Shloka 30
गोत्र-प्रवर-प्रश्नः तथा तिथ्यादि-कीर्तनं
Gotra–Pravara Inquiry and Proclamation of Auspicious Time
अतो हि वादिता वीणा प्रेरितेन मयाद्य वै । सर्वेश्वरेण मनसा शङ्करेण हिमालय
ato hi vāditā vīṇā preritena mayādya vai | sarveśvareṇa manasā śaṅkareṇa himālaya
Therefore, O Himālaya, today this vīṇā has indeed been played by me, impelled inwardly by Śaṅkara—the Lord of all—through His divine will.
A divine narrator/participant in the Pārvatī-khaṇḍa dialogue (speaking to Himālaya), under Śiva’s inner prompting
Tattva Level: pati
Shiva Form: Dakṣiṇāmūrti
Sthala Purana: Not tied to a Jyotirliṅga; it exemplifies how divine will (īśvara-saṅkalpa) moves instruments and beings—nāda becomes audible as sacred music.
Significance: Models ‘īśvara-preraṇā’ (being moved by the Lord): devotional music and mantra become channels of grace when offered as instruments of Śaṅkara’s will.
Role: teaching
FAQs
The verse highlights Śiva (Śaṅkara) as Sarveśvara who can impel the devotee’s mind and actions from within; sacred expression—here symbolized by the vīṇā—becomes spiritually fruitful when it arises under the Lord’s inner guidance, reflecting Shaiva Siddhānta’s emphasis on Pati (Śiva) as the supreme governor and grace-bestower.
By naming Śaṅkara as Sarveśvara who moves the mind, the verse supports Saguna worship: devotees approach Śiva as a personal Lord whose grace actively directs their faculties. Linga worship similarly trains the mind to become receptive to Śiva’s presence and prompting, turning devotion into an instrument of divine alignment.
A practical takeaway is to begin japa of the Pañcākṣarī (“Om Namaḥ Śivāya”) with sankalpa and inward surrender—mentally offering one’s voice, breath, and attention to Śiva—so that prayer, chanting, or devotional music becomes an act performed under His guidance rather than mere personal effort.