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Shloka 4

क्षुपदधीचिसंवादः — शिलादतपः, वरसीमा, मेघवाहनकल्पे त्रिदेवसमागमः

ततः प्रणम्य देवेशं सहस्राक्षं सहामरैः प्रोवाच मुनिशार्दूल कृताञ्जलिपुटो हरिम्

tataḥ praṇamya deveśaṃ sahasrākṣaṃ sahāmaraiḥ provāca muniśārdūla kṛtāñjalipuṭo harim

Então, após prostrar-se diante do Senhor dos deuses—o de mil olhos—junto com os imortais reunidos, o sábio excelso, tigre entre os munis, com as mãos postas em reverência, dirigiu-se a Hari. Nesse humilde abandono, as almas vinculadas (paśu) voltam-se ao refúgio supremo, buscando libertar-se do laço (pāśa) pela graça do Senhor (pati).

tataḥthen/thereupon
tataḥ:
praṇamyahaving bowed/prostrated
praṇamya:
deveśamto the Lord of the gods
deveśam:
sahasrākṣamthe thousand-eyed one (Indra)
sahasrākṣam:
saha-amaraiḥtogether with the immortals (devas)
saha-amaraiḥ:
provācaspoke/addressed
provāca:
muni-śārdūlaḥthe tiger among sages (a great sage)
muni-śārdūlaḥ:
kṛta-añjali-puṭaḥhaving formed the añjali (palms joined) gesture
kṛta-añjali-puṭaḥ:
harimHari (Vishnu)
harim:

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

I
Indra (Sahasraksha)
D
Devas (Amaras)
V
Vishnu (Hari)

FAQs

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).

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.

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.