Shloka 35

सप्तद्वीप-सप्तसमुद्र-वर्णनम् तथा प्रियव्रतवंश-राज्यविभागः

Devanagari script

उद्भिदो वेणुमांश्चैव द्वैरथो लवणो धृतिः षष्ठः प्रभाकरश्चापि सप्तमः कपिलः स्मृतः

Transliteration

udbhido veṇumāṃścaiva dvairatho lavaṇo dhṛtiḥ ṣaṣṭhaḥ prabhākaraścāpi saptamaḥ kapilaḥ smṛtaḥ

Translation

ક્રમશઃ સ્મરણમાં આવતાં નામો—ઉદ્ભિદ, વેણુમાન, દ્વૈરથ, લવણ અને ધૃતિ. છઠ્ઠું પ્રભાકર કહેવાય છે અને સાતમું કપિલ તરીકે સ્મૃત છે.

Word by Word

• udbhidaḥ: Udbhida (a manifested form/name)

• veṇumān: Veṇumān (one associated with the bamboo/reed

• ca eva: and indeed

• dvairathaḥ: Dvairatha (a form/name)

• lavaṇaḥ: Lavaṇa (a form/name)

• dhṛtiḥ: Dhṛti (steadfastness

• ṣaṣṭhaḥ: the sixth

• prabhākaraḥ: Prabhākara (maker of light

• ca api: and also

• saptamaḥ: the seventh

• kapilaḥ: Kapila (tawny one

• smṛtaḥ: is remembered/recorded in tradition

Speaker

Suta Goswami (narrating the Purana to the sages at Naimisharanya; internal source-tradition implied)

Characters & Entities

• Shiva

FAQs

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

It preserves a remembered sequence of Shiva’s sacred names/forms; in Linga-puja, such name-lists are used for nāma-japa and archana, affirming the Linga as Pati who manifests in many modes for the uplift of pashus.

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

By presenting multiple remembered names as legitimate manifestations, it points to Shiva-tattva as one Reality appearing through diverse forms—yet remaining the single Pati beyond pasha and the transformations of prakṛti.

What ritualistic or Yogic practice is highlighted here?

Nāma-japa/archana (recitation and worship through names) is implied; such recitation supports Pāśupata-oriented discipline by fixing the pashu’s awareness on Pati and loosening pasha through devotion and steadiness (dhṛti).