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
បន្ទាប់មក ព្រះបរមមានព្រះភាគ បានបង្កើតចាតុរវណ្ណ្យ (cāturvarṇya) សម្រាប់ការបូជាព្រះហរៈ (Hara)។ ហើយគម្ពីរចម្បងនៃប្រពៃណីទាំងនេះ ដែលគេស្គាល់តាមសេចក្តីបង្រៀននានា គឺ៖ ដំបូង គោលលទ្ធិឝైవ (Śaiva) ដែលល្បីល្បាញ; បន្ទាប់មក បាសុបត (Pāśupata) ឱ មុនី; ទីបី កាលវទន (Kālavadana); និងទីបួន កបាលិន (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.