Shloka 19

Adhyaya 49: जम्बूद्वीप-मेर्वादि-वर्षपर्वत-वन-सरः-रुद्रक्षेत्र-वर्णनम्

Devanagari script

चतुर्वर्णः ससौवर्णो मेरुश्चोर्ध्वायतः स्मृतः वृत्ताकृतिपरीणाहश् चतुरस्रः समुत्थितः

Transliteration

caturvarṇaḥ sasauvarṇo meruścordhvāyataḥ smṛtaḥ vṛttākṛtiparīṇāhaś caturasraḥ samutthitaḥ

Translation

Der Berg Meru wird als hoch emporragend in erhabener Ausdehnung erinnert—vierfarbig und von goldenem Glanz durchleuchtet. Obgleich sein Umfang rund ist, steht er als wohlproportionierte, vierseitige Masse aufgerichtet.

Word by Word

• चतुर्वर्णः: of four colors/complexions

• ससौवर्णः: together with golden radiance/possessing gold-like brilliance

• मेरुः: Mount Meru

• च: and

• ऊर्ध्वायतः: vertically extended, towering upward

• स्मृतः: is remembered/declared

• वृत्ताकृति: circular form

• परीणाहः: girth, circumference, breadth

• चतुरस्रः: four-sided, quadrangular

• समुत्थितः: risen up, standing forth

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Meru

FAQs

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

By portraying Meru as an upright axis with harmonized geometry (circular girth and four-sided stability), the verse supports the Shaiva idea of the Linga as the cosmic axis (stambha) that steadies the worlds and becomes a meditative support in worship.

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

The imagery of a single reality showing multiple aspects—fourfold coloration, golden radiance, roundness and squareness together—echoes Shiva-tattva as the one Pati who manifests ordered multiplicity without losing transcendental unity.

What ritualistic or Yogic practice is highlighted here?

It points to dhyāna on the vertical axis—contemplating the Linga/stambha as the inner Meru (suṣumnā-centered focus), a Pāśupata-leaning yogic visualization used to steady the pashu (soul) and loosen pāśa (bondage).