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Shloka 7

संध्याचरित्रवर्णनम् (Sandhyā-caritra-varṇanam) — “Narration of Sandhyā’s Austerity and Encounter with Śiva”

यद्रूपं चिंतयंती सा तेन प्रत्यक्षतां गतः

yadrūpaṃ ciṃtayaṃtī sā tena pratyakṣatāṃ gataḥ

สตีระลึกถึงพระผู้เป็นเจ้าในพระหทัยเป็นรูปใด ด้วยพลังแห่งสมาธินั้นเอง พระองค์ก็ทรงปรากฏต่อหน้านางโดยตรง

yat-rūpamthe form which
yat-rūpam:
Karma (कर्म)
TypeNoun
Rootyat (सर्वनाम-प्रातिपदिक) + rūpa (प्रातिपदिक)
FormNeuter (नपुंसकलिङ्ग), Accusative (2nd/द्वितीया), Singular (एकवचन); सम्बन्धः—यस्य तत् (relative)
cintayantīthinking/meditating
cintayantī:
Karta (कर्ता)
TypeVerb
Rootcintay (धातु)
FormPresent active participle (वर्तमान-कृदन्त/शतृ), Feminine (स्त्रीलिङ्ग), Nominative (1st/प्रथमा), Singular; parasmaipada sense
she
:
Karta (कर्ता)
TypeNoun
Roottad (सर्वनाम-प्रातिपदिक)
FormFeminine, Nominative (1st), Singular; pronoun
tenaby that (form)
tena:
Karana (करण)
TypeNoun
Roottad (सर्वनाम-प्रातिपदिक)
FormMasculine/Neuter, Instrumental (3rd/तृतीया), Singular; pronoun
pratyakṣatāmto direct manifestation/visibility
pratyakṣatām:
Gati/Karma (गति/कर्म)
TypeNoun
Rootpratyakṣatā (प्रातिपदिक)
FormFeminine, Accusative (2nd), Singular; abstract noun in -tā
gataḥwent/attained
gataḥ:
Karta (कर्ता)
TypeVerb
Rootgam (धातु)
FormPast passive participle (भूतकर्मणि कृदन्त/क्त), Masculine, Nominative (1st), Singular; agrees with implied subject (e.g., saḥ/śivaḥ)

Suta Goswami (narrating the Sati Khanda account to the sages of Naimisharanya)

Tattva Level: pati

Shiva Form: Sadāśiva

Shakti Form: Satī

Role: liberating

S
Shiva
S
Sati

FAQs

It teaches that the Lord responds to sincere dhyāna and bhakti: when the devotee’s mind becomes steady in Shiva, His grace ripens into pratyakṣa anugraha—direct, lived experience rather than mere belief.

It supports saguna-upāsanā: focusing on a chosen Shiva-form (including the Linga as a sacred support for contemplation) purifies attention, and through that concentrated reverence the Lord becomes experientially present to the worshipper.

Practice Shiva-dhyāna with japa of the Panchākṣarī (“Om Namaḥ Śivāya”) while visualizing a chosen form—often with Tripuṇḍra (bhasma) and rudrākṣa as supports—seeking inner steadiness rather than spectacle.