क्षुपस्य विष्णुदर्शनं, वैष्णवस्तोत्रं, दधीचविवादः, स्थानेश्वरतीर्थमाहात्म्यं
सम्पूज्य चैवं त्रिदशेश्वराद्यैः स्तुत्वा स्तुतं देवमजेयमीशम् विज्ञापयामास निरीक्ष्य भक्त्या जनार्दनाय प्रणिपत्य मूर्ध्ना
sampūjya caivaṃ tridaśeśvarādyaiḥ stutvā stutaṃ devamajeyamīśam vijñāpayāmāsa nirīkṣya bhaktyā janārdanāya praṇipatya mūrdhnā
Assim, depois de haver prestado culto devidamente—junto com Indra e os demais senhores dos trinta e três deuses—e de ter louvado o Senhor louvado, invencível, o Soberano supremo, ele então apresentou sua súplica com bhakti, inclinando a cabeça em reverência a Janārdana.
Suta Goswami (narrating an internal scene involving the Devas and Janardana)
It models the proper inner posture for Linga-pūjā: complete worship (sampūjya), hymn (stuti), and full surrender (praṇipāta). In Shaiva Siddhanta, such devotion purifies the paśu (soul) and loosens pāśa (bondage), preparing one to receive the Lord’s grace.
By calling the Lord “īśa” and “ajeya” (unconquerable), it points to Pati-tattva—supreme sovereignty beyond defeat or limitation. Even when the narrative names Janārdana, the theological emphasis remains on the one invincible Lord who receives worship and grants refuge.
Praṇipāta (bowing with the head) and bhakti-filled stuti are highlighted as essential limbs of worship; they align the practitioner’s ego toward surrender, a key prerequisite for Pāśupata-oriented discipline and grace-centered liberation.