account for Shiva being represented with five heads, as Pansh Mukhti Shiva. Countless eyes arise on every part of Indra's body likewise on the same occasion.[216] In fact, every organ must be looked upon as the expression of a universal manifestation of the will, _i.e._ of one made once for all, of a fixed longing, of an act of volition proceeding, not from the individual, but from the species. Every animal form is a longing of the will to live which is roused by circumstances; for instance, the will is seized with a longing to live on trees, to hang on their branches, to devour their leaves, without contention with other animals and without ever touching the ground: this longing presents itself throughout endless time in the form (or Platonic Idea) of the sloth. It can hardly walk at all, being only adapted for climbing; helpless on the ground, it is agile on trees and looks itself like a moss-clad bough in order to escape the notice of its pursuers. But now let us consider the matter from a somewhat more methodical and less poetical point of view. [214] Burdach, "Physiologie," vol. 2, § 474. [215] Bopp, "Ardschuna's Reise zu Indra's Himmel, nebst anderen Episoden des Mahabharata" (Ardshuna's Journey to Indra's Heaven together with other episodes from the Mahabharata), 1824. [216] The Matsya Parana attributes a similar origin to Brahma's four countenances. It relates that, having fallen in love with his daughter Satarupa, and gazed fixedly at her, she stepped aside to avoid his eye; he being ashamed, would not follow her movement; whereupon a new face arose on him directed towards the side where she was and, on her once more moving, the same thing occurred, and was repeated, until at last he had four faces. ("Asiatic Researches," vol. 6, p. 473.) [Add. to 3rd ed.]