilation of oneself. It’s the horror of non-existence.
Impact: This fear can lead to intense anxiety, clinging to life at all costs, and an inability to accept the impermanence of existence. It prevents one from realizing the eternal nature of the soul (Ātman) and binds them to the cycle of birth and death (saṃsāra) through repeated efforts to preserve the perishable.

The Significance

The concept of these five types of ignorance emerging from Brahmā’s creation highlights a fundamental philosophical point: the material world, as experienced by individual souls, is inherently characterized by a veil of ignorance. This ignorance is not a personal failing in the sense of a moral defect but rather an inherent condition of existence within the cosmic play.

The goal of many spiritual practices (like Yoga, Vedānta, etc.) is to transcend these five forms of ignorance and realize the true, enlightened nature of the Self, thereby breaking free from the cycle of suffering and attaining liberation (mokṣa – मोक्ष). Understanding these forms of ignorance is the first step towards recognizing the obstacles on the path to self-realization.

3. Seeing the sinful creation, Brahmā did not think highly of himself. With his mind purified by meditation on the Lord, he brought forth another creation.

4. The self-born god (Brahmā) then created the sages Sanaka, Sananda, Sanātana and Sanatkumāra who were not interested in actions (for dharma, artha or kāma) and lived in perpetual celibacy.

5. The self-born god spoke to them, “Oh sons, procreate children”. But they, being absolutely devoted to Vāsudeva and followers of the path of liberation, were not so inclined (to create).

6. He was thus disobeyed by his sons who refused to comply with his order. He tried to control his unbearable rage aroused (due to this defiance).

7. Though he tried to control the rage by his mental power, the rage was immediately born as a son of dark-blue complexion from the middle of the brows of Brahmā.

8. The illustrious god Bhava (Rudra) who was born before (other) gods verily cried out, “Oh creator, the father of the world, give me names and fix (some) places for me”.

9. The lotus-born god (Brahmā), with a view to granting his request, spoke with sweet words, “Please do not cry, I shall give it to you.

10. Oh great god, as you cried like an excited child, people will call you by the name ‘Rudra (meaning, One who weeps)’.

11. Your places have been already arranged by me as follows: The mind, the sense-organs, the vital breath, the Sky, the Wind, the Fire, the Water, the Earth, the Sun, the Moon and the penance.

12. (The following are your names): Manyu, Manu, Mahinasa, Mahān, Śiva, Ṛtuḍhvaja, Ugraretas, Bhava, Kāla, Vāmadeva and Dhṛtavrata.

13. Oh Rudra, you will have the following wives, namely: Dhī, Vṛtti, Uśanā, Umā, Niyutsarpi, Ilā, Ambikā, Irāvatī, Sudhā, Dīkṣā, Rudrāṇī.

14. As you are a Prajāpati accept these names, places along with these wives, and procreate abundant progeny.”

15. Being thus ordered by his father, Lord Nīlalohita (Rudra) brought forth children who were like him in prowess, form (complexion) and nature.

16. Seeing the innumerable hordes of Rudras created by (the original) Rudra, devouring the world on all sides, god Brahmā got afraid.

17. (He said to Rudra): “Oh great god, enough of the creation of all such beings who with their terrible eyes are burning all the directions along with me.

18. Perform penance which is conducive to the happiness of all beings. May you be blessed. It is by penance that you (Your honour) will create again this universe as it was before.

19. It is only by (performance of) penance that a person can easily attain to the Lord Adhokṣaja, the Supreme light, dwelling in the hearts of all beings.”

Maitreya said:

20. Being thus ordered by the self-born god (Brahmā), (Rudra) circumambulated from left to right the Lord of Speech (Brahmā). Complying with his request, he bade goodbye to him and entered the forest for penance.

21. Then while he was musing over the problem of creation and became possessed of the power of the Lord (for creation), ten sons who became the progenitors of the population of the world, were born to him.

22. (They were): Marīci, Atri, Aṅgiras, Pulastya, Pulaha, Kratu, Bhṛgu, Vasiṣṭha, Dakṣa and the tenth (son) was Nārada.

