Shloka 17

शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)

Devanagari script

मृदङ्गमुरजैर्जुष्टं वीणावेणुनिनादितम् नृत्यद्भिर् अप्सरःसंघैर् भूतसंघैश् च संवृतम् देवेन्द्रभवनाकारैर् भवनैर् दृष्टिमोहनैः

Transliteration

mṛdaṅgamurajairjuṣṭaṃ vīṇāveṇunināditam nṛtyadbhir apsaraḥsaṃghair bhūtasaṃghaiś ca saṃvṛtam devendrabhavanākārair bhavanair dṛṣṭimohanaiḥ

Translation

其中鼓声充盈：mṛdaṅga与muraja的节奏回荡；又有维那琴与笛音清响。舞动的阿普萨罗众与诸多部多众环绕其侧，并以仿如帝释天宫的迷人楼阁庄严装饰。

Word by Word

• मृदङ्ग-मुरजैः: with mṛdaṅga and muraja drums

• जुष्टम्: frequented/filled (with)

• वीणा-वेणु-निनादितम्: resounding with vīṇā and flute

• नृत्यद्भिः: by those who are dancing

• अप्सरः-संघैः: by groups of apsarases

• भूत-संघैः: by hosts of bhūtas (Shiva’s attendant spirits)

• च: and

• संवृतम्: surrounded/encircled

• देवेन्द्र-भवन-आकारैः: having the form of Indra’s palaces

• भवनैः: by mansions/dwellings

• दृष्टि-मोहनैः: enchanting to the sight

Speaker

Suta Goswami (narrating to the sages of Naimisharanya, contextual)

Characters & Entities

• Apsarases
• Bhutas
• Indra (Deveendra)

FAQs

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

The verse frames the Linga-centered sacred space as a manifest field of auspiciousness—where sound (nāda), beauty, and divine attendants gather—signaling the presence of Pati (Shiva) as the sanctifier of the whole environment of worship.

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

By portraying bhūta-hosts and celestial apsarases harmoniously surrounding the scene, the verse implies Shiva-tattva as the Lord who integrates all levels of beings—celestial and liminal—under a single sovereign, liberating order.

What ritualistic or Yogic practice is highlighted here?

It highlights nāda (sacred sound) as an aid to devotion: instruments and resonant music function like upacāras (offerings) that steady attention for puja and support inward recollection aligned with Pāśupata-oriented worship.