Shloka 11

मेरुवर्णनम्—प्रमाण, दिग्विभाग, देवपुरी-विमान-निवासाः

Devanagari script

संलापालापकुशलैः सर्वाभरणभूषितैः स्तनभारविनम्रैश् च मदघूर्णितलोचनैः

Transliteration

saṃlāpālāpakuśalaiḥ sarvābharaṇabhūṣitaiḥ stanabhāravinamraiś ca madaghūrṇitalocanaiḥ

Translation

ນາງເຫຼົ່ານັ້ນຊ່ຽວຊານໃນການສົນທະນາອັນຫວານຊື່ນ ແລະ ຖ້ອຍຄຳຫຼິ້ນຢ່າງມີເສ່ນ; ປະດັບດ້ວຍເຄື່ອງປະດັບທຸກຢ່າງ; ກົ້ມລົງເນື່ອງຈາກນ້ຳໜັກແຫ່ງອົງອົບ ແລະ ດວງຕາກໍໝຸນໄຫວດ້ວຍອາການເມົາ. ນີ້ແມ່ນຮູບແທນແຫ່ງເສ່ນຫຼົງໂລກີ ທີ່ຜູກພາຊຸ (ວິນຍານ) ໃນພາຊະ (ພັນທະ) ໃຫ້ຫ່າງຈາກທີ່ພຶ່ງຂອງພຣະປະຕິ—ພຣະສິວະ.

Word by Word

• saṃlāpa: conversation

• ālāpa: playful talk/banter

• kuśalaiḥ: skilled/adept

• sarva: all

• ābharaṇa: ornaments/jewels

• bhūṣitaiḥ: adorned/decorated

• stana: breast

• bhāra: weight/burden

• vinamraiḥ: bent/stooping

• ca: and

• mada: intoxication/pride

• ghūrṇita: rolling/swaying

• locanaiḥ: with eyes

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

FAQs

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

It highlights the kind of sensory fascination that distracts the seeker; Linga-worship re-centers the paśu on Pati (Śiva), weakening pāśa (bondage) created by desire, pride, and intoxication.

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

By contrast: Shiva-tattva is the steady refuge beyond mada and moha; the verse paints worldly allure so the listener turns toward the changeless Pati revealed through the Linga.

What ritualistic or Yogic practice is highlighted here?

A takeaway aligned with Pāśupata discipline is indriya-nigraha (restraint of the senses) and vairāgya (dispassion), supported by regular Linga-pūjā and japa to loosen pāśa.