Shloka 17
अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
प्रवृत्तनृत्तानुगताप्सरोगणं प्रहृष्टनानाविधपक्षिसेवितम् प्रनृत्तहारीतकुलोपनादितं मृगेन्द्रनादाकुलमत्तमानसैः
pravṛttanṛttānugatāpsarogaṇaṃ prahṛṣṭanānāvidhapakṣisevitam pranṛttahārītakulopanāditaṃ mṛgendranādākulamattamānasaiḥ
Ali, hostes de Apsaras seguiam o ímpeto crescente da dança; e aves de muitas espécies, jubilantes, frequentavam aquele lugar. Ele ressoava com os chamados dos papagaios verdes que dançavam, e as mentes de todos pareciam embriagadas—agitadas pelo tumulto de rugidos de leão. Em tal campo de assombro e êxtase, as almas-paśu são atraídas para dentro, rumo ao Pati, o Senhor Śiva, enquanto seus laços (pāśa) se afrouxam na maravilha.
Suta Goswami (narrating to the sages of Naimisharanya)
FAQs
It portrays the Shiva-field as charged with auspicious movement and sound—conditions that purify the mind and make it fit for Linga-darshana, where the Pashu turns toward the Pati and bondage (pāśa) begins to slacken.
Shiva-tattva is implied as the awe-inspiring, bliss-bestowing center of a sacred realm: even nature and celestial beings move in rapt harmony, indicating the Lord as the source of both delight and majestic dread that dissolves egoic limitation.
The verse supports Pashupata-oriented inner discipline through sacred sound and concentrated attention: entering a Shiva-sanctified space, steadying the mind amid powerful nāda (resonance), and letting devotional rapture become one-pointed contemplation.