Shloka 10

दारुवनलीला—नीललोहितपरीक्षा, ब्रह्मोपदेशः, अतिथिधर्मः, संन्यासक्रमः

Devanagari script

मन्दस्मितं च भगवान् स्त्रीणां मनसिजोद्भवम् भ्रूविलासं च गानं च चकारातीव सुंदरः

Transliteration

mandasmitaṃ ca bhagavān strīṇāṃ manasijodbhavam bhrūvilāsaṃ ca gānaṃ ca cakārātīva suṃdaraḥ

Translation

Ce Seigneur Bienheureux—d’une beauté extrême—arbora un doux sourire; et pour les femmes il déploya le charme né de l’amour qui surgit dans l’esprit. Il joua aussi de mouvements expressifs des sourcils et du chant.

Word by Word

• मन्दस्मितम्: gentle smile

• च: and

• भगवान्: the Blessed Lord (Pati, Shiva)

• स्त्रीणाम्: of/for the women

• मनसिजोद्भवम्: born of Manasija (Kāma), i.e., love-born mental arousal/charm

• भ्रूविलासम्: playful/expressive movement of the eyebrows

• च: and

• गानम्: singing/song

• च: and

• चकार: he did/made/manifested

• अतीव: exceedingly

• सुंदरः: beautiful, captivating

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Kama (Manasija)

FAQs

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

It highlights Shiva as Pati who can manifest captivating forms without being bound by desire; in Linga worship, this teaches devotees to redirect sense-attraction into reverent bhakti, transforming pasha (bondage) into devotion oriented to the Linga.

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

Shiva-tattva is shown as sovereign and self-willed: he can display the appearance of kama-born charm yet remains the transcendent Lord who is not compelled by kama—indicating mastery over maya and the senses while engaging the world through lila.

What ritualistic or Yogic practice is highlighted here?

The implied practice is indriya-nigraha (sense-mastery) central to Pashupata discipline: the yogin recognizes attraction as a movement of mind (pasha) and offers it inwardly to Shiva through japa, dhyana on the Linga, and disciplined restraint.