Shloka 12

सोमवर्णनम्

Graha–Ratha–Aśva Varṇana, Dhruva-Nibaddha Gati, Maṇḍala-Pramāṇa, Graha-Arcana

Devanagari script

उद्धृत्य पृथिवीछायां निर्मितां मण्डलाकृतिम् स्वर्भानोस्तु बृहत्स्थानं तृतीयं यत् तमोमयम्

Transliteration

uddhṛtya pṛthivīchāyāṃ nirmitāṃ maṇḍalākṛtim svarbhānostu bṛhatsthānaṃ tṛtīyaṃ yat tamomayam

Translation

പൃഥിവിയുടെ ഛായയെ ഉദ്‌ധരിച്ച് മണ്ഡലാകൃതിയായി നിർമ്മിച്ച്, സ്വർഭാനുവിന്റെ മൂന്നാമത്തെ മഹത്തായ സ്ഥലം നിശ്ചയമായും തമോമയമാണെന്ന് പറയുന്നു।

Word by Word

• उद्धृत्य: having lifted/drawn forth

• पृथिवी-छायाम्: the Earth’s shadow

• निर्मिताम्: fashioned/constructed

• मण्डल-आकृतिम्: having the form of a disk/circle

• स्वर्भानोः: of Svarbhānu (Rāhu, the eclipsing power)

• तु: indeed

• बृहत्-स्थानम्: great/vast station/abode

• तृतीयम्: the third

• यत्: which

• तमो-मयम्: made of darkness, consisting of tamas

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Svarbhanu (Rahu)

FAQs

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

By describing the “station of darkness” linked with Svarbhānu, the verse frames obscuration as a cosmic principle; Linga worship is presented (in Shaiva understanding) as turning the pashu away from tamasic shadow toward Śiva, the self-luminous Pati symbolized by the Linga.

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

Even while speaking of shadow and darkness in the cosmos, the implied Shaiva Siddhānta contrast is that Śiva-tattva is not a product of tamas; Śiva is the transcendent light (prakāśa) in which shadows appear, and by whom bondage (pāśa) is ultimately removed.

What ritualistic or Yogic practice is highlighted here?

The verse is primarily cosmographic, but it supports a Pāśupata-Yogic takeaway: reduce tamas (inner eclipse) through japa of Śiva-mantra, sattvic discipline, and Linga-arcana aimed at loosening pāśa and stabilizing awareness in Pati.