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Shloka 171

Adhyaya 70: आदिसर्गः—महत्-अहङ्कार-तन्मात्रा-भूतसृष्टिः, ब्रह्माण्डावरणम्, प्रजासर्गः, त्रिमूर्ति-शैवाधिष्ठानम्

ब्रह्माऽस् सोन्स् अग्रे ससर्ज वै ब्रह्मा मानसानात्मनः समान् ऋभुः सनत्कुमारश् च द्वावेतावूर्ध्वरेतसौ

Brahmā's sons agre sasarja vai brahmā mānasānātmanaḥ samān ṛbhuḥ sanatkumāraś ca dvāvetāvūrdhvaretasau

Am Anfang brachte Brahmā wahrlich seine Söhne hervor—geistgeborene Emanationen, seinem eigenen Vorsatz gleich: Ṛbhu und Sanatkumāra. Diese beiden waren ūrdhva-retas, bewahrten ihre zeugende Kraft und verweilten im aufwärts gerichteten Brahmacarya.

agrein the beginning
agre:
sasarjacreated, brought forth
sasarja:
vaiindeed
vai:
brahmāBrahmā
brahmā:
mānasānmind-born (emanated by thought)
mānasān:
ātmanāḥfrom himself / by his own being
ātmanāḥ:
samānequal, alike (in nature/intent)
samān:
ṛbhuḥṚbhu (a mind-born son/sage)
ṛbhuḥ:
sanatkumāraḥSanatkumāra (the eternal youth-sage)
sanatkumāraḥ:
caand
ca:
dvautwo
dvau:
etauthese
etau:
ūrdhva-retasauthe two who restrain and sublimate semen/creative energy (celibate ascetics).
ūrdhva-retasau:

Suta Goswami (narrating Brahmā’s manasa-srishti to the sages of Naimisharanya)

B
Brahma
S
Sanatkumara
R
Ribhu

FAQs

By presenting Brahmā’s mind-born, celibate sages, the verse foregrounds tapas and brahmacarya as the inner purity that supports Shiva-linga upāsanā—devotion rooted in restrained senses and upward-directed consciousness.

Though Shiva is not named here, the ideal of ūrdhva-retas points to a Shaiva yogic orientation: turning creative force inward and upward toward Pati (Shiva), loosening pasha (bondage) that binds the pashu (soul) to outward craving.

The highlighted practice is ūrdhva-retas brahmacarya—sublimation and conservation of vital energy—an essential discipline aligned with Pashupata-style renunciation and meditative steadiness.