Shloka 39

अध्याय १०१: हैमवती-तपः, तारकवंश-उत्पातः, स्कन्द-प्रत्याशा, मदनदहनम्

Devanagari script

गत्वा तदाश्रये शंभोः सह रत्या महाबलः वसंतेन सहायेन देवं योक्तुमना भवत्

Transliteration

gatvā tadāśraye śaṃbhoḥ saha ratyā mahābalaḥ vasaṃtena sahāyena devaṃ yoktumanā bhavat

Translation

مضى ذو البأس العظيم إلى ملجأ شَمبهو (Śambhu) مع رَتي، وبمعونة فَسَنْتَة (الربيع) عزم أن يوقظ الربّ ويشدّه نحو الكامَة (الرغبة).

Word by Word

• gatvā: having gone

• tad-āśraye: to that refuge/abode

• śambhoḥ: of Śambhu (Śiva)

• saha: together with

• ratyā: with Rati

• mahābalaḥ: the very powerful one (Kāma)

• vasantena: by/with Vasanta (Spring)

• sahāyena: as an assistant/ally

• devam: the God (Śiva)

• yoktum-anā: with the intention to yoke/engage/arouse

• bhavat: became/was

Speaker

Suta Goswami (narrating the Purana to the sages; describing Kāma’s action in the storyline)

Characters & Entities

• Shiva
• Shambhu
• Rati
• Vasanta
• Kama

FAQs

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

It frames desire (kāma) as a force that tries to “yoke” even the Lord; in Linga worship, the sādhaka instead yokes the mind to the Linga—Pati—so that kāma is seen as pasha (bondage) to be transcended, not followed.

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

Śiva is approached as Śambhu, the refuge of all; the narrative implies His transcendence—others may attempt to provoke desire, but Śiva-tattva stands as Pati, sovereign over guṇas and impulses.

What ritualistic or Yogic practice is highlighted here?

The implied contrast is Pāśupata discipline: rather than letting Vasanta and kāma move the mind outward, the practitioner restrains the senses and fixes awareness on Śiva (Linga), converting agitation into tapas and inward yoga.