ICEF

Tale 39 · The Vāsiṣṭha Atlas

The False Indra

Nirvāṇa · first half · Mitra VI.1.107 (resolution VI.1.108.1–3) · 1,080 words

Offered heaven, he answered: my heaven is everywhere.

Bhūmikā 5 · Asaṃsakti (non-clinging)SomnambulisticYour ally · Grace Under Pressure

The essence

Months after his awakening, Śikhidhvaja wanders the mountains with Kumbha, friends by day and, through Kumbha's night-form Madanikā, husband and wife by night, while Cūḍālā slips back every third night to govern the kingdom. Then she resolves to test him: is his heart still drawn to beauty and pleasure? By her magic skill she makes Indra appear in the forest with his celestial nymphs. The god invites the prince to heaven, offers sandals, sword and ointment for the flight, and argues that the wise do not refuse what destiny offers. Śikhidhvaja worships him duly and declines: "I have my heaven every where." Pressed, he falls silent, then says only that he must not go now. The god and his retinue vanish like subsiding waves, and Cūḍālā withdraws the enchantment, glad. The test shows that realisation is measured not by rejecting pleasure but by needing nothing from it, even when the offer is believed to be real.

What it teaches

  1. 01

    Steadiness is verified, not assumed: Cūḍālā tests the realisation she herself helped bring about before she trusts it (VI.1.107.15–16).

  2. 02

    Non-clinging is not rejection: the prince worships Indra "as he deserved" and declines courteously, without contempt for what is offered (VI.1.107.18, 107.26–28).

  3. 03

    Contentment that does not depend on place cannot be bribed with a better place: "I have my heaven every where" (VI.1.107.26).

  4. 04

    A perception can be fully believed and still have no power over the perceiver: Śikhidhvaja takes the god as real and remains "unmoved even by the persuasion of that God" (VI.1.107.18–31; 108.2).

  5. 05

    Against a clever argument for indulgence, silence can be the complete answer (VI.1.107.29–30).

The Vāsiṣṭha Atlas

This tale’s coordinates

The wound and its virtue

Cūḍālā's test targets the defended-pleasure pole of Denial, whether the prince's heart is still drawn “toward beauty and pleasurable objects” (VI.1.107.16), and the tempter even turns the teaching into bait (VI.1.107.29). Śikhidhvaja embodies Ease: he worships Indra duly, holds the offer without grasping or fighting it, and declines from fullness, “I have my heaven every where” (VI.1.107.26).

What it trains

His soul is “desirous of nothing from its fulness in itself” (VI.1.107.27), so attention rests without being captured by the lure and without any effortful refusal, which is flexible control without suppression.

In other yogas

  • Patañjali · Yoga Sūtra · YS

    A sūtra of the third pāda warns that invitations from celestial beings should arouse neither attachment nor pride, since the undesired could return. The scene stages that sūtra, with Indra himself offering sandals, sword and ointment for the flight.

  • Bhagavad Gītā · BG 2.55; 9.21

    The Gītā calls steady in wisdom the one who lets go of all desires of the mind and is content in the self by the self. The prince's reply is that verse in his own words, and the Gītā's reminder that heaven ends when merit is spent (BG 9.21) explains his calm before the offer.

  • Vijñāna Bhairava Tantra · VBT

    One dhāraṇā of the Vijñāna Bhairava asks the practitioner to contemplate the whole world as a magic show (indrajāla), and bliss arises. The false Indra is literally Cūḍālā's conjuring, and the prince's courtesy towards it is that contemplation lived.

IEAF: Integrative Emotional Alchemy Framework (Gallardo, Frontiers in Psychology, 2026). FP20: the Fundamental Peace Scale. ITM: the Integrative Transformation Model. Parallels in other yogas are contemplative correspondences, not claims of influence.

