Shloka 33

प्रलय-तत्त्वलयः, नीललोहित-रुद्रः, अष्टमूर्तिस्तवः, एवं ब्रह्मणो वैराग्यम्

Devanagari script

यः पठेच्छृणुयाद्वापि पैतामहमिमं स्तवम् रुद्राय कथितं विप्राञ् श्रावयेद्वा समाहितः

Transliteration

yaḥ paṭhecchṛṇuyādvāpi paitāmahamimaṃ stavam rudrāya kathitaṃ viprāñ śrāvayedvā samāhitaḥ

Translation

Wer diesen Paitāmaha-Hymnus rezitiert oder auch nur anhört—der für Rudra verkündet wurde—und ihn mit gesammeltetem Geist auch die Brahmanen hören lässt, wird würdig, sein heiliges Verdienst zu empfangen.

Word by Word

• yaḥ: whoever

• paṭhet: recites

• chṛṇuyāt: listens/hears

• vā api: or even

• paitāmaham: belonging to the Grandfather (Brahmā), ‘Brahmā-composed’

• imam: this

• stavam: hymn of praise

• rudrāya: for Rudra (Śiva as Pati)

• kathitam: spoken/expounded

• viprān: Brahmins/learned reciters

• śrāvayet: should cause to be heard/should recite for others

• vā: or

• samāhitaḥ: composed, concentrated, inwardly gathered (yoga-like attentiveness).

Speaker

Suta Goswami (narrating the phala-śruti of the hymn within the Linga Purana frame)

Characters & Entities

• Rudra
• Shiva
• Brahma

FAQs

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

It elevates stotra-recitation and attentive listening (pāṭha–śravaṇa) as direct acts of Śiva-bhakti, implying that devotion to Rudra expressed through sacred sound supports Linga-upāsanā and accrues merit.

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

By naming Rudra as the intended deity of the hymn, it affirms Śiva as Pati—the Lord worthy of praise—toward whom the pashu (individual soul) turns through disciplined attention (samāhita) to loosen pāśa (bondage).

What ritualistic or Yogic practice is highlighted here?

Śravaṇa (hearing), pāṭha (recitation), and śrāvaṇa/adhyāpana (causing learned vipras to recite) performed with samādhāna (a concentrated mind), a bhakti-infused discipline aligned with Pāśupata-oriented inner collectedness.