Shloka 11

दारुवनलीला—नीललोहितपरीक्षा, ब्रह्मोपदेशः, अतिथिधर्मः, संन्यासक्रमः

Devanagari script

संप्रोक्ष्य नारीवृन्दं वै मुहुर्मुहुरनङ्गहा अनङ्गवृद्धिम् अकरोद् अतीव मधुराकृतिः

Transliteration

saṃprokṣya nārīvṛndaṃ vai muhurmuhuranaṅgahā anaṅgavṛddhim akarod atīva madhurākṛtiḥ

Translation

アナンガ（カーマ）は、女たちの群れに幾度も灌ぎ（あるいは塗り）かけ、きわめて甘美で艶なる姿となって、欲望の力をふくらませ、いよいよ増大させた。

Word by Word

• संप्रोक्ष्य: having sprinkled/anointed

• नारीवृन्दम्: the multitude/assembly of women

• वै: indeed

• मुहुःमुहुः: again and again, repeatedly

• अनङ्गहा: Anaṅga (Kāma), the bodiless one

• अनङ्गवृद्धिम्: increase/augmentation of Anaṅga (desire)

• अकरोत्: he made/caused

• अतीव: exceedingly

• मधुराकृतिः: one of sweet/charming form

Speaker

Suta Goswami

Characters & Entities

• Anaṅga (Kāma)

FAQs

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

It highlights kāma (desire) as a pasha (bondage) that can agitate embodied beings (pashus); Linga worship centers the mind on Pati (Shiva), the one who transcends and regulates such impulses.

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

By foregrounding Anaṅga’s power to inflame desire, the narrative implicitly contrasts it with Shiva-tattva: Shiva as Pati remains the sovereign beyond sensory compulsion, the inner ruler before whom kāma is ultimately subdued.

What ritualistic or Yogic practice is highlighted here?

The verse points to the need for indriya-nigraha (sense-restraint) central to Pāśupata-oriented discipline—channeling desire through mantra, dhyāna, and Linga-upāsanā rather than being driven by it.