Shloka 9

एकार्णव-सृष्टिक्रमः, ब्रह्म-विष्णु-परस्परप्रवेशः, शिवस्य आगमनं च

Devanagari script

तस्यैवं क्रीडमानस्य समीपं देवमीढुषः हेमगर्भाण्डजो ब्रह्मा रुक्मवर्णो ह्यतीन्द्रियः

Transliteration

tasyaivaṃ krīḍamānasya samīpaṃ devamīḍhuṣaḥ hemagarbhāṇḍajo brahmā rukmavarṇo hyatīndriyaḥ

Translation

देवांनी स्तुत्य असा तो प्रभू दिव्य क्रीडेत रमला असता, सुवर्ण-अंडातून उत्पन्न, सुवर्णवर्ण व इंद्रियातीत ब्रह्मा त्याच्या समीप आला।

Word by Word

• तस्य (of him/of that Lord): of Him

• एवम् (thus): thus

• क्रीडमानस्य (sporting, playing): engaged in divine līlā

• समीपम् (near): close by

• देवमीढुषः (of the praised-by-the-gods Lord): of the Lord lauded by the devas

• हेमगर्भाण्डजः (born from the golden egg): born of the hiraṇyagarbha-egg

• ब्रह्मा (Brahmā): Brahmā

• रुक्मवर्णः (golden-complexioned): of golden radiance

• हि (indeed): indeed

• अतीन्द्रियः (beyond the senses): transcending sensory grasp

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Brahma

FAQs

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

It frames Shiva as the devas’ praised Lord and as atīndriya (beyond sensory grasp), implying that Linga-upāsanā is directed to the transcendent Pati who is approached through devotion, not merely sensory perception.

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

Shiva is portrayed as the divine līlā-actor and as atīndriya—surpassing the indriyas—indicating Pati-tattva as supreme consciousness beyond pasha-bound perception, yet accessible through grace.

What ritualistic or Yogic practice is highlighted here?

The verse highlights upāsanā-bhāva: approaching the praised Lord with reverence; in a Pāśupata sense, it suggests turning from sense-based knowing toward contemplation of the atīndriya Pati.