विनायकोत्पत्तिः / ताण्डव-प्रसङ्गः (दारुक-वधः, काली-उत्पत्तिः, क्षेत्रपालोत्पत्तिः)
यममिन्द्रमनुप्राप्य स्त्रीवध्य इति चासुरः स्त्रीरूपधारिभिः स्तुत्यैर् ब्रह्माद्यैर्युधि संस्थितैः
yamamindramanuprāpya strīvadhya iti cāsuraḥ strīrūpadhāribhiḥ stutyair brahmādyairyudhi saṃsthitaiḥ
Als man zu Yama und Indra gelangte, wurde jener Asura als „der zu Tötende“ erklärt. Auf dem Schlachtfeld standen Brahmā und die übrigen Götter dort und brachten Hymnen dar, nachdem sie weibliche Gestalten angenommen hatten.
Suta Goswami (narrating to the sages of Naimisharanya)
It shows that stuti (hymnic praise) and alignment with Dharma are protective forces in cosmic conflict—an outlook that supports Linga-worship as devotion to Pati (Shiva) who upholds order and dissolves adharma.
Though Shiva is not explicitly named, the verse reflects Shaiva Siddhanta’s frame: the Devas act within Dharma to subdue adharma; ultimately Pati is the supreme regulator beyond even Yama and Indra, granting victory and release from Pasha.
Stuti (praise) is highlighted as a devotional upaya; in a Shaiva reading it parallels japa and mantra-oriented bhakti that steadies the pashu (soul) and weakens pasha (bondage) through reverent remembrance of the Divine.