Shloka 4

क्षुपदधीचिसंवादः — शिलादतपः, वरसीमा, मेघवाहनकल्पे त्रिदेवसमागमः

Devanagari script

ततः प्रणम्य देवेशं सहस्राक्षं सहामरैः प्रोवाच मुनिशार्दूल कृताञ्जलिपुटो हरिम्

Transliteration

tataḥ praṇamya deveśaṃ sahasrākṣaṃ sahāmaraiḥ provāca muniśārdūla kṛtāñjalipuṭo harim

Translation

Kemudian dia bersujud kepada Penguasa para dewa—yang bermata seribu—bersama para amara yang berhimpun. Sang resi unggul, laksana harimau di antara para resi, dengan tangan dirapatkan penuh hormat, menyapa Hari. Dalam penyerahan diri ini, jiwa-jiwa terikat (paśu) berpaling kepada perlindungan tertinggi, memohon terlepas daripada ikatan (pāśa) melalui rahmat Tuhan (pati).

Word by Word

• tataḥ: then/thereupon

• praṇamya: having bowed/prostrated

• deveśam: to the Lord of the gods

• sahasrākṣam: the thousand-eyed one (Indra)

• saha-amaraiḥ: together with the immortals (devas)

• provāca: spoke/addressed

• muni-śārdūlaḥ: the tiger among sages (a great sage)

• kṛta-añjali-puṭaḥ: having formed the añjali (palms joined) gesture

• harim: Hari (Vishnu)

Speaker

Suta Goswami (narrating the scene; internal speaker: a great sage addressing Hari)

Characters & Entities

• Indra (Sahasraksha)
• Devas (Amaras)
• Vishnu (Hari)

FAQs

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

It highlights the foundational posture for all Linga-puja—pranama and añjali (reverent surrender). Such humility purifies the paśu (individual soul) and prepares one to receive the Lord’s grace that loosens pāśa (bondage).

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

Though Hari is addressed in the immediate scene, the verse models the Shaiva Siddhanta principle that the supreme Pati is approached through devotion and surrender; the narrative frame in the Linga Purana repeatedly points to grace as the decisive power for liberation.

What ritualistic or Yogic practice is highlighted here?

The verse emphasizes pranama (prostration) and añjali-mudra as key devotional acts—basic yet potent limbs that support mantra, dhyana, and ultimately Pashupata-oriented discipline through surrender to the divine.