अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
प्रवृत्तनृत्तानुगताप्सरोगणं प्रहृष्टनानाविधपक्षिसेवितम् प्रनृत्तहारीतकुलोपनादितं मृगेन्द्रनादाकुलमत्तमानसैः
pravṛttanṛttānugatāpsarogaṇaṃ prahṛṣṭanānāvidhapakṣisevitam pranṛttahārītakulopanāditaṃ mṛgendranādākulamattamānasaiḥ
Allí, huestes de apsaras siguieron el ímpetu creciente de la danza; y aves de muchas clases, gozosas, frecuentaban aquel lugar. Resonaba con los clamores de loros verdes que danzaban, y las mentes de todos quedaban como embriagadas—agitadas por el tumulto de rugidos de león. En tal campo de asombro y arrobamiento, las almas-paśu son atraídas hacia el interior, hacia el Pati, el Señor Śiva, mientras sus lazos (pāśa) se aflojan en la maravilla.
Suta Goswami (narrating to the sages of Naimisharanya)
It portrays the Shiva-field as charged with auspicious movement and sound—conditions that purify the mind and make it fit for Linga-darshana, where the Pashu turns toward the Pati and bondage (pāśa) begins to slacken.
Shiva-tattva is implied as the awe-inspiring, bliss-bestowing center of a sacred realm: even nature and celestial beings move in rapt harmony, indicating the Lord as the source of both delight and majestic dread that dissolves egoic limitation.
The verse supports Pashupata-oriented inner discipline through sacred sound and concentrated attention: entering a Shiva-sanctified space, steadying the mind amid powerful nāda (resonance), and letting devotional rapture become one-pointed contemplation.