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Shloka 31

देवदारुवनौकसां प्रति ब्रह्मोपदेशः—लिङ्गलक्षण-प्रतिष्ठा-विधिः, शिवमायारूपदर्शनं, स्तुतिः

मायां कृत्वा तथारूपां देवस्तद्वनम् आगतः ततस्ते मुनयः सर्वे तुष्टुवुश् च समाहिताः

māyāṃ kṛtvā tathārūpāṃ devastadvanam āgataḥ tataste munayaḥ sarve tuṣṭuvuś ca samāhitāḥ

وبعد أن أظهر تلك الهيئة بمَايَا الإلهية، دخل الربّ ذلك الغاب. فحينئذٍ قام جميع أولئك الحكماء، وقد استجمعوا قلوبهم وهدأت سرائرهم، فسبّحوه بترانيم المديح.

मायाम् (māyām)divine māyā, the Lord’s power of manifestation
मायाम् (māyām):
कृत्वा (kṛtvā)having made/produced
कृत्वा (kṛtvā):
तथा-रूपाम् (tathā-rūpām)of that very form/that kind of form
तथा-रूपाम् (tathā-rūpām):
देवः (devaḥ)the Lord (Pati, Shiva)
देवः (devaḥ):
तत्-वनम् (tad-vanam)that forest
तत्-वनम् (tad-vanam):
आगतः (āgataḥ)came/entered
आगतः (āgataḥ):
ततः (tataḥ)then/thereupon
ततः (tataḥ):
ते (te)those
ते (te):
मुनयः (munayaḥ)sages
मुनयः (munayaḥ):
सर्वे (sarve)all
सर्वे (sarve):
तुष्टुवुः (tuṣṭuvuḥ)praised (with stotra)
तुष्टुवुः (tuṣṭuvuḥ):
च (ca)and
च (ca):
समाहिताः (samāhitāḥ)concentrated, composed in meditation
समाहिताः (samāhitāḥ):

Suta Goswami (narrating the episode as part of the Purana’s discourse)

S
Shiva
M
Munis (Sages)

FAQs

It shows Shiva as Pati who freely manifests through māyā to become accessible to devotees; the sages respond with focused praise (stotra), a core devotional limb that supports Linga-upāsanā by purifying the pashu (soul) and turning it toward the Linga’s transcendent meaning.

Shiva-tattva is portrayed as sovereign and self-willed: He projects a form via māyā without being bound by it, entering the scene to guide and receive praise—indicating the Pati who uses śakti/māyā as an instrument while remaining untouched.

Samādhāna (samāhita-citta, collected mind) joined with stotra-pāṭha (hymnic praise). The verse implies a Pāśupata-oriented upāya where inner concentration and vocal/mental praise function together to loosen pāśa (bondage).