Shloka 56

अध्याय ८२ — व्यपोहनस्तवः (पापव्यपोहन-स्तोत्रम्)

Devanagari script

वीणाज्ञः किन्नरश्चैव सुरसेनः प्रमर्दनः अतीशयः स प्रयोगी गीतज्ञश्चैव किन्नराः

Transliteration

vīṇājñaḥ kinnaraścaiva surasenaḥ pramardanaḥ atīśayaḥ sa prayogī gītajñaścaiva kinnarāḥ

Translation

ومن الكِنّارات مَن يُحسن العزف على الفينا، ومنهم من يُدعى كِنّارا، وسوراسينا، وبرَمَردَنا، وأتيشَيا، وبرَيوغي، وغيتَجْنَيا—موسيقيون سماويون يجعلون فنونهم المُتقَنة قربانًا في النظام الكوني الذي يقيمه پَتي، الرب شِيفا.

Word by Word

• वीणाज्ञः: knower of the vīṇā (lute), skilled instrumentalist

• किन्नरः: a Kinnara (celestial musician-being)

• च एव: and indeed

• सुरसेनः: Surasena (name/proper noun)

• प्रमर्दनः: Pramardana (name

• अतीशयः: Atīśaya (name

• स: that/he (as listed)

• प्रयोगी: Prayogī (name

• गीतज्ञः: knower of song, expert singer

• च एव: and indeed

• किन्नराः: the Kinnaras (as a class)

Speaker

Suta Goswami

Characters & Entities

• Shiva
• Kinnara

FAQs

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

It frames sacred music (gīta and vīṇā) as a devotional upacāra—an offering that supports the harmony of worship around Śiva as Pati, even when the verse is presented as a catalogue of divine beings.

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

By situating perfected artistry among celestial attendants, it implies Śiva-tattva as the sustaining center (Pati) of ṛta—where sound, praise, and disciplined performance become ordered expressions of devotion.

What ritualistic or Yogic practice is highlighted here?

The implied practice is nāda-upāsanā (devotional sacred sound) and stuti as worship—aligned with Pāśupata discipline where the pashu refines mind and speech into offerings to Pati.