23-24. Nārada was born from Brahmā’s lap; Dakṣa from his thumb; Vasiṣṭha from his vital breath, Bhṛgu from the skin and Kratu from his hand; Pulaha was born from his navel, the sage Pulastya from his ears, Aṅgiras from his mouth, Atri from his eyes, and Marīci, was created from (Brahmā’s) mind.

25. Dharma was born from his right chest wherein abides Nārāyaṇa himself. From his back (was born) Adharma which begets the Death, a terror to the world.

26. Desire (Kāma) was born in his heart; Anger (krodha) from his brow; Avarice (Lobha) from his lower lip; Speech was born from (his) mouth; the rivers from his penis and Nirṛti, the shelter of all sins, from his anus.

27. (The powerful sage) Kardama, the husband of Devahūti, was born from his shadow; this (whole) world was created from the mind and the body of the creator of the universe.

28. Oh Vidura, it is reported to us that the self-born god became passionate and desired his own beautiful daughter, the goddess of Speech who, though herself above passions, captivated his mind.

29. His sons, the sages, of whom Marīci was the foremost, saw that their father had set his heart on unrighteousness. Out of familiar confidence, they pleaded with (awakened) him.

30. “That you do not control your passion despite your capacity to do so, and that you are bent on approaching your daughter, has never been done by the ancestors nor will it be done by others after you in future.

31. Oh father of the world, this is not glorifying (creditable) even to the possessors of divine lustre (power). By following this (course of conduct) the people shall never attain any good.”

32. (Finding Brahmā bent on the heinous act the sages prayed to God) “We bow to the glorious Lord who manifested this world that was within him. He alone is capable of protecting righteousness.”

33. Then the father of the Prajāpatis, seeing his sons, the Prajāpatis speaking this in his presence, became ashamed and gave up his body.

34. The cardinal points (4 directions) accepted that terrible body. The wise people know it as mist or darkness. While he was meditating on how he should create the well-planned worlds as before, the Vedas came out from the four mouths of the creator.

35. The duties of the four sacrificial priests (hotā, adhvaryu, udgātā, brahmā) along with the upavedas and the disciplines of Logic etc., the extensive course of sacrificial sessions, the four legs of Dharma and the duties of the four Āśramas were also produced thence.”

Special Note :

Duties of Four Sacrificial Priests: The specific roles and responsibilities of the four main priests in Vedic sacrifices (hotā, adhvaryu, udgātā, and brahmā).
In Vedic rituals, four chief priests are essential for a successful sacrifice, each with a specialized role connected to a specific Veda. Their roles are as follows:

Hotā (or Hotṛ): Associated with the Ṛgveda, the Hotā’s primary duty is to recite invocations, hymns, and litanies. The Hotā’s recitations are meant to invite and praise the deities, establishing a connection between the human world and the divine.
Adhvaryu: Associated with the Yajurveda, the Adhvaryu is the master of the physical ritual. This priest’s duties include all the practical and manual aspects of the sacrifice, such as measuring the sacrificial ground, building the altar, preparing the offerings, and pouring the oblations into the fire. The Adhvaryu recites the prose formulas and chants (Yajus) that accompany each physical action.
Udgātā (or Udgātṛ): Associated with the Sāmaveda, the Udgātā’s role is to chant hymns and melodies (sāmans). The melodic recitations create a harmonious and spiritually charged atmosphere, invoking the gods and elevating the consciousness of the participants.
Brahmā: The superintendent of the entire performance. The Brahmā is expected to be knowledgeable in all three Vedas and acts as an overseer to ensure the ritual is performed correctly. If any mistakes or flaws occur, the Brahmā is responsible for correcting them through supplementary verses, often from the Atharvaveda, to negate any negative consequences and ensure the successful completion of the sacrifice.

Upavedas: The secondary or applied Vedas, which include texts on medicine (Ayurveda), archery (Dhanurveda), music (Gandharvaveda), and statecraft (Sthāpatyaveda).

