Shloka 32

शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)

Devanagari script

गेयनादरतैर्दिव्यै रुद्रकन्यासहस्रकैः नृत्यद्भिर् अप्सरःसंघैर् अमरैरपि दुर्लभैः

Transliteration

geyanādaratairdivyai rudrakanyāsahasrakaiḥ nṛtyadbhir apsaraḥsaṃghair amarairapi durlabhaiḥ

Translation

ທີ່ນັ້ນມີນາງກັນຍາຂອງຣຸດຣະອັນທິບນັບພັນ ຜູ້ປິຕິໃນການຂັບຮ້ອງ; ແລະມີຫມູ່ອັບສະຣາຟ້ອນລຳເປັນຂະບວນ—ເປັນທິວທັດອັນອັດສະຈັນ ຫາຍາກແມ່ນແຕ່ໃນຫມູ່ອະມະຣະ—ມາປະດັບພຣະສະຖານອັນສັກສິດຂອງຣຸດຣະ.

Word by Word

• geya: song

• nāda-ratair: devoted to sound/music

• divyaiḥ: divine, celestial

• rudra-kanyā-sahasrakaiḥ: by thousands of Rudra’s maidens (Rudra-kanyās)

• nṛtyadbhiḥ: dancing

• apsaraḥ-saṃghaiḥ: by groups/hosts of Apsarās

• amaraiḥ: by the immortals (Devas)

• api: even

• durlabhaiḥ: rare, difficult to obtain/see

Speaker

Suta Goswami

Characters & Entities

• Rudra (Shiva)
• Rudra-kanyas
• Apsaras
• Amaras (Devas)

FAQs

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

It frames Shiva’s presence as the supreme sanctum where even celestial beings offer upāsanā through nāda (song) and nṛtya (dance), implying that Linga-worship is not merely ritual but a total consecration of senses and devotion to Pati.

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

By saying the spectacle is ‘rare even among the immortals,’ it indicates Shiva’s transcendence over the Devas—Pati is the ultimate Lord, and proximity to Him is an exceptional grace beyond ordinary heavenly merit.

What ritualistic or Yogic practice is highlighted here?

It highlights nāda-upāsanā—devotional sound (gāna, mantra, stotra) and sacred movement as offerings—aligned with Shaiva practice where disciplined expression becomes a means to loosen pāśa (bondage) and turn the pashu (soul) toward Pati.