Shloka 27
गाणपत्यदानकथा
Bāṇāsura Receives Gaṇapatya; Genealogical Prelude
स कदाचिद्बाणपुरे चक्रे देवासुरैस्सह । नदीतीरे हरः क्रीडां रम्ये शोणितकाह्वये
sa kadācidbāṇapure cakre devāsuraissaha | nadītīre haraḥ krīḍāṃ ramye śoṇitakāhvaye
Once, in Bāṇa’s city, Hara (Lord Śiva), together with the devas and the asuras, sported in divine play on the lovely bank of the river called Śoṇita.
Sūta Gosvāmin (narrating to the sages at Naimiṣāraṇya)
Tattva Level: pati
Shiva Form: Mahadeva
Sthala Purana: Not a Jyotirliṅga episode; the scene is set in Bāṇapura where Śiva manifests līlā on the Śoṇita riverbank amid devas and asuras, foreshadowing the pacification/overruling of cosmic factions in the Yuddhakhaṇḍa narrative.
Significance: Darśana of Hara’s līlā is framed as mind-purifying and conflict-transcending: it softens dualities (deva/asura) and turns the gaze toward Śiva as the single Pati beyond factions.
FAQs
It shows Śiva as Hara—Lord of grace—whose līlā unfolds even amid conflict narratives; His presence harmonizes opposites (devas and asuras) and turns worldly events into a field for devotion and inner purification.
The verse highlights Saguna Śiva—personally present, accessible, and playful—encouraging devotees to approach Him through concrete remembrance (kathā and līlā-smaraṇa) and, by extension, through Liṅga worship as His merciful manifest form.
Practice līlā-smaraṇa with japa of the Pañcākṣarī—“Om Namaḥ Śivāya”—and offer water (jala) in devotion, contemplating Śiva on the riverbank as the inner Lord who dissolves impurities (mala) and grants steadiness.