Ayurveda (Medicine) Associated with the Ṛgveda, Ayurveda is the ancient science of life and longevity. It is a holistic system that deals with health, disease, and well-being through herbal medicine, diet, and lifestyle practices. The primary goal of Ayurveda is to achieve a balance of the body’s three fundamental energies, or doṣas (Vata, Pitta, and Kapha).
Dhanurveda (Archery and Warfare) Linked to the Yajurveda, Dhanurveda is the science of warfare and Archery. It covers the techniques of using various weapons, particularly the bow and arrow, as well as military strategy and discipline. This Upaveda was essential for the training of warriors and kings, emphasizing both the physical and mental fortitude required for combat.
Gandharvaveda (Music and Dance) Connected to the Sāmaveda, the Gandharvaveda is the science of music, dance, and the performing arts. Since the Sāmaveda itself is a collection of melodic hymns, the Gandharvaveda elaborates on the theoretical and practical aspects of music, rhythm, and aesthetics. This knowledge was used for spiritual elevation and cultural expression.
Sthāpatyaveda (Architecture) Often associated with the Atharvaveda, Sthāpatyaveda (also known as Śilpaśāstra or Vāstuśāstra) is the science of architecture, engineering, and sculpture. It provides guidelines for designing and constructing buildings, temples, and towns in harmony with natural laws and cosmic principles, to create spaces that are both aesthetically pleasing and spiritually beneficial.

Logic and Other Disciplines: Foundational intellectual disciplines like logic (Nyaya), Vyakarana: The science of Sanskrit grammar, Jyotisha: The study of astronomy and astrology, and other branches of learning.
Sacrificial Sessions: The extensive procedures and rules for conducting various sacrificial rituals (Yajnas).
Four Legs of Dharma: The four pillars of righteousness, often considered to be tapas (austerity), śauca (purity), dayā (compassion), and satya (truth).
Duties of Four Āśramas: The prescribed duties for the four stages of life: brahmacharya (student), gṛhastha (householder), vānaprastha (forest dweller), and sannyāsa (renunciate).

Vidura said:

36. “Oh sage (lit. one who regards penance as his wealth) you told that the Lord of the progenitors of the world produced Vedas etc. from his mouths. Please tell me by what particular (organ) he produced the specific things.”

Maitreya said:

37. “From his mouths facing the east (the west etc.), he produced the Vedas—Ṛg, Yajus, Sāman and Atharvan and Śastra (simple recitation of mantras in praise of gods entrusted to ṛtvij), ijyā (oblations, worship etc. to be done by adhvaryu), stutistoma (singing of the mantras in praise of gods, the duty of udgātā) and Prāyaścitta (expiatory rites in case of some lapses in sacrifices to be performed by brahmā).

38. Again through the same faces, and in the same serial order, he produced Āyurveda (the science of medicine), Dhanurveda (science of Warfare), Gandharva Veda (the science of Music) and Sthāpatya Veda (the science of Architecture, Sculpture etc.).

39. The Omniscient Lord produced the fifth Veda, viz. Itihāsa and Purāṇas from all his mouths.

40. From his mouth facing the east (came forth the sacrificial acts viz.) Ṣoḍaṣī and Uktha (and serially from other mouths) Purīṣī and Agniṣṭut, Āptoryāma and Aiirātra, Vājapeya, along with Gosava.

Special Note :

From the East-facing mouth: Ṣoḍaṣī and Uktha. These are two important forms of the Soma sacrifice.
Uktha – a soma ritual with specific Sāma verses, typically involving three days of chanting.
Ṣoḍaṣī – a soma-yajña involving 16 stotras (hymns) in its Sāman chanting pattern; regarded as highly purifying.
Purīṣī — another type of soma-sacrifice, associated with particular Sāma-veda chants.
Agniṣṭut — a rite glorifying Agni (fire), the carrier of offerings.
Āptoryāma and Agnirātra. The Āptoryāma is a one-day Soma sacrifice, and the Agnirātra is a ritual that involves a full night of ceremonies.
Vājapeya and Gosava. The Vājapeya is a significant royal sacrifice performed by a king or high-ranking individual to gain power and authority. The Gosava is a ritual associated with prosperity and cattle.

41. He created the four feet of Dharma viz. Vidyā (knowledge and purity), dāna (donations), tapas (penance) and satya (Truth). He also produced the (four) āśramas (stages in life) along with their types of duties.

