Summary
In this vachana, Basavanna affirms devotion that arises directly from the heart.
He says: sing and dance as the mind moves within. Sing and dance before the Shiva-Sharanas. The expression may appear unpolished, restless, or like the play of a monkey, yet Kudalasangama Deva still receives such a Bhakta.
The vachana teaches that sincere devotion is not measured by elegance of form. When song and movement arise from inward bhakti, they become acceptable before the Sharanas and before Kudalasangama Deva.
Imagery & Symbolic Relevance
Song and dance are the first images of expression. Basavanna does not present them as entertainment or performance. They are movements of devotion when they arise from the heart.
The phrase “as the mind comes” is important. It points to inward compulsion rather than outward calculation. The Bhakta does not first shape devotion for approval; he allows the heart’s movement to come forth.
The presence of the Shiva-Sharanas gives the setting its sacred seriousness. The expression is not for public display. It is offered before those who can recognize the truth of devotion.
The image of monkey-like play gives the vachana its force. What appears restless, crude, or unformed outwardly may still be true inwardly. Basavanna does not praise disorder for its own sake. He shows that sincere bhakti may not always appear refined to the world.
Kudalasangama Deva grants to such a Bhakta because the measure is the heart’s truth. The form may be simple, but if the source is devotion, it is not empty.
The imagery therefore teaches that the sacred does not reject unpolished expression when it carries living sincerity.
Lingayoga
In Lingayoga, devotion must involve the whole Anga.
The body may bow, the hands may worship, the eyes may remain steady before the Linga, and the voice may sing. When these arise from inner bhakti, they are not separate actions; they become one movement toward Linga.
This vachana protects the practitioner from excessive self-consciousness. The seeker may hesitate, thinking that his worship is not refined enough. Basavanna answers that sincerity is greater than outer polish.
Before the Sharanas, the real test is not artistic form but inward alignment. Song, dance, speech, and movement become meaningful when they arise from remembrance of Kudalasangama Deva.
Practice matures when expression is neither display nor fear, but the natural movement of devotion.
Editorial Commentary
This vachana should be read as a reassurance to the sincere Bhakta.
Basavanna does not ask the seeker to perform devotion for approval. He asks that devotion arise truthfully from within and be offered before the Shiva-Sharanas.
The teaching is clear: even if the expression appears simple or restless, Kudalasangama Deva receives the Bhakta whose heart is moved by genuine devotion.
Related Vachana
Supporting Vachana
Bhakta Vachana 175 — The Culmination of Worship
Vachana 175 gathers archana, puja, song, rejoicing, and devotional speech into one movement toward Kudalasangama Deva. Vachana 179 supports this by showing that such expression need not be polished performance; when it arises from the heart, it becomes living worship.
Advancing Vachana
Maheshwara Vachana 219 — The Two Suns of Devotion
Vachana 179 teaches that heartfelt song and movement before the Shiva-Sharanas are accepted by Kudalasangama Deva. Maheshwara Vachana 219 advances this into the fuller radiance of Linga-bhakti and Jangama-bhakti, where devotion must shine both as inward worship and as living relation with the Sharanas.
