tataḥ śvetebhyaḥ plavaṅgamebhyaḥ sagaraḥ paryavartata vārīmukhaḥ
“Then Sagar, whose face was like the ocean, turned towards the white and leaping horses.”
Structure
tataḥ śvetebhyaḥ plavaṅgamebhyaḥ sagaraḥ paryavartata vārīmukhaḥ
sagaraḥ (Sagara) vārīmukhaḥ (with mouth in water) tataḥ (then) śvetebhyaḥ (from white) plavaṅgamebhyaḥ (to jumping creatures) paryavartata (went around)
Word-by-Word Grammar
| Word | IAST | Type | Grammar | Meaning |
|---|---|---|---|---|
| tataḥ | tataḥ | indeclinable | — | then, thereafter |
| śvetebhyaḥ | śvetebhyaḥ | noun | dative/ablative · plural · masculine | from the white ones |
| plavaṅgamebhyaḥ | plavaṅgamebhyaḥ | noun | dative/ablative · plural · masculine | from the jumping ones (monkeys) |
| sagaraḥ | sagaraḥ | noun | nominative · singular · masculine | Sagara |
| paryavartata | paryavartata | verb | √vart · past · third | went around, encircled |
| vārīmukhaḥ | vārīmukhaḥ | noun | nominative · singular · masculine | with face towards the water |
Scholarly Commentary
Advaita Vedānta (Ādi Śaṅkarācārya): This verse from the Mahābhārata, 'tataḥ śvetebhyaḥ plavaṅgamebhyaḥ sagaraḥ paryavartata vārīmukhaḥ', presents an opportunity for a non-dual interpretation. Śaṅkarācārya, in his commentaries, often emphasizes the ultimate reality of Brahman and the illusory nature of the world. In this context, Sagar, whose face is like the ocean, turning towards the white and leaping horses, can be seen as a metaphor for the universal consciousness (Brahman) encompassing all phenomena, including the dynamic and ever-changing world symbolized by the horses. This interpretation aligns with Shankara's reasoning in similar passages where he discusses the identity of Brahman and Ātman, suggesting that all distinctions, including those between the self and the external world, are ultimately transcended in the realization of the absolute reality. Thus, this verse can be seen as pointing to the brahman-ātman identity, where the individual self recognizes its unity with the universal consciousness.
Vaiṣṇava tradition (Rāmānujācārya / Madhvācārya): In the Vaiṣṇava tradition, this verse can be interpreted through the lens of devotion and the relationship between the jīva (individual soul) and Īśvara (the Supreme Lord). Rāmānujācārya would likely view Sagar's action as a symbol of the Lord's grace turning towards the devotees, represented by the white and leaping horses, which signify purity and spiritual aspiration. The face of Sagar, akin to the ocean, suggests the depth and boundlessness of divine love. This interpretation is in line with Ramanuja's emphasis on the path of devotion (bhakti) as the means to attain liberation, where the jīva, in its journey towards Īśvara, experiences the Lord's mercy and grace. Madhvācārya, on the other hand, might emphasize the distinction between the Lord and the devotees, highlighting the role of Sagar as a mediator or a symbol of divine intervention in the lives of the devotees, underscoring the dependency of the jīva on Īśvara's will.
Neo-Vedānta (Swami Vivekānanda / S. Rādhākrishnan): This verse offers a universal message applicable to contemporary life. Swami Vivekānanda, in his lectures and writings, often emphasized the importance of realizing one's true potential and the universal principles that govern human existence. The image of Sagar turning towards the white and leaping horses can be seen as a call to individuals to recognize and harness their inner strengths and aspirations, symbolized by the horses. The ocean-like face of Sagar represents the infinite possibilities and depths of human consciousness. In line with Vivekānanda's teachings on the potential divinity of man, this verse can be interpreted as an encouragement to embrace one's higher self and strive for self-realization. Similarly, S. Radhakrishnan, in his philosophical writings, might view this verse as illustrating the dynamic interplay between the individual and the universal, highlighting the importance of self-awareness and the pursuit of one's true nature in achieving harmony and balance in life.