42. (Brahmacarya āśrama)—celibate stage—the 1st stage in life—is of four types viz.) Sāvitra (observance of celibacy and study of Sāvitrī for three nights from the upanayana (threadbearing) ceremony), Prajāpatya (observance of celibacy for one year), brāhma (observance of celibacy till the completion of the study of Vedas) and bṛhat (celibacy throughout life). (The 2nd stage in life) The gṛhastha āśrama—the married stage—is of four kinds according to the way of maintenance of family: Vārtā (earning livelihood by agriculture and such other non-prohibited vocations), Sañcaya (maintenance of money earned by performing sacrifices), Śālīna (to live on whatever one gets without requesting or begging), Śiloñccha—(maintenance by gleaning grains, grain-gathering).

43. In (the third stage of life called) the vānaprastha āśrama, (there are four categories viz.) Vaikhānasas (who live upon food-grains which grow naturally without agricultural efforts), Vālakhilyas (who subsist on fresh food, giving away hoarded food), Audumbaras (who eat fruits etc. gathered from the direction to which they happen to look at first in the morning) and Phenapa (who live on fruits, leaves etc. automatically dropped from trees). In (the last stage of life) the Saṃnyāsa āśrama, (the four kinds are:) Kuṭīcaka (who chiefly abide by all the duties prescribed for the āśrama), Bahvoda (who perform the most essential duties of this āśrama but emphasize on the path of knowledge), Haṃsa (who concentrate on knowledge), Niṣkriya (who have realized the Soul).

44. (So also were serially produced) the science of the knowledge of Soul and non-Soul, the three Vedas, the science of agriculture and the science of politics (leading to the attainment of Mokṣa, dharma, kāma and artha) and also the vyāhṛtis (mystic words following Om or praṇava) viz. bhūḥ, bhuvaḥ, suvaḥ and bhūr-bhuvaḥ-suvaḥ (or mahas). From his heart came forth Om.

45-46. (The Vedic metres) Uṣṇik, Gāyatrī, Triṣṭubh, Anuṣṭubh and Jagatī, Paṅkti and Bṛhatī were produced respectively from the hair, skin, flesh, muscles and bones, marrow and prāṇa or vital airs of the all-pervading Prajāpati (Brahmā). His life (jīva) is said to consist of the occlusives or the consonants of five classes (e.g. velar, palatal etc.) from k to m, and his body, of vowels (a, i, u etc.).

Special Note :
1. Vedic Metres and the Cosmic Body

The Vedas are composed in different metres (chandas) like Gāyatrī, Triṣṭubh, Anuṣṭubh, etc.
Here, each metre is said to arise from a part of Prajāpati’s cosmic body:

Uṣṇik → from his hair
Gāyatrī → from his skin
Triṣṭubh → from his flesh
Anuṣṭubh → from his muscles
Jagatī → from his bones
Paṅkti → from his marrow
Bṛhatī → from his prāṇa (vital airs, breath)

Meaning: Just as the body has structure and rhythm, the Vedas too are structured through metres. They are not arbitrary; they are woven into the very fabric of creation. Prajāpati’s cosmic body is both the source of physical existence and of the sacred rhythm of the Veda.

2. His Life (jīva) and Speech Sounds

His life (jīva) = the consonants of the five classes (velar, palatal, retroflex, dental, labial → from k to m).
His body = the vowels (a, i, u, etc.).

Meaning:
The building blocks of language (vowels and consonants) are the essence of Prajāpati’s being. The vowels are like the structural framework (his body), while the consonants are like the living force (his life-breath, jīva). Together, they form speech, mantra, and the Veda.

This shows that creation and language are inseparably linked. The same divine energy that produced the cosmos also produced sound, metre, and speech, which later manifested as the Vedas.
The human body, cosmic body, and Vedic sound are seen as parallel reflections of one another.
Just as breath sustains life, prāṇa sustains metre, sound, and ritual.

