Shloka 133

Adhyaya 71: पुरत्रयवृत्तान्तः—ब्रह्मवरदानम्, मयकृतत्रिपुर-निर्माणम्, विष्णुमाया-धर्मविघ्नः, शिवस्तुति, त्रिपुरदाहोपक्रमः

Devanagari script

ससृजुः पुष्पवर्षाणि जगुर्गन्धर्वकिन्नराः नृत्यामृतं तदा पीत्वा पार्वतीपरमेश्वरौ अवापतुस् तदा तृप्तिं नन्दिना च गणेश्वराः

Transliteration

sasṛjuḥ puṣpavarṣāṇi jagurgandharvakinnarāḥ nṛtyāmṛtaṃ tadā pītvā pārvatīparameśvarau avāpatus tadā tṛptiṃ nandinā ca gaṇeśvarāḥ

Translation

ثم انهمرت زخّاتٌ من الأزهار، وأنشد الغندرفا والكنّارا تراتيلهم. وبعد أن شربا رحيق ذلك الرقص الإلهي، نالت بارفتي وباراميشڤارا (شيفا) رضاً عميقاً؛ وكذلك نال نندي وجموع سادة الغَنا الرضا والامتلاء.

Word by Word

• ससृजुः: they released/let fall

• पुष्पवर्षाणि: showers of flowers

• जगुः: they sang

• गन्धर्वकिन्नराः: Gandharvas and Kinnaras (celestial musicians)

• नृत्यामृतम्: the nectar/ambrosia of dance

• तदा: then

• पीत्वा: having drunk (imbibed)

• पार्वतीपरमेश्वरौ: Pārvatī and Parameśvara (Śiva)

• अवापतुः: attained/obtained

• तदा: then

• तृप्तिम्: satisfaction, fullness, contentment

• नन्दिना: with Nandin

• च: and

• गणेश्वराः: the lords of the gaṇas (Śiva’s attendants)

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva (Parameshvara)
• Parvati
• Nandin
• Gandharvas
• Kinnaras
• Ganas (Ganesvaras)

FAQs

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

The flower-shower and celestial song mirror the core upacāras of liṅga-pūjā—puṣpa-arcana and stuti—showing that devotion to Pati (Śiva) naturally evokes auspicious signs and inner tṛpti (spiritual fullness).

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

Śiva appears as Parameśvara whose ānanda (bliss) radiates through sacred nṛtya; by His presence the entire gaṇa-mandala shares contentment, reflecting Shiva-tattva as the source of anugraha (grace) that loosens pāśa (bondage) for the pashu (soul).

What ritualistic or Yogic practice is highlighted here?

It highlights bhakti expressed through stotra-gāna, puṣpārcana, and contemplative absorption in Śiva’s nṛtya-ānanda—an inner practice akin to Pāśupata orientation where the pashu turns toward Pati and tastes ‘nṛtyāmṛta’ as meditative bliss.