Shloka 15

दारुवनलीला—नीललोहितपरीक्षा, ब्रह्मोपदेशः, अतिथिधर्मः, संन्यासक्रमः

Devanagari script

अथ दृष्ट्वापरा नार्यः किंचित् प्रहसिताननाः किंचिद् विस्रस्तवसनाः स्रस्तकाञ्चीगुणा जगुः

Transliteration

atha dṛṣṭvāparā nāryaḥ kiṃcit prahasitānanāḥ kiṃcid visrastavasanāḥ srastakāñcīguṇā jaguḥ

Translation

Luego, al verle, las otras mujeres se pusieron a cantar: unas con el rostro suavizado por una risa leve, otras con las vestiduras algo desceñidas y los cordones del ceñidor flojos, mostrando un encanto destinado a agitar la mente.

Word by Word

• atha: then

• dṛṣṭvā: having seen

• aparāḥ: the other

• nāryaḥ: women

• kiṃcit: somewhat/slightly

• prahasitā-ananāḥ: having faces with gentle laughter/smiles

• kiṃcid: somewhat

• visrasta-vasanāḥ: with loosened/slipped garments

• srasta: slackened/loosened

• kāñcī-guṇāḥ: the strings/cords of the waist-girdle

• jaguḥ: they sang/chanted.

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Celestial women (Apsarases)

FAQs

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

It highlights how sensual allure functions as pasha (bondage) for the pashu (soul); Linga worship aims at citta-shuddhi and turning attention from sense-objects to Pati—Shiva, the transcendent.

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

By implication, it contrasts outward seduction with the Shaiva goal: Shiva-tattva is not an object of sense-enjoyment but the supreme Pati, realized when the mind is not shaken by kama and other bonds.

What ritualistic or Yogic practice is highlighted here?

The takeaway aligns with Pashupata discipline: guarding the senses (indriya-nigraha) and cultivating vairagya so that worship and meditation remain steady despite provocations.