47. The sibilants (ūṣma varṇas like ś, ṣ, s) are called the sense organs of the Soul, i.e. Brahmā, and the semi-vowels (y, r, l, v) his strength. And the gamut of music (viz. Ṣaḍja, Ṛṣabha, Gandhāra, Madhyama, Pañcama, Dhaivata and Niṣāda) are created out of the sport of Prajāpati.

Special Note :
1. Sibilants as the Sense Organs

The sibilants (called ūṣma varṇas in Sanskrit: ś, ṣ, s) are described as the sense organs of Brahmā’s Soul (Ātman).

Why?

The sibilants are airy, hissing sounds produced with strong breath-flow. They represent contact with externality (like the senses do).
Just as the senses allow us to interact with the world, the sibilant sounds are the outward, perceptive expressions of language.
Thus, they are likened to the indriyas (senses) of Prajāpati.

2. Semi-Vowels as Strength

The semi-vowels (y, r, l, v) are called Prajāpati’s strength (bala).

Why?

Semi-vowels are soft, flowing, and connect vowels with consonants. They are the “supporting framework” of speech.
Without them, articulation is weak or broken. They give flexibility and power to phonetics, hence symbolized as strength or vigor in the cosmic body.

3. Musical Notes as His Play

The seven notes of Indian music (svara-s):
Ṣaḍja (Sa), Ṛṣabha (Re), Gandhāra (Ga), Madhyama (Ma), Pañcama (Pa), Dhaivata (Dha), Niṣāda (Ni)
are said to have arisen from the sport (līlā) of Prajāpati.

Meaning: These seven notes are the foundation of melody, just as the seven metres are the foundation of Vedic hymns. Once speech and metre arose, sound naturally flowered into music—not mechanical, but as a divine play.

Just as the cosmos itself is not a burden but a līlā (cosmic play), music is the joyful overflow of Prajāpati’s being.

48. Brahmā whose body is śabda-brahman is of both manifest (as vaikharī) and unmanifest (as Omkāra) forms. As unmanifest the Supreme Spirit clearly appears to him as the highest omnipresent Brahman. As a manifest form, it appears as Indra and other forms possessing different powers.

49-52. Then assuming another (body), he set his mind on creation (of the world). Finding the limited creation (of progeny) even by sages possessing great power, he again began to ponder, Oh Kaurava (Vidura).

“Oh! It is really strange that although I am all the while engaged in creating (the world) the beings do not multiply. In this, the Fate must be obstructing.”

Thus while Brahmā was doing his duties properly and thinking over the Providence, his body was split into two and it was called Kāya. And from the bifurcated forms of the body was produced a pair of a male and a female.

53. There the male part was the emperor Svāyambhuva Manu and that the female part was called Śatarūpā and was the queen of the great person.

54. Indeed, the subjects (created beings) began to multiply in their relationship as husband and wife. He brought forth five children from Śatarūpā.

55. Oh Vidura, (They were) Priyavrata, Uttānapāda and three daughters, Ākūti, Devahūti and Prasūti.

56. He gave Ākūti (in marriage) to Ruci, the middle- daughter (Devahūti) to Kardama and Prasūti to Dakṣa. From these the world was filled (with population).

Thus ends the twelveth discourse entitled “Creation of Rudra, the mind-born Sons and of Manu and Śatarūpā”, in Book Three of the great and glorious Bhāgavata Purāṇa, otherwise known as the Paramahaṁsa-Saṁhitā (the book of the God-realized Souls).

Summarization Of The Entire Chapter :

In the tender and instructive words of Maitreya, the sage began to illuminate to Vidura the sublime process of creation as orchestrated by the Supreme Lord through the mind-born Brahmā. First, the grandeur of Kāla, the all-pervading Time-form of Bhagavān, was revealed. From this eternal Time, Brahmā, the self-born creator, emerged and initiated creation. Yet even as he began, the five forms of ignorance—Tamas, Moha, Mahāmoha, Tāmisra, and Andhatāmisra—manifested, veiling the universe in illusion and binding the jīvas to the cycles of birth, death, and suffering. Maitreya explained that these forms of ignorance are not mere faults but cosmic conditions that set the stage for souls to exercise free will and, ultimately, to awaken in love for the Supreme.