The tale

At sunrise the queen of Śikhidhvaja puts off the form of Madanikā and stands again before her companion as the brahmin boy Kumbha, in the cavern of Mount Mandara where the two live as a wedded pair by night. Since his awakening the prince has lived with this double companion: by day they are two loving friends, by night husband and wife, never apart. They roam the forests among trees heavy with fruit and flowers, the arbours of tamāla and mandāra, the skirts of Dardura, Kailāsa, Mahendra, Malaya, Gandhamādana, the Vindhyas and Lokāloka. They spend a month in a jewelled grotto of Mahendra under the sarala trees, loved by the forest deities and the Kinnaras; a fortnight on Śuktimat, eating fruit within reach of their hands; two months on the southern ridge of winged Maināka among pārijāta trees; a month in the valley of the Jambu river below the Himālaya; ten days in the northern Kuru country and twenty-seven north of Kosala. Every third day or night, when the prince is fast asleep, Cūḍālā resumes her own form, flies to the palace, settles the affairs of state and returns before he notices.

Many months pass in this way. Then a thought arises in Cūḍālā's mind: "I will make a trial of the heart of my partner, and see whether it is liable to have any attraction toward beauty and pleasurable objects." By her magic skill she shows him the god Indra, sporting in that forest with a train of celestial nymphs.

Śikhidhvaja comes forward, worships the god as is fitting, and asks why the lord of the gods has come down from his distant heaven. Indra answers that the prince's virtues have drawn them, as a kite is drawn down by the string fastened to it. "Now rise from here, and proceed with us to heaven," he says; the nymphs are waiting eagerly to see the man whose virtues they have heard of. He holds out the means of a siddha's flight: sandals to wear, a sword to hold, an ointment of pills to anoint the body. In heaven every delight awaits the living liberated; no holy man neglects good fortune when it is offered; let nothing stand in the way of his ascent.

The prince replies: "I know O lord of gods, the delights that there abound in heaven; but I have my heaven every where, and there is no particular place which I deem as heaven." He is content everywhere and pleased with every place; his soul, full in itself, desires nothing. If heaven means remaining forever in one place and one state, he asks pardon and declines.

Indra presses once more: those who know the knowable are indeed indifferent to the pleasures of sense, but it is not wise to reject an enjoyment that destiny graciously allots. The prince does not answer. The god says that if he is resolved to stay, Indra must leave him and return to heaven. Śikhidhvaja says only: "I must not go there now", and Mitra notes that he leaves open some future occasion. The god bids farewell to Kumbha, who had invoked him by her spell, and disappears; his whole train of gods vanishes with him, as the surges of the sea subside with their foam, their whales and their fish when the gale that raised them drops.

The princess then withdraws the enchantment by which she had made Indra appear, and is glad to find that her husband has subdued his desire for enjoyment. He had stayed tranquil, fearless and indifferent in the god's presence, unmoved by his persuasion. Satisfied on desire, she resolves on a second trial, of anger and jealousy, which follows that same night. Later, when she urges him to return to his kingdom and its pleasures, the king will remember the episode in his own words and ask why, then, he had slighted "the heavenly happiness, which was proffered to me by god Indra".

The text speaks

Passages from Mitra’s translation (1891–99), cited by book, chapter and verse.

“I will make a trial of the heart of my partner, and see whether it is liable to have any attraction toward beauty and pleasurable objects.”
VI.1.107.16The test is announced as a test, with its precise target: attraction to pleasure.
“Thinking so, Chúdálá showed by her magic skill the god Indra, sporting in the company of celestial nymphs in that forest.”
VI.1.107.17An induced, shared, multisensory appearance in a waking man.
“I know O lord of gods, the delights that there abound in heaven; but I have my heaven every where, and there is no particular place which I deem as heaven.”
VI.1.107.26The answer of non-clinging: the good is not located anywhere.
“I am content every where, and am pleased with every place; and my soul being desirous of nothing from its fulness in itself, I am fully satisfied every where.”
VI.1.107.27Contentment grounded in fullness, not in refusal.
“it is however not the part of the wise to reject an enjoyment, which offers itself unto him by the gracious allotment of his destiny.”
VI.1.107.29The tempter uses the teaching itself as the bait.
“The princess retracted the enchantment by which she had presented the God Indra before the prince; and was glad to find, that he had subdued (lit.--put to blush) his desire of enjoyment.”
VI.1.108.1The appearance is withdrawn at will once the test is read.

