Nara-Narayana’s Tapas, Indra’s Temptation, and the Burning of Kama: The Origin of Ananga and the Shiva-Linga Episode
ततश्चकार भगवांश्चातुर्वर्ण्यं हरार्चने शास्त्राणि चैषां मुख्यानि नानोक्तिविदितानि च / 6.86 आद्यं शैवं परिख्यातमन्यत्पाशुपतं मुने तृतीयं कालवदनं चतुर्थं च कपालिनम्
tataścakāra bhagavāṃścāturvarṇyaṃ harārcane śāstrāṇi caiṣāṃ mukhyāni nānoktividitāni ca / 6.86 ādyaṃ śaivaṃ parikhyātamanyatpāśupataṃ mune tṛtīyaṃ kālavadanaṃ caturthaṃ ca kapālinam
Puis le Seigneur institua le cāturvarṇya, l’ordre social en quatre varṇa, pour le culte de Hara. Et les écritures principales de ces traditions, connues par des enseignements variés, sont : d’abord le système Śaiva, ainsi renommé ; ensuite le Pāśupata, ô sage ; le troisième, Kālavadana ; et le quatrième, Kapālin.
{ "primaryRasa": "shanta", "secondaryRasa": "adbhuta", "rasaIntensity": 0, "emotionalArcPosition": "", "moodDescriptors": [] }
The passage frames religious practice as socially integrative: Hara-worship is presented as compatible with cāturvarṇya (ordered duties), implying that devotion is to be lived through regulated conduct rather than mere identity-based sectarianism.
This is primarily ācāra/dharma material (norms of worship and social-religious organization) embedded in Purāṇic narration. It supports the Purāṇic function of prescribing practice and mapping doctrinal lineages rather than cosmogony (sarga/pratisarga).
Listing multiple Śaiva streams (Śaiva, Pāśupata, Kālavadana, Kapālin) symbolizes pluralism within Śaiva religion and a Purāṇic attempt to domesticate even fierce/ascetic modes (e.g., Kapālin) within an overarching dharmic order.