Shloka 74

वासिष्ठकथनम् (आदित्य–सोमवंशवर्णनम् तथा रुद्रसहस्रनाम-प्रशंसा)

Devanagari script

नृत्यप्रियो नित्यनृत्यो नर्तनः सर्वसाधकः सकार्मुको महाबाहुर् महाघोरो महातपाः

Transliteration

nṛtyapriyo nityanṛtyo nartanaḥ sarvasādhakaḥ sakārmuko mahābāhur mahāghoro mahātapāḥ

Translation

Il aime la danse sacrée ; il est le Seigneur qui danse sans cesse ; il est le Tattva même de la danse qui met tout en mouvement. Il accomplit tous les siddhi et toutes les fins des êtres. Portant l’arc, aux bras puissants, terrifiant dans sa majesté, il est le Grand Ascète : son tapas consume le pasha (lien) du pashu (l’âme), car Lui seul est Pati, le Seigneur.

Word by Word

• नृत्यप्रियः: fond of sacred dance

• नित्यनृत्यः: eternally dancing

• नर्तनः: dancer / the one who makes (the cosmos) dance

• सर्वसाधकः: accomplisher of all (goals/siddhis)

• सकार्मुकः: with a bow

• महाबाहुः: mighty-armed

• महाघोरः: exceedingly terrible/awe-inspiring (to evil and ignorance)

• महातपाः: of great austerity / great tapas

Speaker

Suta Goswami (narrating the Shiva Sahasranama to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

By praising Shiva as the Ever-Dancing Pati and the Great Ascetic, the verse supports Linga worship as a means to receive his anugraha (grace) that dissolves pasha—inner bondage—so the pashu may attain siddhi and liberation.

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

It presents Shiva-tattva as both dynamic (nṛtya—cosmic activity and regulation) and transcendent (mahātapāḥ—supreme tapas), showing him as the sovereign Pati who governs creation while remaining the purifier of bondage.

What ritualistic or Yogic practice is highlighted here?

Meditative japa of the Sahasranama with contemplation of Shiva as Nityanṛtya (ever-dancing) and Mahātapas (great ascetic) aligns with Pashupata-oriented sadhana—disciplining the mind and offering inner action to the Lord.