Shloka 133

Adhyaya 71: पुरत्रयवृत्तान्तः—ब्रह्मवरदानम्, मयकृतत्रिपुर-निर्माणम्, विष्णुमाया-धर्मविघ्नः, शिवस्तुति, त्रिपुरदाहोपक्रमः

Devanagari script

ससृजुः पुष्पवर्षाणि जगुर्गन्धर्वकिन्नराः नृत्यामृतं तदा पीत्वा पार्वतीपरमेश्वरौ अवापतुस् तदा तृप्तिं नन्दिना च गणेश्वराः

Transliteration

sasṛjuḥ puṣpavarṣāṇi jagurgandharvakinnarāḥ nṛtyāmṛtaṃ tadā pītvā pārvatīparameśvarau avāpatus tadā tṛptiṃ nandinā ca gaṇeśvarāḥ

Translation

तेव्हा पुष्पवृष्टी झाली आणि गंधर्व-किन्नरांनी मधुर गान केले। त्या दिव्य नृत्याचे अमृत पिऊन पार्वती व परमेश्वर परम तृप्त झाले; नंदी आणि गणेश्वरांचे गणही तसेच संतुष्ट झाले।

Word by Word

• ससृजुः: they released/let fall

• पुष्पवर्षाणि: showers of flowers

• जगुः: they sang

• गन्धर्वकिन्नराः: Gandharvas and Kinnaras (celestial musicians)

• नृत्यामृतम्: the nectar/ambrosia of dance

• तदा: then

• पीत्वा: having drunk (imbibed)

• पार्वतीपरमेश्वरौ: Pārvatī and Parameśvara (Śiva)

• अवापतुः: attained/obtained

• तदा: then

• तृप्तिम्: satisfaction, fullness, contentment

• नन्दिना: with Nandin

• च: and

• गणेश्वराः: the lords of the gaṇas (Śiva’s attendants)

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva (Parameshvara)
• Parvati
• Nandin
• Gandharvas
• Kinnaras
• Ganas (Ganesvaras)

FAQs

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

The flower-shower and celestial song mirror the core upacāras of liṅga-pūjā—puṣpa-arcana and stuti—showing that devotion to Pati (Śiva) naturally evokes auspicious signs and inner tṛpti (spiritual fullness).

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

Śiva appears as Parameśvara whose ānanda (bliss) radiates through sacred nṛtya; by His presence the entire gaṇa-mandala shares contentment, reflecting Shiva-tattva as the source of anugraha (grace) that loosens pāśa (bondage) for the pashu (soul).

What ritualistic or Yogic practice is highlighted here?

It highlights bhakti expressed through stotra-gāna, puṣpārcana, and contemplative absorption in Śiva’s nṛtya-ānanda—an inner practice akin to Pāśupata orientation where the pashu turns toward Pati and tastes ‘nṛtyāmṛta’ as meditative bliss.