शंकरोऽपि च तां दृष्ट्वा विस्मयं परमं गतः । सुदृष्टां नाकरोद्भीत्या पार्श्वस्थां वीक्ष्य पार्वतीम् । ततः प्रदक्षिणां चक्रे सा प्रणम्य महेश्वरम् । श्रद्धया परया युक्ता कृतांजलिपुटा स्थिता
śaṃkaro'pi ca tāṃ dṛṣṭvā vismayaṃ paramaṃ gataḥ | sudṛṣṭāṃ nākarodbhītyā pārśvasthāṃ vīkṣya pārvatīm | tataḥ pradakṣiṇāṃ cakre sā praṇamya maheśvaram | śraddhayā parayā yuktā kṛtāṃjalipuṭā sthitā
Śaṅkara lui-même, en la voyant, fut saisi du plus grand émerveillement. Pourtant, par crainte de l’inconvenance, il ne la contempla pas pleinement, et porta plutôt son regard sur Pārvatī, debout à ses côtés. Alors elle fit la pradakṣiṇā et se prosterna devant Maheśvara ; animée d’une foi suprême, elle demeura les mains jointes en vénération.
Sūta
Tirtha: Kailāsa
Type: peak
Scene: Śiva, seated with Pārvatī, is filled with wonder yet averts a full gaze out of propriety, glancing toward Pārvatī; the maiden performs a full pradakṣiṇā and bows, then stands with folded hands, radiant with faith.
True devotion is disciplined: wonder does not become indulgence; reverence (praṇāma, pradakṣiṇā) is the correct response to the divine.
The scene is set on Kailāsa; within the chapter it functions as the mythic backdrop for the later glorification of Rūpa-tīrtha.
Pradakṣiṇā (circumambulation) and praṇāma (prostration/bowing), performed with śraddhā and añjali.