Shloka 14

दारुवनलीला—नीललोहितपरीक्षा, ब्रह्मोपदेशः, अतिथिधर्मः, संन्यासक्रमः

Devanagari script

दृष्ट्वा काश्चिद्भवं नार्यो मदघूर्णितलोचनाः विलासबाह्यास्ताश्चापि भ्रूविलासं प्रचक्रिरे

Transliteration

dṛṣṭvā kāścidbhavaṃ nāryo madaghūrṇitalocanāḥ vilāsabāhyāstāścāpi bhrūvilāsaṃ pracakrire

Translation

バヴァ（シヴァ）を見たとき、ある女たちは、まるでマダ（酔い・慢）に酔ったかのように眼が渦巻き、習い覚えた媚態をすべて忘れた。だが内より揺り動かされ、なお戯れに眉を反らせ、眉を舞わせ始めた。

Word by Word

• दृष्ट्वा: having seen

• काश्चित्: some

• भवम्: Bhava, Lord Śiva

• नार्यः: women

• मदघूर्णितलोचनाः: with eyes rolling/swaying as if from intoxication (rapture)

• विलासबाह्याः: devoid of (conscious) coquettish display / beyond deliberate charm

• ताः: those (women)

• च: and

• अपि: even

• भ्रूविलासम्: playful movement/expressive sport of the eyebrows

• प्रचक्रिरे: they performed / they began to do

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It highlights the power of Śiva’s darśana—central to Liṅga-bhakti—where the devotee’s outward show drops away and the mind is spontaneously moved, indicating inner surrender to Pati (the Lord).

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

Śiva as Bhava is portrayed as the direct, transformative Presence: even without deliberate effort, beings are inwardly stirred—suggesting that Shiva-tattva acts as an attracting, consciousness-awakening power beyond ordinary sense-pleasure.

What ritualistic or Yogic practice is highlighted here?

A yogic principle is implied: through darśana and one-pointed absorption, the pashu (individual mind) becomes involuntarily altered—an early marker of Pāśupata orientation where attention turns toward Pati and away from habitual display.