Shloka 10

अघोरस्य प्रादुर्भावः कुमारकचतुष्टयं च योगमार्गः

Devanagari script

चत्वारस्तु महात्मानः संबभूवुः कुमारकाः कृष्णः कृष्णशिखश्चैव कृष्णास्यः कृष्णवस्त्रधृक्

Transliteration

catvārastu mahātmānaḥ saṃbabhūvuḥ kumārakāḥ kṛṣṇaḥ kṛṣṇaśikhaścaiva kṛṣṇāsyaḥ kṛṣṇavastradhṛk

Translation

ثم وُجِدَ أربعةُ كُمَارَاتٍ عِظامِ النُّفوس: أحدُهم داكنُ اللون، وآخرُه ذو قُصَّةٍ داكنة، وثالثٌ داكنُ الوجه، ورابعٌ لابسٌ ثيابًا داكنة؛ دلالةً على قدرةِ الربّ في الحِجاب، التي تُقيِّدُ الـpaśu (النفس الفردية) بـpasha (رباط القيد)، حتى يكشفَ Pati (شِيفا) معرفةَ التحرير.

Word by Word

• चत्वारः: four

• तु: indeed/then

• महात्मानः: great-souled, exalted beings

• संबभूवुः: were born/came into manifestation

• कुमारकाः: Kumāras, youthful sages/emanations

• कृष्णः: dark/black-hued

• कृष्णशिखः: having a dark topknot/crest

• च एव: and indeed

• कृष्णास्यः: dark-faced

• कृष्णवस्त्रधृक्: wearing dark garments

Speaker

Suta Goswami

Characters & Entities

• Shiva
• Kumaras

FAQs

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

By describing the four Kumāras with “dark” attributes, the verse points to the principle of concealment (tirodhāna) that makes the soul seek the Linga—Śiva as Pati—through worship and inner discipline for revelation and release.

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

It implies Śiva’s lordship over both bondage and liberation: the same supreme Pati can manifest veiling conditions (pāśa) for the paśu, and later bestow grace and knowledge that remove them.

What ritualistic or Yogic practice is highlighted here?

The takeaway aligns with Pāśupata-oriented practice: recognizing bondage (pāśa), cultivating detachment and purity, and approaching Śiva through Linga-pūjā and yogic discipline to receive liberating insight.