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

พระองค์คือศตากษะ—ผู้มีเนตรร้อย; คือปัญจากษะ—พระผู้เป็นรูปแห่งปัญจักษรี; คือสหัสรากษะ—ผู้มีเนตรพัน; คือมหโอดระ—ผู้มีภาวะอันไพศาล. คือยมชิหวะ—ลิ้นแห่งการสำรวมและการพิพากษาดุจยม; คือศตาศวะ—รวดเร็วดุจม้าร้อย; คือกัณฐนะ—ผู้กวนมถัน ณ ลำคอ; และคือกัณฐปูชนะ—นีลกัณฐะผู้เป็นที่บูชา ณ ลำคอ ผู้ทรงพิษเพื่อคุ้มครองสรรพสัตว์

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.