What the trance sees

HAL

Positive or negative hallucination

VI.1.107.17–32; VI.1.108.1

In the textCūḍālā "showed by her magic skill the god Indra" with nymphs and a train of gods; Indra speaks, offers objects, argues, and vanishes with his retinue "as the huge surges of the sea, subside"; afterwards she "retracted the enchantment".

In the clinicA fully interactive positive visual and auditory hallucination in an eyes-open subject, the kind of item that only highly responsive subjects pass on the Stanford Hypnotic Susceptibility Scale, Form C (Weitzenhoffer & Hilgard 1962), followed by explicit cancellation of the suggestion.

TEST

Trance testing / ratification

VI.1.107.15–16; VI.1.108.1–3

In the text"there arose a thought in the mind of Chúdálá, to make a trial of her associate"; she reads the result (he "remained with perfect tranquillity and equanimity of his mind") and plans a further trial of anger.

In the clinicTesting the work before termination: exposure to the strongest relevant cue under controlled conditions to verify a therapeutic gain, analogous to Ericksonian ratification (Erickson, Rossi & Rossi 1976), here applied to equanimity rather than to trance itself.

Read upward — stage 1 at the bottom, stage 7 at the top

  3. Integration zone
    Post-trance integration — sustained non-reactivity carried into behaviour; what was seen in depth becomes how one lives.

A note on what this map claims. The alignment between stages of knowledge and trance depths is a clinical map — a heuristic correspondence proposed for research, not a claim of identity between contemplative attainment and hypnotic depth.

Bhūmikā 5 · Asaṃsakti

The prince's reply is asaṃsakti in its own words: "my soul being desirous of nothing from its fulness in itself, I am fully satisfied every where" (VI.1.107.27). He still perceives the god as real and worships him (107.18), so the melting of objects (6) is not shown.

Zone · Somnambulistic

The phenomenon at the centre is an interactive, eyes-open hallucination with dialogue and objects, withdrawn at will (VI.1.108.1), which in hypnotic terms belongs to somnambulistic depth; the subject meanwhile shows waking equanimity.

In Mitra’s words

In Calcutta in the 1890s, the translator chose the vocabulary of hypnotism to name these states. More →

  • magic skillThinking so, Chúdálá showed by her magic skill the god Indra, sporting in the company of celestial nymphs in that forest.VI.1.107.17
  • spellUpon this the God made farewell to Kumbha (who had invoked him down by his spell, and disappeared from the spot).VI.1.107.31
  • enchantmentThe princess retracted the enchantment by which she had presented the God Indra before the prince; and was glad to find, that he had subdued (lit.--put to blush) his desire of enjoyment.VI.1.108.1

In the therapy room

Indications

  • Consolidation and termination phases: rehearsing the most tempting cue (substances, spending, status, seduction) to verify that a gain holds.
  • Clients whose calm depends on a 'better place' fantasy (the next job, country or relationship as heaven).
  • Practitioners and leaders exposed to flattery and seductive offers that use their own values as the bait.
  • Equanimity training for those who confuse non-attachment with harsh refusal.

Cautions

  • A test sprung without consent feels like entrapment; in clinical use the trial is agreed, announced and graded.
  • Vivid hallucination work is contraindicated with psychosis and severe dissociative disorders.
  • The marital setting (Cūḍālā's concealed double life and the tests she sets her husband) belongs to the narrative and should not be offered as a relational model.
From the bookThe full clinical note

Indications. The consolidation and termination phases, where a gain should be tested against the strongest relevant cue before the work ends: substances, spending, status, seduction. Clients whose calm depends on a "better place" fantasy, the next job, country or partner as heaven. Leaders and practitioners exposed to flattery that uses their own values as bait (107.29). Equanimity training for those who confuse non-attachment with harsh refusal; the prince worships the god and declines him in the same breath.

How to use it. As rehearsal in imagery: the client invites the temptation, hears its best argument, and practises the three responses the text models, courteous decline, silence, "not now". Rate the residual pull before and after.

Cautions. A test sprung without consent feels like entrapment; agree it in advance and grade it. Vivid hallucination work is contraindicated with psychosis and severe dissociative disorders, and should not be attempted where reality-testing is fragile. The marital setting, Cūḍālā's concealed double life and the tests she sets her husband, belongs to the narrative and should not be offered as a model for a relationship.

