Shloka 23

मदनदाहः — पार्वतीतपः, स्वयंवरलीला, देवस्तम्भनं, दिव्यचक्षुर्दानम्

Devanagari script

अथ शैलसुता देवी हैममारुह्य शोभनम् विमानं सर्वतोभद्रं सर्वरत्नैर् अलंकृतम्

Transliteration

atha śailasutā devī haimamāruhya śobhanam vimānaṃ sarvatobhadraṃ sarvaratnair alaṃkṛtam

Translation

แล้วพระเทวีไศลสุตาเสด็จขึ้นวิมานทองอันงดงาม เป็นมงคลรอบด้าน และประดับด้วยรัตนะนานาประการทุกชนิด

Word by Word

• अथ (atha): then

• शैलसुता (śailasutā): the daughter of the mountain (Pārvatī)

• देवी (devī): the Goddess

• हैमम् (haimam): golden

• आरुह्य (āruhya): having mounted/ascended

• शोभनम् (śobhanam): splendid, beautiful

• विमानम् (vimānam): aerial chariot, celestial car

• सर्वतोभद्रम् (sarvatobhadram): auspicious from every side, well-protecting all around

• सर्वरत्नैः (sarvaratnaiḥ): with all gems/jewels

• अलंकृतम् (alaṃkṛtam): adorned, ornamented.

Speaker

Suta Goswami (narrating to the sages at Naimisharanya)

Characters & Entities

• Parvati (Shailasuta/Devi)

FAQs

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

It frames Śakti’s (Devi’s) auspicious arrival—an implicit prerequisite for fruitful Liṅga-pūjā—since worship bears full power when Pati (Śiva) is approached with His inseparable Śakti.

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

By highlighting the Mountain-born Goddess’ divine splendour, the verse points to Śiva-tattva as never isolated: Pati is revealed through Śakti’s manifest auspiciousness, which supports grace and the removal of Pāśa.

What ritualistic or Yogic practice is highlighted here?

No specific rite is prescribed, but the imagery stresses śubha-lakṣaṇa (auspicious markers) and śuddhi (sacral purity of approach), foundational attitudes for Liṅga-pūjā and Pāśupata-oriented discipline.