Shloka 29
शिवरूपदर्शनम्
Menā’s Vision of Śiva’s Divine Form
रशनां बध्नती काचित्तयैव सहिता ययौ । वसनं विपरीतं वै धृत्वा काचिद्ययौ ततः
raśanāṃ badhnatī kācittayaiva sahitā yayau | vasanaṃ viparītaṃ vai dhṛtvā kācidyayau tataḥ
Une femme s’en alla en attachant sa ceinture de taille, accompagnée de l’autre. Puis une autre femme partit après avoir revêtu son vêtement à l’envers.
Suta Goswami
Tattva Level: pashu
Shiva Form: Umāpati
Sthala Purana: Not a Jyotirliṅga setting; the ‘garment worn wrongly’ and half-finished dressing convey worldly disorientation—an everyday sign of tirodhāna (the veiling/confounding power) being momentarily disrupted by the overpowering call to darśana.
Significance: Illustrates the pilgrim psychology: urgency for darśana makes one forget decorum; the teaching is that Śiva’s presence relativizes social appearance.
FAQs
It depicts the haste and emotional intensity within the unfolding Parvati-khanda episode, showing how worldly agitation (vyākulatā) arises in dramatic moments—an implicit contrast to Shaiva Siddhanta’s ideal of steadiness through devotion to Pati (Shiva).
Though this verse is descriptive, it supports the Purana’s broader teaching that in times of disturbance and urgency, refuge is found in Saguna Shiva—remembering the Lord and approaching his worship to regain inner order and auspiciousness.
A practical takeaway is to stabilize the mind with japa of the Panchakshara mantra (“Om Namaḥ Śivāya”) during agitation; this aligns with Shaiva practice of restoring composure before any puja or vrata.