Shloka 25

मुक्तयतिदेहसंस्काररहस्यं — The Esoteric Rites for the Bodies of Liberated Ascetics

Devanagari script

नृत्यगीतमृदंगादिवाद्यघोषमनोहरम् । दिव्याम्बरस्रगालेप भूषणैरपि भूषितम्

Transliteration

nṛtyagītamṛdaṃgādivādyaghoṣamanoharam | divyāmbarasragālepa bhūṣaṇairapi bhūṣitam

Translation

Ito’y kaakit-akit sa masayang tunog ng sayaw, awit, at mga tugtugin gaya ng mṛdaṅga. Higit pa, ito’y pinalamutian ng makalangit na kasuotan, mga kuwintas na bulaklak, mababangong pahid, at mga alahas.

Word by Word

• nṛtya-gīta-mṛdaṅga-ādi-vādya-ghoṣa-manoharam: charming with the sounds of dance, song, drums and other instruments
• nṛtya-gīta-mṛdaṅga-ādi-vādya-ghoṣa-manoharam: Visheshana (विशेषण)
• Type: Adjective
• Root: nṛtya (प्रातिपदिक) + gīta (प्रातिपदिक) + mṛdaṅga (प्रातिपदिक) + ādi (अव्यय/प्रातिपदिक) + vādya (प्रातिपदिक) + ghoṣa (प्रातिपदिक) + manohara (प्रातिपदिक)
• Form: नपुंसकलिङ्ग (Neuter), द्वितीया-विभक्ति (Accusative/2nd), एकवचन (Singular); ‘ādi’ = etc. (indeclinable used inside compound)

• divya-ambara-srak-ālepa-bhūṣaṇaiḥ: with divine garments, garlands, unguents, and ornaments
• divya-ambara-srak-ālepa-bhūṣaṇaiḥ: Karana (करण)
• Type: Noun
• Root: divya (प्रातिपदिक) + ambara (प्रातिपदिक) + sraj (प्रातिपदिक) + ālepa (प्रातिपदिक) + bhūṣaṇa (प्रातिपदिक)
• Form: नपुंसकलिङ्ग (Neuter), तृतीया-विभक्ति (Instrumental/3rd), बहुवचन (Plural); समाहार-द्वन्द्वः (collective dvandva) used instrumentally

• api: also/even
• api: Sambandha (सम्बन्ध)
• Type: Indeclinable
• Root: api (अव्यय-प्रातिपदिक)
• Form: अव्यय (Indeclinable), समुच्चय/अपि-कार (additive particle)

• bhūṣitam: adorned
• bhūṣitam: Kriya (क्रिया)
• Type: Verb
• Root: √bhūṣ (धातु)
• Form: भूतकर्मणि-क्त (Past Passive Participle, -ta), नपुंसकलिङ्ग (Neuter), द्वितीया-विभक्ति (Accusative/2nd), एकवचन (Singular)

Speaker

Suta Goswami

Shaiva Theology

Tattva Level: pati

Shiva Form: Nataraja

Characters & Entities

• Shiva

FAQs

What is the spiritual significance of this verse in the Shiva Purana?

The verse highlights the sanctifying beauty of Shiva’s divine sphere—where sacred sound (music, rhythm, song) and pure adornment uplift the mind, turning attention toward Saguna Shiva and steadying devotion (bhakti) as a support for inner stillness.

How does this verse relate to the worship of the Linga or Saguna Shiva?

By describing divine sounds and adornments, it reinforces Saguna-upāsanā—worship of Shiva with form and attributes. Such beauty and sacred atmosphere train the devotee to approach the Liṅga with reverence, purity, and concentrated remembrance.

What ritualistic or meditative practice is suggested here?

It suggests devotional worship using auspicious sound and offerings—kīrtana or stotra-recitation, accompanied by rhythmic instruments, along with upacāras like gandha (fragrant paste) and mālā (garlands), while mentally repeating the Pañcākṣarī: “Om Namaḥ Śivāya.”