Shloka 29
Śrīnivāsa at Svāmipuṣkariṇī: Darśana, Stotra, the Secret Veṅkaṭeśa Mantra, and the Meaning of “Vyaṅkaṭeśa”
ननर्त देवी सुप्रतीकस्य चाग्रे लज्जां त्यक्त्वा जय देवेति चोक्त्वा / आनृत्तकाले च हरेश्च वक्त्रं दृष्ट्वा च दृष्ट्या तु परं ननर्त
nanarta devī supratīkasya cāgre lajjāṃ tyaktvā jaya deveti coktvā / ānṛttakāle ca hareśca vaktraṃ dṛṣṭvā ca dṛṣṭyā tu paraṃ nanarta
Sang Dewi menari di hadapan Supratīka; meninggalkan rasa malu sambil berseru, “Jaya bagi Dewa!”, lalu baginda menari. Dan pada saat tarian itu, tatkala memandang wajah Hari dan bertemu pandangan-Nya, baginda menari dengan lebih hebat lagi.
Narrator (within the Garuda Purana’s narrative frame, traditionally told by Lord Vishnu to Garuda)
Concept: In intense devotion, social self-consciousness falls away; kīrtana and nṛtya become vehicles of surrender, heightened by direct darśana of Hari.
Vedantic Theme: Bhakti as absorption (tad-ākāratā) where egoic restraint dissolves; the Lord as ānanda-svarūpa drawing the mind inward.
Application: Engage in embodied devotion—kīrtan, clapping, dance—without performative ego; let remembrance of the Lord, not social judgment, guide expression.
Primary Rasa: shringara
Secondary Rasa: adbhuta
Type: temple courtyard/assembly space (implied)
Related Themes: Garuda Purana devotional narratives where praise (jaya) and worshipful celebration please Viṣṇu (general internal theme)
FAQs
It functions as an explicit act of praise (jayaghoṣa) that converts the dance into devotional worship, emphasizing victory and supremacy of Hari.
The verse states that upon seeing Hari’s face and meeting His gaze, the goddess’s devotion expressed as dance becomes even more intense—showing darśana as a catalyst for heightened bhakti.
Treat worship as wholehearted attention: set aside self-consciousness and focus the mind on the divine (through mantra, kīrtana, or darśana) to deepen devotion and discipline.