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Shloka 17

शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)

मृदङ्गमुरजैर्जुष्टं वीणावेणुनिनादितम् नृत्यद्भिर् अप्सरःसंघैर् भूतसंघैश् च संवृतम् देवेन्द्रभवनाकारैर् भवनैर् दृष्टिमोहनैः

mṛdaṅgamurajairjuṣṭaṃ vīṇāveṇunināditam nṛtyadbhir apsaraḥsaṃghair bhūtasaṃghaiś ca saṃvṛtam devendrabhavanākārair bhavanair dṛṣṭimohanaiḥ

وكان مفعمًا بإيقاعات طبول المِردنغا والمُراجا، يرنّ بأصوات الفينا والناي؛ تحيط به جماعات الأبسارات الراقصات وحشود البهوتا، وتزيّنه قصور فاتنة على هيئة قصور إندرا السماوية.

मृदङ्ग-मुरजैःwith mṛdaṅga and muraja drums
मृदङ्ग-मुरजैः:
जुष्टम्frequented/filled (with)
जुष्टम्:
वीणा-वेणु-निनादितम्resounding with vīṇā and flute
वीणा-वेणु-निनादितम्:
नृत्यद्भिःby those who are dancing
नृत्यद्भिः:
अप्सरः-संघैःby groups of apsarases
अप्सरः-संघैः:
भूत-संघैःby hosts of bhūtas (Shiva’s attendant spirits)
भूत-संघैः:
and
:
संवृतम्surrounded/encircled
संवृतम्:
देवेन्द्र-भवन-आकारैःhaving the form of Indra’s palaces
देवेन्द्र-भवन-आकारैः:
भवनैःby mansions/dwellings
भवनैः:
दृष्टि-मोहनैःenchanting to the sight
दृष्टि-मोहनैः:

Suta Goswami (narrating to the sages of Naimisharanya, contextual)

A
Apsarases
B
Bhutas
I
Indra (Deveendra)

FAQs

The verse frames the Linga-centered sacred space as a manifest field of auspiciousness—where sound (nāda), beauty, and divine attendants gather—signaling the presence of Pati (Shiva) as the sanctifier of the whole environment of worship.

By portraying bhūta-hosts and celestial apsarases harmoniously surrounding the scene, the verse implies Shiva-tattva as the Lord who integrates all levels of beings—celestial and liminal—under a single sovereign, liberating order.

It highlights nāda (sacred sound) as an aid to devotion: instruments and resonant music function like upacāras (offerings) that steady attention for puja and support inward recollection aligned with Pāśupata-oriented worship.