With his mind purified by meditation upon Bhagavān, Brahmā sought to create progeny who could carry forward the work of the universe. He produced the four eternal sages—Sanaka, Sananda, Sanātana, and Sanatkumāra—who, absorbed in devotion and renunciation, declined to procreate, remaining fixed in the bliss of liberation. This defiance stirred Brahmā’s anger, and from it emerged the mighty Rudra, dark-hued and full of divine potency. Rudra, desiring his cosmic role, was graciously assigned names, abodes, and consorts by Brahmā himself, who instructed him to channel his fierce energy in ways conducive to the welfare of all beings. Through Rudra, progeny and divine energies multiplied, filling the universe with beings and sustaining the cosmic order.

The chapter beautifully unfolds the births of the mind-born sons of Brahmā, the Prajāpatis, who became the forefathers of all living beings. From various parts of Brahmā’s body, arose Marīci, Atri, Aṅgiras, Pulastya, Pulaha, Kratu, Bhṛgu, Vasiṣṭha, Dakṣa, and Nārada—the sages destined to guide humanity through dharma, knowledge, and devotion. Alongside them, abstract principles such as Dharma, Adharma, Kāma, and the forces of creation and destruction emerged from Brahmā’s own body, illustrating the intimate connection between the divine, the cosmic order, and the lives of souls. This reveals the tender love of Bhagavān, who orchestrates even the forces of desire and discipline for the spiritual upliftment of all beings.

Yet, the story also portrays Brahmā’s own human-like vulnerabilities. Smitten by desire for his daughter, the goddess of Speech, he almost strayed from dharma. Witnessing this, the sages—embodiments of wisdom—interceded with loving admonition, reminding their father of righteousness and the eternal path. Ashamed, Brahmā relinquished his flawed impulses, and the Vedas flowed forth from his four mouths, along with the sciences of life, governance, music, and architecture. This episode exemplifies the transcendence of divine love over ego and desire, showing that even the creator of worlds turns in devotion to the Supreme to restore cosmic harmony.

From Brahmā’s own body arose the intricate design of dharma, the four āśramas, the duties of the priests, and the manifold disciplines—Vedas, Upavedas, rites, and sacrificial acts—establishing the framework for spiritual life in the universe. Every aspect of creation, from the Vedic metres to musical notes, from the vowels and consonants to the sibilants and semi-vowels, is suffused with the līlā (playful love) of the Supreme. Brahmā’s body, speech, and mind become the very instruments through which the cosmos dances in harmony, revealing that all sound, wisdom, and rhythm are divine manifestations, emanating from the loving energy of Bhagavān.

Finally, the chapter concludes with the creation of Svāyambhuva Manu and his consort Śatarūpā, whose progeny populated the earth, establishing the human race. Through their children and the marriages of their daughters, the world became replete with life. Maitreya emphasizes that all of this, from Rudra’s fierce progeny to the orderly spread of humanity, unfolds by the grace and loving orchestration of Bhagavān, who permeates the universe with His presence. The chapter thus leaves the reader with a sense of awe, devotion, and love, illustrating that creation is not a mechanical act but a divine, loving play of the Supreme, where every being, every sound, and every duty is a reflection of His boundless prema.

Short Questions & Answers :

Q1. Who first explained the greatness of the Kāla-form of the Supreme Lord to Vidura?
A1. Maitreya, the great sage, explained to Vidura the greatness of Kāla, the all-pervading Time-form of Bhagavān.

Q2. What were the first manifestations created by Brahmā in the process of creation?
A2. Brahmā first evolved the five varieties of ignorance: Tamas (ignorance of the self), Moha (self-identification), Mahāmoha (craving for enjoyment), Tāmisra (anger), and Andhatāmisra (fear of death).

Q3. Why are these five varieties of ignorance significant?
A3. They are the root causes of suffering and bind souls to the cycle of birth and death (saṃsāra). They also set the stage for spiritual awakening, leading devotees towards realizing the Supreme.

Q4. Who were the four sages created by Brahmā, and what was their inclination?
A4. Brahmā created Sanaka, Sananda, Sanātana, and Sanatkumāra. They were uninterested in worldly duties (dharma, artha, kāma) and lived in perpetual celibacy, devoted entirely to Bhagavān and liberation.

