Shloka 15

अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि

Devanagari script

क्वचिच्च केकारुतनादितं शुभं क्वचिच्च कारण्डवनादनादितम् क्वचिच्च मत्तालिकुलाकुलीकृतं मदाकुलाभिर् भ्रमराङ्गनादिभिः

Transliteration

kvacicca kekārutanāditaṃ śubhaṃ kvacicca kāraṇḍavanādanāditam kvacicca mattālikulākulīkṛtaṃ madākulābhir bhramarāṅganādibhiḥ

Translation

في مواضعَ كان يرنّ بنداء الطواويس المبارك، وفي مواضعَ أخرى بنداء طيور kāraṇḍava. وفي أماكنَ أخرى كان غاصًّا بأسراب النحل السكرى بالرحيق، كأن «عذارى النحل» المخمورات بالندى يحرّكنه. وهكذا تلألأ ذلك الغاب بفرحٍ مقدّس يليق بـPati، السيد الذي يُرخِي قيود (pāśa) الـpaśu (النفوس المقيّدة).

Word by Word

• kvacit: somewhere

• ca: and

• kekāruta: the cry of peacocks

• nāditam: resounding

• śubham: auspicious

• kvacit: somewhere

• kāraṇḍava: a kind of waterfowl/duck

• nāda: call/sound

• nāditam: made resonant

• kvacit: somewhere

• matta: intoxicated

• āli-kula: swarm of bees

• ākulī-kṛtam: made crowded/filled

• mada-ākulābhiḥ: by those agitated with intoxication (nectar-madness)

• bhramara-aṅganā-ādibhiḥ: by bee-maidens and the like

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It models how the worship-space around the Linga should be perceived and prepared: as an auspicious, living field of śiva-sannidhi (Shiva’s presence), marked by purity, sweet sound, and sacred delight that supports bhakti and dhyāna.

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

Shiva-tattva is implied as the Pati whose presence spontaneously generates śubha (auspiciousness) and ānanda (bliss) in nature; the harmonious sounds and abundance symbolize the Lord’s grace that quiets pāśa (bondage) and uplifts the paśu (individual soul).

What ritualistic or Yogic practice is highlighted here?

It points to dhyāna and āvaraṇa-śuddhi (sanctifying the surroundings): creating a calm, auspicious environment for Linga-pūjā and Pāśupata-style contemplation where sensory impressions are refined into devotion rather than distraction.