The practice

Heaven Offered

  1. Settle the breath and recall a period of genuine calm you have already reached.
  2. Imagine walking a mountain forest with a trusted companion, at ease, with nowhere to get to.
  3. Let your strongest temptation appear as a radiant visitor with attendants (status, pleasure, rescue) and hear its best argument, including "it would be unwise to refuse what destiny brings".
  4. Notice the pull in the body without acting on it, and greet the visitor courteously.
  5. Answer from contentment: "My heaven is everywhere." If pressed, stay silent and breathe.
  6. Watch the visitor and its retinue subside like waves into the sea.
  7. Note what stayed steady and what moved, and rate the remaining pull from 0 to 10.
  8. Count up from one to five, feel the feet on the ground, open the eyes and return fully alert.

Practise with a qualified professional if you have a history of dissociation, trauma or psychosis.

From the book · to be read aloudThe full guided script

Heaven Offered

Read slowly, aloud; about twelve minutes. Agree with yourself, before you start, which temptation you will invite.

Before you begin. This practice uses vivid imagery. Do not use it if you have a history of psychosis, dissociative disorder, or active addiction without clinical support; practise it then only with a clinician. Do not practise while driving or operating anything. Sit upright.

How to return at any moment. Open your eyes, press your feet into the floor, and name five things you can see. Nothing in the practice requires you to stay.

Sit, and let the breath slow. Recall a time of real calm that you have already reached. Let its texture come back.

Now you are walking in a mountain forest with a companion you trust. There is nowhere to get to. Fruit hangs within reach. You are at ease.

Breathe out.

And now, ahead, a radiance. Your strongest temptation comes towards you as a shining visitor, with attendants. Let it be as attractive as it truly is. Let it speak. Hear its best argument, even this one: it would be unwise to refuse what destiny brings.

Notice the pull in the body. Where is it? Do not act on it. Simply notice.

Greet the visitor courteously. You may honour it. Then answer, from contentment, not from rule: My heaven is everywhere.

If it presses, say nothing. Breathe. Let the silence be the whole answer. If you need words, let them be only these: not now.

Watch the visitor and its retinue subside, like waves settling when the wind drops, foam and fish and all, until the sea is flat.

Notice what stayed steady and what moved. Give the remaining pull a number from zero to ten.

Now the forest fades, and the room returns. One: the breath deepens. Two: feel the feet on the floor and the hands in the lap. Three: hear the sounds around you. Four: a full breath in, stretch. Five: eyes open, alert, steady.

Say your name, the day and the place. Name three things you can see. If any image lingers, say aloud, "That was imagery, and it is over," and look around the room again.

Meta Pets World · Your ally · Meta Pet 22

Śikhidhvaja and the heaven he politely declined

Grace Under Pressure card
22Grace Under PressureGrace flows through me under all pressure.

The test Cūḍālā conjures is a lure towards Dishonor: a god who uses the prince's own virtues as bait and argues that refusing destiny's gift is unwise. Śikhidhvaja answers with Graciousness, worshipping Indra duly and declining with courtesy, and the Grace beneath it is a contentment no better place can buy.

  1. Shadow · what you avoidDishonor

    Dishonor is the pressure to betray one's own fullness for a heaven elsewhere, pressed with flattery and the clever argument that “it is however not the part of the wise to reject an enjoyment, which offers itself unto him by the gracious allotment of his destiny” (VI.1.107.29).

  2. Gift · what is hidden in itGraciousness

    Graciousness is the prince's reply: he worships the god as is fitting and says, “I know O lord of gods, the delights that there abound in heaven; but I have my heaven every where” (VI.1.107.26).

  3. Essence · what you embodyGrace

    Grace is the fullness that needs nothing, “my soul being desirous of nothing from its fulness in itself, I am fully satisfied every where” (VI.1.107.27); the god and his train subside like waves, and Cūḍālā withdraws the enchantment, glad (VI.1.108.1).

Here is Grace Under Pressure, and a king offered heaven, nymphs and flying sandals, who bows politely and says no, thank you. Your heaven travels with you. Try saying so kindly today.

