Vishnupurana 1.5.7.n2

1.5.7.n2

This account is given in several other Puráńas: in the Kúrma with more simplicity; in the Padma, Linga, and Váyu with more detail. The Bhágavata, as usual, amplifies still more copiously, and mixes up much absurdity with the account. Thus the person of Sandhyá, 'evening twilight,' is thus described: "She appeared with eyes rolling with passion, whilst her lotus-like feet sounded with tinkling ornaments: a muslin vest depended from her waist, secured by a golden zone: her breasts were protuberant, and close together; her nose was elegant; her tongue beautiful; her face was bright with smiles, and she modestly concealed it with the skirts of her robe; whilst the dark curls clustered round her brow." The Asuras address her, and win her to become their bride. To the four forms of our text, the same work adds, Tandrí, 'sloth;' Jrimbhiká, 'yawning;' Nidrá, 'sleep;' Unmáda, 'insanity;' Antarddhána, 'disappearance;' Pratibimba, 'reflexion;' which become the property of Pisáchas, Kinnaras, Bhútas, Gandherbas, Vidyádharas, Sádhyas, Pitris, and Menus. The notions of night, day, twilight, and moonlight being derived from Brahmá, seem to have originated with the Vedas. Thus the commentator on the Bhágavata observes, 'That which was his body, and was left, was darkness: this is the Śruti.' All the authorities place night before day, and the Asuras or Titans before the gods, in the order of appearance; as did Hesiod and other ancient theogonists.