Shloka 171

Adhyaya 70: आदिसर्गः—महत्-अहङ्कार-तन्मात्रा-भूतसृष्टिः, ब्रह्माण्डावरणम्, प्रजासर्गः, त्रिमूर्ति-शैवाधिष्ठानम्

Devanagari script

ब्रह्माऽस् सोन्स् अग्रे ससर्ज वै ब्रह्मा मानसानात्मनः समान् ऋभुः सनत्कुमारश् च द्वावेतावूर्ध्वरेतसौ

Transliteration

Brahmā's sons agre sasarja vai brahmā mānasānātmanaḥ samān ṛbhuḥ sanatkumāraś ca dvāvetāvūrdhvaretasau

Translation

आदि काळी ब्रह्म्याने आपल्या संकल्पासमान मनोज पुत्र उत्पन्न केले—ऋभु आणि सनत्कुमार. ते दोघे ऊर्ध्वरेतस होते; ब्रह्मचर्यात स्थित राहून तेज व वीर्य ऊर्ध्वगतीने धारण करीत.

Word by Word

• agre: in the beginning

• sasarja: created, brought forth

• vai: indeed

• brahmā: Brahmā

• mānasān: mind-born (emanated by thought)

• ātmanāḥ: from himself / by his own being

• samān: equal, alike (in nature/intent)

• ṛbhuḥ: Ṛbhu (a mind-born son/sage)

• sanatkumāraḥ: Sanatkumāra (the eternal youth-sage)

• ca: and

• dvau: two

• etau: these

• ūrdhva-retasau: the two who restrain and sublimate semen/creative energy (celibate ascetics).

Speaker

Suta Goswami (narrating Brahmā’s manasa-srishti to the sages of Naimisharanya)

Characters & Entities

• Brahma
• Sanatkumara
• Ribhu

FAQs

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

By presenting Brahmā’s mind-born, celibate sages, the verse foregrounds tapas and brahmacarya as the inner purity that supports Shiva-linga upāsanā—devotion rooted in restrained senses and upward-directed consciousness.

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

Though Shiva is not named here, the ideal of ūrdhva-retas points to a Shaiva yogic orientation: turning creative force inward and upward toward Pati (Shiva), loosening pasha (bondage) that binds the pashu (soul) to outward craving.

What ritualistic or Yogic practice is highlighted here?

The highlighted practice is ūrdhva-retas brahmacarya—sublimation and conservation of vital energy—an essential discipline aligned with Pashupata-style renunciation and meditative steadiness.