— Felicia
Today’s contemplation

When the most tempting offer arrives wearing your own virtues as bait, what lives under the grace that can bow, decline and stay content?

To close the night

Tonight, write one honest sentence about an offer, a status or a pleasure for which you might trade your integrity, if it came dressed well enough.

The Ally Journey · about 15 minutes

Light trance, eyes open if you prefer. For the full, deeper script, see “The practice” above and its cautions.

  1. Threshold: three slow breaths, and recall for a moment a period of genuine calm you have already known. Let that calm sit beside you.
  2. The tale in one line: Cūḍālā tests her awakened husband by conjuring Indra, who invites him to heaven; the prince honours the god and declines, “I have my heaven every where” (VI.1.107.26).
  3. Meet the card: look at the art of Grace Under Pressure and notice its stillness. Read the affirmation aloud: “Grace flows through me under all pressure.”
  4. Shadow: what tempted you this week to give up a little of your self-respect, flattery, a shortcut, a ‘better place’? Recall the moment, and notice where the pull sits in your body.
  5. Gift: picture that temptation as a radiant visitor. Greet it courteously, thank it, and answer from contentment: “My heaven is everywhere.” If it insists, simply breathe and say nothing.
  6. Essence: rest for three breaths in Grace, as the visitor subsides like a wave into the sea. On each out-breath say: “Grace flows through me under all pressure.”
  7. Return: rate any remaining pull from 0 to 10, feel your feet on the ground, open your eyes fully and look around. Write tonight's honest sentence.
Open the card in Meta Pets World Alchemical Journey in the app Begin a 30-day Bond The card on this siteVisit Sedna All sixty-four allies →

The 30-day Bond

Grace lives under pressure: today, under the offer you declined, what was already enough?

The Sister · Sedna

Inuit · Iqaluit, Nunavut · Sedna, Sedna

Visit Sedna, the Inuit angakkuq and throat-singer of Iqaluit, whose song keeps its rhythm in the hardest cold, and let her chant, ‘Sedna, Sedna’, steady you as the prince's quiet answer steadied him.

Guided Meditation

#22 · Grace Under Pressure

Voice & guidance: Prof. Luis Miguel GallardoWatch on YouTube (ES also available)
For facilitatorsA session with “The False Indra” and Grace Under Pressure

Aim. To verify and consolidate a hard-won calm by meeting, with consent, the cue most likely to undo it, and to practise declining without contempt.

ITM 4 Essence Embodiment. The tale tests an Essence already reached rather than seeking a new one, the moment when equanimity proves itself under a believable offer (VI.1.107.18–31; 108.1).

The session (60–75 min)

  1. Arrival and Umbral: three breaths; review the gain the client has made and agree openly that today will test it gently (8 min).
  2. Telling the tale: the four-minute version, the wandering couple, the conjured Indra, the offer and the courteous refusal; point to the tale page for the full text (5 min).
  3. The card: show Grace Under Pressure, read Shadow → Gift → Essence and the affirmation; ask where the client confuses non-attachment with harsh refusal (7 min).
  4. Shadow inquiry: identify the client's strongest temptation and its best argument, especially any that uses their own values as bait; rate its pull from 0 to 10 (12 min).
  5. Trance practice: “Heaven Offered”, the full guided script on the tale page, at light to medium depth only, never the vivid somnambulistic imagery of the tale; the temptation is agreed and graded beforehand (18 min).
  6. Gift and Essence integration: compare the before and after ratings, rehearse one courteous sentence of refusal for real life, and note what stayed steady (12 min).
  7. Closing and Bond: count up, feet on the ground, full re-alerting; set the 30-day Bond (8 min).

Integration questions

  • What stayed steady when the visitor made its best argument, and what moved?
  • How did it feel to decline with courtesy rather than with contempt?
  • Where in your week is your heaven already present, without needing a better place?

In a circle

In a circle of 8–20, after the tale, invite each person to write privately their own ‘Indra’, the offer that most tempts them away from what they value, and its best argument. Guide “Heaven Offered” at light depth for the whole group, with eyes open or lowered and the temptation chosen by each person in advance. In pairs, one partner reads the other's ‘offer’ aloud warmly and the other practises a courteous refusal, then they swap. Close by going round the circle with the single sentence, “My heaven is everywhere,” and the affirmation.

