Shloka 79

Adhyaya 72 — Puradāha: Rudra’s Cosmic Chariot, Pāśupata-Vrata, and Brahmā’s Shiva-Stuti

Devanagari script

शताक्षश्चैव पञ्चाक्षः सहस्राक्षो महोदरः यमजिह्वः शताश्वश् च कण्ठनः कण्ठपूजनः

Transliteration

śatākṣaścaiva pañcākṣaḥ sahasrākṣo mahodaraḥ yamajihvaḥ śatāśvaś ca kaṇṭhanaḥ kaṇṭhapūjanaḥ

Translation

ସେ ଶତାକ୍ଷ—ଶତନେତ୍ର, ଏବଂ ପଞ୍ଚାକ୍ଷ—ପଞ୍ଚାକ୍ଷରୀ-ସ୍ୱରୂପ ପ୍ରଭୁ; ସହସ୍ରାକ୍ଷ—ସହସ୍ରନେତ୍ର, ମହୋଦର—ବିରାଟ ଉଦରଧାରୀ। ସେ ଯମଜିହ୍ୱ—ଯମସଦୃଶ ସଂଯମ-ନ୍ୟାୟର ଜିହ୍ୱା; ଶତାଶ୍ୱ—ଶତ ଅଶ୍ୱ ପରି ବେଗବାନ; କଣ୍ଠନ—କଣ୍ଠକୁ ମଥନ କରୁଥିବା, ଏବଂ କଣ୍ଠପୂଜନ—କଣ୍ଠରେ ପୂଜିତ ନୀଳକଣ୍ଠ, ଯିଏ ଲୋକରକ୍ଷା ପାଇଁ ବିଷ ଧାରଣ କରିଥିଲେ।

Word by Word

• शताक्षः: hundred-eyed (all-seeing)

• च एव: and indeed

• पञ्चाक्षः: five-syllabled (linked to the pañcākṣarī mantra “namaḥ śivāya”)

• सहस्राक्षः: thousand-eyed (omniscient)

• महोदरः: great-bellied / vast-bodied (immense, all-containing)

• यमजिह्वः: Yama-tongued (the power of restraint, justice, time)

• शताश्वः: hundred-horsed (swift, many-powered, all-moving)

• च: and

• कण्ठनः: throat-churner / throat-bearer (connected with the churning episode and the throat)

• कण्ठपूजनः: he whose throat is worshipped (Nīlakaṇṭha-veneration)

Speaker

Suta Goswami (narrating the Shiva Sahasranama to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Yama

FAQs

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

It functions as a Sahasranama-style praise used in Linga-puja: by reciting Shiva’s names (especially the pañcākṣa association), the devotee approaches Pati (Shiva) for purification and loosening of pāśa (bondage) upon the pashu (soul).

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

Shiva is portrayed as omniscient and all-pervading (hundred/thousand-eyed), vast enough to contain all worlds (mahodara), and the moral-time principle that restrains and judges (yamajihva)—the supreme Pati who governs karma while remaining the compassionate protector.

What ritualistic or Yogic practice is highlighted here?

Mantra-centered worship is implied—especially the pañcākṣarī (namaḥ śivāya) and Sahasranama recitation—supporting Pashupata-oriented sādhanā through japa, stotra, and focused contemplation on Nīlakaṇṭha.