अविमुक्तक्षेत्रमाहात्म्य — काशी-वाराणसी में मोक्ष, लिङ्ग-तीर्थ-मानचित्र, और उपासना-विधि
प्रवृत्तनृत्तानुगताप्सरोगणं प्रहृष्टनानाविधपक्षिसेवितम् प्रनृत्तहारीतकुलोपनादितं मृगेन्द्रनादाकुलमत्तमानसैः
pravṛttanṛttānugatāpsarogaṇaṃ prahṛṣṭanānāvidhapakṣisevitam pranṛttahārītakulopanāditaṃ mṛgendranādākulamattamānasaiḥ
在那里,众多天女阿普萨罗随同舞势向前奔涌;百鸟欢悦,纷纷来集。绿鹦鹉起舞啼鸣,使其处回响不绝;众人之心如同沉醉——被狮吼般的喧腾所激荡。在这令人敬畏与狂喜交织的境地中,诸“兽魂”(paśu)的系缚(pāśa)因惊叹而渐松,遂内摄归向“主”(Pati)——自在天湿婆。
Suta Goswami (narrating to the sages of Naimisharanya)
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.