Shloka 11
Adhyāya 25 — Liṅga-māhātmya (The Chapter on the Liṅga): Hari’s Śiva-Worship and the Fiery Pillar Theophany
काश्चिद्विलासबहुला नृत्यन्ति स्म तदग्रतः / संप्रेक्ष्य संस्थिताः काश्चित् पपुस्तद्वदनामृतम्
kāścidvilāsabahulā nṛtyanti sma tadagrataḥ / saṃprekṣya saṃsthitāḥ kāścit papustadvadanāmṛtam
บางนางผู้เปี่ยมด้วยลีลางามร่ายรำอยู่เบื้องพระพักตร์; และบางนางยืนนิ่งเพ่งมองด้วยจิตแน่วแน่ ดุจดื่มอมฤตจากพระพักตร์ของพระองค์।
Narrator (Purāṇic narrator continuing the description of the sacred presence in the scene)
Primary Rasa: shringara
Secondary Rasa: adbhuta
FAQs
By portraying the Lord’s visage as “nectar,” the verse points to the Atman/Ishvara as self-luminous bliss (ānanda) that is not grasped by force, but realized through receptive, steady awareness and devotion.
Two complementary disciplines appear: (1) expressive devotion (upacāra/bhakti) symbolized by dance, and (2) meditative absorption through steady, concentrated seeing (ekāgratā), suggested by standing still and drinking in the Lord’s form—an outer image of inner dhyāna.
While Vishnu (as Kurma) is the immediate focus, the devotional-meditative ideal aligns with the Kurma Purana’s broader synthesis: the same Supreme is approached through both bhakti and yogic stillness—modes shared across Shaiva (Pāśupata-yoga) and Vaishnava devotion.