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Bhagavai 3:1:38 top, like that of lion's rapid, swift and celestial; and there they reached Mauryaputra Tāmalī in the city of Tāmralipti in Bhāratavarsa. Having reached there, they stationed themselves in the sky just above the unenlightened hermit Tāmali and display their divine celestial fortune, divine celestial splendour, divine celestial power and thirty-two of celestial danceforms. Having displayed them, they circumambulated the hermit Tāmali thrice, starting from the right side. Circumambulating thus, they offered homage and obeisance. Having offered homage and obeisance, they addressed him thus: O beloved of gods! we, Asurakumāra gods and goddeses, the inhabitants of the capital city Balicañcā, offer you homage and obeisance, greet you and honour you; for us, you are well-wisher, benevolent, divine and delightsome for us. So we offer our adoration. O beloved of gods! the capital city Balicañcā is without Indra and without Purohita. O beloved of gods, we are under the control of Indra, we are controlled by Indra, all our activities are control by Indra, so O beloved of gods, be kind enough to have discriminative consideration for the capital city Balicañ cā, have keenness in it, take interest in it, have keen desire, make the resolve to stay there. Departing from here in due course, please take birth in the capital city Balicañcā, and be our Indra; you will then enjoy celestial pleasures with us.
Bhāsya 1. Sthitiprakalpa
To resolve to stay (i.e., to take reincarnation) at Balicañcā.' 2. Swift ....... celestial
There are nine adjectives that qualify the speed of gods. The Vrtti has given merely their etymological senses. The ancient tradition which gives exact explanation of these adjectives is not available. 3. Sapakkhim sapadidisim
Stationing themselves in the sky just above Tāmalī; when a person or thing is situated exactly above or below another person or thing, such situation is called sapaksa or sapratidik. The nasal element in sapakkhim is according to the Prakrit idiom.' In the Thānam we find these two words frequently used. 4. Thirty-two dance-forms
See Rayapasenaijja, 65-118 for the thirty-two dance-forms. 5. Adhaha .... thitipakappam pakareha
By these six expressions, the successive stages of resolve have been indicated.
The first stage of resolve is respect. In the absence of the feeling of respect, the resolve is not fulfilled.
The second stage is discriminating view of the object of resolve, in the absence of which the success is not achieved.
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