Shloka 24
The Description of Mandara (Mandaropavarṇanam) in the Mohinī Narrative
श्रुत्वैव गीतं हि दिगम्बरस्तु तेनैव रूपेण वरांगनायाः । कामातुरो भोक्तुमनाश्चचाल तां मोहिनीं पार्वतिदृष्टिलज्जः ॥ २४ ॥
śrutvaiva gītaṃ hi digambarastu tenaiva rūpeṇa varāṃganāyāḥ | kāmāturo bhoktumanāścacāla tāṃ mohinīṃ pārvatidṛṣṭilajjaḥ || 24 ||
ಆ ಗೀತವನ್ನು ಕೇಳಿದ ತಕ್ಷಣ ದಿಗಂಬರ ತಪಸ್ವಿ ಕೂಡಲೇ ಆ ಸುಂದರಿಯದೇ ರೂಪವನ್ನು ಧರಿಸಿದನು. ಕಾಮದಿಂದ ಕಾತರನಾಗಿ ಭೋಗಾಸಕ್ತಿಯಿಂದ ಮೋಹಿನಿಯ ಕಡೆಗೆ ನಡೆದನು; ಆದರೆ ಪಾರ್ವತಿಯ ದೃಷ್ಟಿಯನ್ನು ನೆನೆದು ಲಜ್ಜಿತನಾದನು॥೨೪॥
Suta (narrative voice within the Purana’s story-frame; verse describes events rather than direct dialogue)
Vrata: none
Rasa: {"primary_rasa":"shringara","secondary_rasa":"hasya","emotional_journey":"From the seductive pull of song into comic-astonishing transformation, then into erotic agitation tempered by shame and moral tension (fear of Pārvatī’s gaze)."}
FAQs
It highlights how sensory attraction and kāma can overturn even an ascetic’s self-image, showing the Purāṇic warning that inner discipline—not outer appearance—protects one from मोह (delusion).
By implication, it contrasts unstable desire-driven mind with steadiness gained through devotion and remembrance; bhakti is presented across the Purāṇas as a safeguard against मोहिनी-like delusions that derail dharma.
No specific Vedāṅga technique is taught in this verse; the practical takeaway aligns with dharma-śāstra ethics—guarding the senses (indriya-nigraha) and maintaining modesty and self-restraint in all settings, including sacred tīrthas.