Shloka 19

विष्णुरुवाच—एकाक्षर-प्रणव-लिङ्ग-व्याप्ति-शिवस्तोत्रम्

Devanagari script

सनत्कुमारसारङ्गम् आरणाय महात्मने लोकाक्षिणे त्रिधामाय नमो विरजसे सदा

Transliteration

sanatkumārasāraṅgam āraṇāya mahātmane lokākṣiṇe tridhāmāya namo virajase sadā

Translation

সনত্কুমার ও ঋষিগণের দ্বারা স্তূত, অরণ্য-ধামে অধিষ্ঠিত, মহাত্মা, লোকসমূহের চক্ষু, ত্রিধাম-স্বরূপ, সদা বিরজ (নির্মল) প্রভুকে নিত্য নমস্কার।

Word by Word

• sanatkumāra: Sanatkumāra (eternal sage)

• sāraṅgam: the one hymned/celebrated (as a noble deer-like swift protector—an epithet used in praise)

• āraṇāya: dwelling in the forest/solitude (āraṇya)

• mahātmane: to the Great-Souled (Mahātman)

• lokākṣiṇe: to the Eye of the worlds, the all-seeing witness

• tridhāmāya: to the One whose abode/light is threefold (three states/three worlds)

• namaḥ: salutation

• virajase: to the Stainless, passionless, beyond rajas (vīrajas)

• sadā: always

Speaker

Suta Goswami (narrating a hymn within the Purva-Bhaga context)

Characters & Entities

• Shiva
• Sanatkumara

FAQs

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

It frames Linga-worship as devotion to the formless, stainless Pati (Lord) who witnesses all worlds; the Linga is approached as the all-seeing Lokākṣi, not merely as a limited icon.

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

Shiva is praised as virajasa—beyond rajas and impurity—established as the inner witness (Eye of the worlds) and as tridhāman, the transcendent ground underlying the three states/worlds, the Pati who liberates the pashu from pāśa.

What ritualistic or Yogic practice is highlighted here?

The verse emphasizes continuous remembrance and salutation (sadā namaḥ) aligned with Pāśupata-oriented contemplation of Shiva as the all-seeing witness in solitude (āraṇya), supporting inner renunciation and steady japa/dhyāna.