Shloka 6

अध्याय ९६: शरभ-प्रादुर्भावः, नृसिंह-दर्पशमनम्, विष्णोः शिवस्तुतिः, फलश्रुति

Devanagari script

तावद्भिर् अभितो वीरैर् नृत्यद्भिश् च मुदान्वितैः क्रीडद्भिश् च महाधीरैर् ब्रह्माद्यैः कन्दुकैरिव

Transliteration

tāvadbhir abhito vīrair nṛtyadbhiś ca mudānvitaiḥ krīḍadbhiś ca mahādhīrair brahmādyaiḥ kandukairiva

Translation

Umgeben von jenen Helden—die in Freude tanzten und spielerisch sich ergötzten—von den großgesinnten Göttern, beginnend mit Brahmā, war es, als würden sie in göttlicher Līlā einen Ball hin und her werfen.

Word by Word

• tāvadbhiḥ: by so many (of them)

• abhitaḥ: all around

• vīraiḥ: by heroes, valiant ones

• nṛtyadbhiḥ: by those dancing

• ca: and

• mudā-anvitaiḥ: filled with joy

• krīḍadbhiḥ: by those playing/sporting

• ca: and

• mahādhīraiḥ: by the great-wise/great-souled

• brahma-ādyaiḥ: beginning with Brahmā (i.e., Brahmā and other devas)

• kandukaiḥ: with balls

• iva: as if/like

Speaker

Suta Goswami (narrating the scene to the sages of Naimisharanya; contextual attribution)

Characters & Entities

• Brahma

FAQs

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

It frames the devas’ mood of divine sport (līlā) around the sacred narrative, reminding the devotee that Linga worship is not merely petitionary—it is participation in Pati (Śiva) as the cosmic Lord whose play governs creation and order.

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

Indirectly, it points to Shiva-tattva as the ground of divine līlā: even Brahmā and the foremost devas move in joy and coordinated play within the Lord’s ordinance, emphasizing Pati’s sovereignty over the cosmos and its rhythms.

What ritualistic or Yogic practice is highlighted here?

No specific rite is prescribed in this verse; the takeaway is the bhāva (devotional disposition) of joyful, sattvic celebration that supports puja and Pāśupata-oriented discipline—offering actions as play in service to Pati rather than bondage (pāśa) for the pashu (soul).