Shloka 26

विनायकोत्पत्तिः / ताण्डव-प्रसङ्गः (दारुक-वधः, काली-उत्पत्तिः, क्षेत्रपालोत्पत्तिः)

Devanagari script

पीत्वा नृत्यामृतं शंभोर् आकण्ठं परमेश्वरी ननर्त सा च योगिन्यः प्रेतस्थाने यथासुखम्

Transliteration

pītvā nṛtyāmṛtaṃ śaṃbhor ākaṇṭhaṃ parameśvarī nanarta sā ca yoginyaḥ pretasthāne yathāsukham

Translation

لمّا شربتْ إلى الحلق رحيقَ رقصةِ شَمبهو، رقصتِ الإلهةُ العُظمى؛ ورقصتْ اليوغينياتُ أيضًا على سَجِيّتِهنّ في أرضِ الحرق، مأوى الأرواح.

Word by Word

• पीत्वा: having drunk

• नृत्य-अमृतम्: the nectar of dance (dance-bliss)

• शंभोः: of Śambhu (Śiva)

• आकण्ठम्: up to the throat/neck-deep

• परमेश्वरी: the Supreme Lady (Pārvatī/Śakti)

• ननर्त: danced

• सा: she

• च: and

• योगिन्यः: yoginīs (Śakti’s mystic attendants)

• प्रेत-स्थाने: in the place of spirits/the cremation-ground

• यथा-सुखम्: as they pleased/at ease

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva (Shambhu)
• Parvati (Parameshvari)
• Yoginis

FAQs

What is the importance of this verse in the context of Linga worship?

It frames Shiva’s sacred dance as “nectar” (amṛta) that Shakti imbibes—signifying that true Linga-worship is not only outer ritual but inner rasa (bliss) where the devotee (paśu) tastes Pati’s presence beyond fear, death, and impurity.

How does this verse describe the nature of Shiva (Shiva-tattva)?

Shiva-tattva appears as ānanda and transformative power: His dance becomes amṛta, a liberating current that dissolves pasha (bondage). The cremation-ground setting highlights Shiva as the Lord who transcends time, death, and all limiting conditions.

What ritualistic or Yogic practice is highlighted here?

It points to Pāśupata-style inner sādhanā: meditating on Shiva’s dance (tāṇḍava) and abiding in fearless detachment like the cremation-ground yogins—turning places of terror into grounds of liberation through Shiva-Shakti awareness.