Shloka 2

Adhyaya 87 — Saṃsāra-viṣa-kathana: Ājñā-śakti, Māyā-bandha, and Mokṣa by Prasāda

Devanagari script

एवं चेदनया देव्या हैमवत्या महेश्वर क्रीडसे विविधैर्भोगैः कथं वक्तुमिहार्हसि

Transliteration

evaṃ cedanayā devyā haimavatyā maheśvara krīḍase vividhairbhogaiḥ kathaṃ vaktumihārhasi

Translation

O Maheśvara, wenn Du so mit dieser Göttin Haimavatī spielst und Dich an mannigfachen Genüssen erfreust, wie kannst Du hier sprechen, als wärest Du völlig unangehaftet?

Word by Word

• एवम्: thus

• चेत्: if

• अनया: with this (feminine, instrumental)

• देव्या: with the Goddess

• हैमवत्या: with Haimavatī (Pārvatī, daughter of Himavat)

• महेश्वर: O Great Lord

• क्रीडसे: you play/sport

• विविधैः: with various

• भोगैः: enjoyments/experiences

• कथम्: how

• वक्तुम्: to speak

• इह: here/in this matter

• अर्हसि: you are fit/appropriate

Speaker

Parvati (Haimavati) addressing Shiva (Maheshvara)

Characters & Entities

• Shiva
• Parvati

FAQs

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

It frames Shiva as Pati who can engage in līlā with Śakti while remaining the inner Lord of the Liṅga—unbound by bhoga—guiding the pashu toward worship that culminates in liberation.

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

Shiva-tattva is shown as simultaneously immanent (sporting with the Goddess) and transcendent (able to speak as the detached Lord), indicating non-attachment even amid experience—Pati untouched by pāśa.

What ritualistic or Yogic practice is highlighted here?

The implied teaching supports Pāśupata discipline: cultivating vairāgya and witnessing-awareness, learning that true yoga is non-attachment even while acting—mirroring Shiva’s freedom in līlā.