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
ထို့နောက် ဘဂဝန်သည် ဟရ (Hara) ကို ပူဇော်ရာတွင် စာတုဝဏ္ဏျ (cāturvarṇya) အဖြစ် လူမှုအဆင့်လေးမျိုးကို တည်ထောင်တော်မူ၏။ ထိုသို့သော သင်္ခန်းစာမျိုးစုံမှ သိရှိလာသော အဓိက သာသနာကျမ်းများမှာ— ပထမ၊ ရှိုင်ဝ (Śaiva) ဟု ထင်ရှားသော စနစ်; နောက်တစ်ခု ပာရှုပတ (Pāśupata) ဟေ မုနိ; တတိယ ကာလဝဒန (Kālavadana); စတုတ္ထ ကပါလင် (Kapālin) ဖြစ်သည်။
{ "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.