Shloka 18

Adhyaya 72 — Puradāha: Rudra’s Cosmic Chariot, Pāśupata-Vrata, and Brahmā’s Shiva-Stuti

Devanagari script

चामरासक्तहस्ताग्राः सर्वाः स्त्रीरूपशोभिताः तत्रतत्र कृतस्थानाः शोभयांचक्रिरे रथम्

Transliteration

cāmarāsaktahastāgrāḥ sarvāḥ strīrūpaśobhitāḥ tatratatra kṛtasthānāḥ śobhayāṃcakrire ratham

Translation

وكانت جميعُهُنَّ مُتَزَيِّناتٍ بجمالِ الهيئةِ الأنثوية، واقفاتٍ هنا وهناك في مواضعهنّ، وأيديهنّ ممسكةٌ بالچامارا (cāmara) مراوحَ الطقس، فزَيَّنَّ العربةَ وأشرقنَ بها.

Word by Word

• cāmara: chowry/ceremonial yak-tail fan

• āsakta: attached/engaged in

• hasta-agra: the forepart of the hand/fingertips

• sarvāḥ: all (feminine plural)

• strī-rūpa: female form

• śobhitāḥ: adorned/beautified

• tatra-tatra: here and there/in various places

• kṛta-sthānāḥ: having taken their places/posted

• śobhayām cakrire: they beautified/made splendid

• ratham: the chariot

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

FAQs

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

It highlights upacāra-bhakti—honoring the Lord through ceremonial service (like chāmara-fanning), reflecting how devotees outwardly express reverence to Pati (Shiva) during worship and procession.

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

By portraying the chariot as made radiant through devoted attendants, the verse implies Shiva-tattva as the sovereign center (Pati) whose presence naturally draws ordered service and beauty, transforming the surrounding scene into sacred splendor.

What ritualistic or Yogic practice is highlighted here?

Ritual practice: sevā as an upacāra (chāmara-sevā). Yogically, it aligns with Pāśupata discipline of dedicated service and humility—training the pashu (individual soul) to loosen pāśa (bondage) through reverent, selfless action.