Shloka 20
Devadāru (Dāruvana) Forest: The Delusion of Ritual Pride, the Liṅga Crisis, and the Teaching of Jñāna–Pāśupata Yoga
करोति नृत्यं परमप्रभावं तदा विरूढः पुनरेव भूयः / ययौ समारुह्य हरिः स्वभावं तदीशवृत्तामृतमादिदेवः
karoti nṛtyaṃ paramaprabhāvaṃ tadā virūḍhaḥ punareva bhūyaḥ / yayau samāruhya hariḥ svabhāvaṃ tadīśavṛttāmṛtamādidevaḥ
Alors il accomplit une danse d’une puissance suprême; puis, se relevant encore, Hari—le Dieu primordial—s’éleva vers son état naturel et s’en alla, laissant comme un nectar le récit de la conduite divine du Seigneur.
Sūta (narrator) recounting Hari’s wondrous action to the sages
Primary Rasa: adbhuta
Secondary Rasa: vira
FAQs
By saying Hari “ascends to his own svabhāva,” the verse points to the Lord’s transcendence—established in his inherent, unconditioned nature beyond changing appearances—while his actions remain accessible through sacred narration.
The verse emphasizes contemplative engagement with īśa-vṛtta (the Lord’s divine conduct) as amṛta—suggesting śravaṇa and smaraṇa (listening and recollection) as purifying disciplines that steady the mind toward the Lord’s true nature.
Using the inclusive title “Īśa” for Hari, it reflects the Kurma Purana’s synthesis: the Supreme Lord is one, praised through multiple theonyms, supporting a non-sectarian Shaiva-Vaishnava theological unity.