Shloka 2

Adhyaya 73 — त्रिपुरदाहे ब्रह्मस्तवः

Brahmā’s Hymn in the Context of Tripura’s Burning

Devanagari script

पितामह उवाच संत्यज्य देवदेवेशं लिङ्गमूर्तिमहेश्वरम् तारपौत्रो महातेजास् तारकस्य सुतो बली

Transliteration

pitāmaha uvāca saṃtyajya devadeveśaṃ liṅgamūrtimaheśvaram tārapautro mahātejās tārakasya suto balī

Translation

ពិតាមហៈ (ព្រះព្រហ្ម) បានមានព្រះបន្ទូលថា៖ បន្ទាប់ពីបោះបង់ព្រះអម្ចាស់នៃទេវទាំងឡាយ គឺមហេស្វរៈ ដែលរូបសម្បត្តិជាលិង្គ នោះបានកើតឡើងអ្នកមានពន្លឺធំ និងអំណាចខ្លាំង ជាចៅប្រុសរបស់តារា ជាកូនប្រុសរបស់តារកៈ។

Word by Word

• pitāmahaḥ: the Grandfather (Brahmā)

• uvāca: said

• saṃtyajya: having abandoned/renounced

• deva-deveśam: the Lord of the lords of gods

• liṅga-mūrti: whose form is the Liṅga

• maheśvaram: the Great Lord (Śiva)

• tāra-pautraḥ: Tārā’s grandson

• mahā-tejāḥ: of great splendor/energy

• tārakasya: of Tāraka

• sutaḥ: son

• balī: powerful/strong

Speaker

Brahma (Pitamaha)

Characters & Entities

• Brahma
• Shiva (Maheshvara)
• Tara
• Taraka

FAQs

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

It frames the Liṅga as Śiva’s very form (liṅga-mūrti) and implies that turning away from Pati (the Lord) leads the pashu (soul) toward pasha-bound, egoic power—setting up a cautionary contrast central to Liṅga-upāsanā.

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

Śiva is identified as Deva-deveśa and Maheśvara, not merely a deity among others but the supreme Pati, whose manifest, worshipful presence is the Liṅga—an accessible sign of the transcendent.

What ritualistic or Yogic practice is highlighted here?

By negative implication it highlights steadfast Liṅga-upāsanā (Liṅga-pūjā and dhyāna on liṅga-mūrti) as the stabilizing discipline aligned with Pāśupata orientation—remaining anchored in Pati rather than drifting into pasha-driven ambition.