Q5. What was Brahmā’s reaction when his sons refused to procreate?
A5. Brahmā was filled with unbearable rage, which manifested as Rudra, the dark-blue deity, born from Brahmā’s brow.

Q6. How did Brahmā assign names and abodes to Rudra?
A6. With compassion, Brahmā gave Rudra the names Manyu, Manu, Mahinasa, Mahān, Śiva, Ṛtuḍhvaja, Ugraretas, Bhava, Kāla, Vāmadeva, and Dhṛtavrata, along with abodes such as the mind, sense organs, vital airs, Sky, Wind, Fire, Water, Earth, Sun, Moon, and penance, and also appointed his wives.

Q7. What happened after Rudra created numerous progeny?
A7. Brahmā became afraid of Rudra’s fierce progeny devouring the world. He advised Rudra to perform penance, which alone can bring universal welfare and connect one to the Supreme Lord, Adhokṣaja.

Q8. Who were the ten mind-born sons of Rudra that became progenitors of the world?
A8. Marīci, Atri, Aṅgiras, Pulastya, Pulaha, Kratu, Bhṛgu, Vasiṣṭha, Dakṣa, and Nārada.

Q9. How were these sons born from Brahmā’s body?
A9. Nārada from Brahmā’s lap; Dakṣa from his thumb; Vasiṣṭha from vital breath; Bhṛgu from skin; Kratu from hand; Pulaha from navel; Pulastya from ears; Aṅgiras from mouth; Atri from eyes; Marīci from mind.

Q10. From which parts of Brahmā’s body did abstract principles and energies emerge?
A10. Dharma from the right chest, Adharma from the back, Kāma from the heart, Krodha (anger) from the brow, Lobha (avarice) from the lower lip, Speech from the mouth, Rivers from the penis, Nirṛti (shelter of sins) from the anus, and Kardama from Brahmā’s shadow.

Q11. What intervention did the sages take when Brahmā desired his daughter, the goddess of Speech?
A11. The sages admonished their father lovingly, reminding him that such passion was unrighteous and would never bring good to the world. Brahmā became ashamed and gave up his flawed impulses.

Q12. What emerged from Brahmā’s four mouths following this episode?
A12. The Vedas (Ṛg, Yajur, Sāma, Atharvan), the duties of the four sacrificial priests (hotā, adhvaryu, udgātā, brahmā), the Upavedas (Ayurveda, Dhanurveda, Gandharva Veda, Sthāpatyaveda), and the disciplines of logic, sacrificial sessions, and dharma.

Q13. What were the four āśramas and their subdivisions?
A13.

Brahmacarya (celibate stage): Sāvitra, Prajāpatya, Brāhma, Bṛhat.
Gṛhastha (householder): Vārtā, Sañcaya, Śālīna, Śiloñccha.
Vānaprastha (forest dweller): Vaikhānasas, Vālakhilyas, Audumbaras, Phenapa.
Saṃnyāsa (renunciate): Kuṭīcaka, Bahvoda, Haṃsa, Niṣkriya.

Q14. How were Vedic metres, sounds, and musical notes created?
A14. Uṣṇik from hair, Gāyatrī from skin, Triṣṭubh from flesh, Anuṣṭubh from muscles, Jagatī from bones, Paṅkti from marrow, Bṛhatī from prāṇa; consonants (k–m) from jīva, vowels (a, i, u) from body; sibilants as sense organs, semi-vowels as strength, and the seven musical notes arose from the playful līlā of Prajāpati.

Q15. Who were Svāyambhuva Manu and Śatarūpā, and what role did they play?
A15. From the bifurcated body of Brahmā, the male part became Svāyambhuva Manu and the female Śatarūpā. They married and bore five children (Priyavrata, Uttānapāda, Ākūti, Devahūti, Prasūti), who populated the world and continued the line of humanity.

Q16. How did Ākūti, Devahūti, and Prasūti contribute to the creation of the world?
A16. Ākūti was married to Ruci, Devahūti to Kardama, and Prasūti to Dakṣa; through them, the world was filled with population, sustaining the cosmic order.