Shloka 18

दारुवनलीला—नीललोहितपरीक्षा, ब्रह्मोपदेशः, अतिथिधर्मः, संन्यासक्रमः

Devanagari script

काश्चिज्जगुस्तं ननृतुर् निपेतुश् च धरातले निषेदुर्गजवच्चान्या प्रोवाच द्विजपुङ्गवाः

Transliteration

kāścijjagustaṃ nanṛtur nipetuś ca dharātale niṣedurgajavaccānyā provāca dvijapuṅgavāḥ

Translation

Einige sangen zu Seinem Lob; einige tanzten; einige fielen zu Boden. Andere saßen reglos wie Elefanten in tiefer Stille, während gewisse hervorragende Brahmanen begannen, Seine Herrlichkeit zu verkünden.

Word by Word

• काश्चित्: some

• जगुः: sang (hymns)

• तम्: Him

• ननृतुः: danced

• निपेतुः: fell down

• च: and

• धरातले: on the ground

• निषेदुः: sat down/abided

• गजवत्: like elephants (steady and unmoving)

• च: and

• अन्याः: others

• प्रोवाच: spoke/proclaimed

• द्विजपुङ्गवाः: the foremost among the twice-born (excellent Brāhmaṇas)

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 depicts multi-limbed worship—voice (singing), body (dance and prostration), and mind (still seated absorption)—showing that Linga-bhakti is fulfilled through integrated devotion to Pati (Shiva).

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

Shiva-tattva is presented as so compelling that it draws varied spontaneous responses—praise, surrender, and meditative stillness—indicating Him as Pati, the supreme object of devotion and inner absorption beyond Pāśa (bondage).

What ritualistic or Yogic practice is highlighted here?

Alongside stotra and namaskāra, it highlights dhyāna-sthairya—sitting steady “like an elephant,” suggestive of Pāśupata-oriented inner steadiness directed to Shiva.