Shloka 3

मदनदाहः — पार्वतीतपः, स्वयंवरलीला, देवस्तम्भनं, दिव्यचक्षुर्दानम्

Devanagari script

जगाम स स्वयं ब्रह्मा मरीच्याद्यैर्महर्षिभिः तपोवनं महादेव्याः पार्वत्याः पद्मसंभवः

Transliteration

jagāma sa svayaṃ brahmā marīcyādyairmaharṣibhiḥ tapovanaṃ mahādevyāḥ pārvatyāḥ padmasaṃbhavaḥ

Translation

Então o próprio Brahmā—o Nascido do Lótus—partiu com os grandes rishis, começando por Marīci, e foi à floresta sagrada de austeridades de Mahādevī Pārvatī.

Word by Word

• जगाम: went

• स: he

• स्वयं: himself

• ब्रह्मा: Brahmā

• मरीच्याद्यैः: with Marīci and the others

• महर्षिभिः: with the great sages

• तपोवनम्: to the grove/forest of austerities

• महादेव्याः: of the Great Goddess

• पार्वत्याः: of Pārvatī

• पद्मसंभवः: the Lotus-born (Brahmā)

Speaker

Suta Goswami (narrating)

Characters & Entities

• Brahma
• Marichi
• Maharshis
• Parvati
• Mahadevi

FAQs

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

It sets the narrative ground: the creator Brahmā and the ṛṣis approach Pārvatī’s tapovana, indicating that even cosmic authorities seek the grace of Śakti, through whom devotion to Pati (Śiva) and the foundations of Linga-upāsanā are accessed.

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

By highlighting Mahādevī Pārvatī’s tapovana, the verse implies Śiva-tattva as inseparable from Śakti: Pati is approached through the power (Śakti) that reveals and mediates His presence—an essential Shaiva Siddhānta emphasis on Śiva-Śakti unity.

What ritualistic or Yogic practice is highlighted here?

Tapas in a tapovana is foregrounded—an ascetic discipline aligned with Pāśupata-oriented purification, where the paśu (bound soul) moves toward release from pāśa (bondage) by disciplined practice and seeking divine grace.