Shloka 45
Śumbha–Niśumbha-pīḍā and Devastuti to Durgā/Śivā
Names and Forms of the Devī
हे धूम्राक्ष तुषाराद्रौ वर्तते कापि सुन्दरी । तामानय द्रुतं गत्वा यथा यास्यति सात्र वै
he dhūmrākṣa tuṣārādrau vartate kāpi sundarī | tāmānaya drutaṃ gatvā yathā yāsyati sātra vai
હે ધૂમ્રાક્ષ! તુષાર પર્વત પર કોઈ અતિસુંદર કન્યા વસે છે. તું તરત ત્યાં જઈને ઝડપથી તેને અહીં લઈ આવ, જેથી તે નિશ્ચયે આ સ્થાને આવી પહોંચે.
A commanding antagonist figure in the narrative (as related by Suta Goswami in the Umāsaṃhitā)
Tattva Level: pasha
FAQs
It highlights how desire and command-driven intent can propel action outward, contrasting with the Shaiva Siddhanta ideal of inward restraint and devotion that turns the mind toward Pati (Shiva) rather than toward objects of attraction.
As a narrative prompt, it indirectly serves as a foil: Saguna Shiva worship (Linga, mantra, pūjā) disciplines the senses and redirects the seeker from impulsive acquisition toward reverence, self-control, and surrender to Shiva’s dharmic order.
A practical takeaway is sense-restraint supported by japa of the Panchākṣarī (“Om Namaḥ Śivāya”) and wearing Rudrākṣa/Tripuṇḍra as reminders to act from dharma and devotion rather than compulsion.