Cautions

  • A test sprung without consent feels like entrapment; in practice the trial is agreed, announced and graded.
  • Vivid hallucination work is contraindicated with psychosis and severe dissociative disorders.
  • Cūḍālā's concealed double life and the tests she sets her husband belong to the narrative and are not a relational model.

Training and certification in the Meta Pets Method: metapetsworld.org/facilitators ↗

The correspondence between tales and Meta Pets is contemplative: the Yoga Vāsiṣṭha does not contain the Meta Pets; each tale enacts its ally’s arc. Felicia is an artificial-intelligence companion; her words are contemplative reflections, not clinical advice.

The song

From the cycle The Sixty-Four Tales

My Heaven Is Everywhere

Yo vai bhūmā tat sukham, nālpe sukham asti

Title: My Heaven Is Everywhere Título: Mi cielo está en todas partes

Figure: Śikhidhvaja, awake, before the god Indra whom Cūḍālā shows him in the forest

Where in the text: Book VI (first half, Nirvāṇa-prakaraṇa), Mitra chapter 107 (resolution 108.1–3)

Hypnotic phenomenon the song enacts: HAL and TEST: the god is sung as wholly real, lush and golden, with a choir of nymphs and the bright gear of flight, and the prince takes him as real and worships him; the test is whether the low voice moves, and it answers from fullness, then with a full bar of silence, until the enchantment subsides like a sea when the gale drops.

Mantra: Yo vai bhūmā tat sukham, nālpe sukham asti (यो वै भूमा तत्सुखं नाल्पे सुखमस्ति) Source: Chāndogya Upaniṣad 7.23.1 (Sanatkumāra to Nārada). Meaning: "The boundless is joy; there is no joy in the small." Indra offers a heaven, which is a place; the prince's heaven is "every where" (107.26), and he declines it from fullness, not from refusal.

Lyrics (English)

Performance: Cūḍālā (alto) narrates verse 1 and the outro. Indra (bright tenor, full orchestra, choir of nymphs) sings verses 2 and 3. The prince (low baritone, unhurried) sings the first chorus. After Indra's last argument the band stops dead for one full bar. The second chorus is the chorus melody played with no voice, the prince's silence, and he speaks one line at its end.

Verse 1 — Cūḍālā Friends by day and wed by night, we roamed the mountains months on end, a jewelled grotto, fruit on Śuktimat. Then a thought rose: I will try his heart. By my skill I showed him Indra at play among the nymphs of heaven, and he came forward, and worshipped the god.

Verse 2 — Indra Your virtues drew us down from the sky the way a string draws down a kite; the nymphs of heaven long to see you. Wear these sandals, hold this sword, anoint your body, and rise as the siddhas rise. Come up with us.

Chorus — the prince I know the delights that are there in heaven, but I have my heaven everywhere. I am content in every place; wanting nothing, I am full. Pardon me, lord. I decline.

Verse 3 — Indra, sweeter Holy one, I know the wise care nothing for the senses' pleasures; but the wise do not refuse a joy that destiny lays in their hands. (one full bar of silence) If you will not leave, then I must leave you.

Chorus — the band alone; the prince is silent, then speaks (the chorus melody, no voice) I must not go there now.

Bridge — mantra, low voice and choir together yo vai bhūmā tat sukham nālpe sukham asti yo vai bhūmā tat sukham nālpe sukham asti (The boundless is joy; there is no joy in the small)

Outro — Cūḍālā The god bade me farewell, the boy who had called him, and was gone, his gods with him, as the high surges sink with their foam, their whales and their fishes, when the gale drops. I drew back my spell, and I was glad. We walked on, two friends in the morning, eating the fruit we could reach with our hands.

Letra (castellano cantable)

Interpretación: Cūḍālā (alto) narra el verso 1 y el final. Indra (tenor brillante, orquesta completa, coro de ninfas) canta los versos 2 y 3. El príncipe (barítono grave, sin prisa) canta el primer estribillo. Tras el último argumento de Indra la banda se detiene en seco un compás entero. El segundo estribillo es la melodía sin voz, el silencio del príncipe, que al final dice una sola frase.

Verso 1 — Cūḍālā Amigos de día y casados de noche, recorrimos los montes meses enteros, una gruta de joyas, fruta en el Śuktimat. Entonces pensé: probaré su corazón. Con mi arte le mostré a Indra jugando entre las ninfas del cielo, y él se adelantó y adoró al dios.

Verso 2 — Indra Tus virtudes nos han bajado del cielo como el hilo hace bajar la cometa; las ninfas del cielo ansían verte. Cálzate estas sandalias, toma esta espada, úngete el cuerpo, y sube como suben los siddhas. Ven con nosotros.

Estribillo — el príncipe Conozco las delicias que hay en el cielo, pero mi cielo está en todas partes. Estoy contento en cualquier lugar; sin desear nada, estoy lleno. Perdóname, señor. Declino.

Verso 3 — Indra, más dulce Santo, ya sé que los sabios no se cuidan de los placeres de los sentidos; pero el sabio no rechaza la dicha que el destino le pone en las manos. (un compás entero de silencio) Si no quieres irte, he de dejarte yo.

Estribillo — solo la banda; el príncipe calla, y luego habla (la melodía del estribillo, sin voz) Ahora no debo ir allí.

Puente — mantra, voz grave y coro juntos yo vai bhūmā tat sukham nālpe sukham asti yo vai bhūmā tat sukham nālpe sukham asti (Lo inmenso es la dicha; en lo pequeño no hay dicha)

Final — Cūḍālā El dios se despidió de mí, el muchacho que lo llamó, y se fue, y sus dioses con él, como se hunden las olas altas con su espuma, sus ballenas y sus peces, cuando cae el viento. Retiré mi hechizo, y me alegré. Seguimos andando, dos amigos en la mañana, comiendo la fruta que alcanzaban nuestras manos.

One line to carry

EN: Offered heaven, he said: my heaven is everywhere. ES: Le ofrecieron el cielo y dijo: mi cielo está en todas partes.

Libreto note

The test after the healing. Months after his awakening, the prince roams the mountains with the friend who is also his wife, and Cūḍālā decides to try his heart: by her skill she shows him Indra among the nymphs, offering sandals, sword and ointment for the flight to heaven. He does not see through it. He worships the god as real, and declines: I have my heaven everywhere. The steadiness is not in detecting the illusion but in needing nothing from it. The music gives the god everything: harp, choir, gold; the answer comes low and slow, then as one bar of silence. The gods subside like a sea after the gale, and two friends walk on, eating fruit.

Source check

Source check (Mitra, Book VI first half)

  1. "Two loving friends" by day and "a wedded couple" by night; a month "in a gemming grotto of the Mahendra"; a fortnight on Suktimat feasting "upon the fruits which they could reach with their hands" — ch. 107, vv. 4, 8–10.
  2. "I will make a trial of the heart of my partner"; "Chúdálá showed by her magic skill the god Indra, sporting in the company of celestial nymphs in that forest"; Śikhidhvaja "advanced before him and worshipped him, as he deserved" — ch. 107, vv. 16–18.
  3. Indra: drawn down "as the flying kites of the air are drawn on earth, by the string"; the nymphs "in eager expectation of seeing thee"; "Wear these sandals and hold the sword, and anoint thy body with the ointment … in the manner of siddhas" — ch. 107, vv. 20–22.
  4. The prince: "I know O lord of gods, the delights that there abound in heaven; but I have my heaven every where"; "I am content every where … my soul being desirous of nothing from its fulness in itself"; "pardon me for I decline"; Indra's "not the part of the wise to reject an enjoyment, which offers itself … by the gracious allotment of his destiny"; "the prince remained silent"; "I must not go there now" — ch. 107, vv. 26–31.
  5. The god bids farewell to Kumbha "who had invoked him down by his spell"; his train vanishes "as the huge surges of the sea, subside in the deep together with their foaming froths, and the shoals of whales and fishes … after a lull of the gales" — ch. 107, vv. 31–32; she "retracted the enchantment … and was glad" — ch. 108, v. 1.

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Source: Vihari-Lala Mitra, The Yoga-Vasishtha Maharamayana of Valmiki (1891–99), public domain.

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