Shloka 63

देवादिसृष्टिकथनम् (वसिष्ठशोकः, पराशरजन्म, एकलिङ्गपूजा, रुद्रदर्शनम्)

Devanagari script

मातर्मातः कथं त्यक्त्वा मङ्गलाभरणानि वै आसीना भर्तृहीनेव वक्तुमर्हसि शोभने

Transliteration

mātarmātaḥ kathaṃ tyaktvā maṅgalābharaṇāni vai āsīnā bhartṛhīneva vaktumarhasi śobhane

Translation

Ina, iginagalang na ina—bakit mo itinapon ang mga mapalad na palamuti at nakaupo na tila nawalan ng asawa? O marikit, nararapat mong sabihin sa akin ang nangyari.

Word by Word

• मातर्/मातः: O mother

• कथम्: how

• त्यक्त्वा: having abandoned/cast aside

• मङ्गल-आभरणानि: auspicious ornaments (tokens of marital auspiciousness)

• वै: indeed

• आसीना: sitting

• भर्तृ-हीना-इव: as if without a husband/lord

• वक्तुम्: to speak/tell

• अर्हसि: you ought/are fit

• शोभने: O beautiful one

Speaker

Suta (narrating an internal dialogue; the immediate speaker is a son/young male addressing his mother within the story)

Characters & Entities

• Shiva
• Shakti

FAQs

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

By noticing the removal of “mangala” ornaments, the verse frames separation and sorrow as a loss of auspicious alignment; in Shaiva practice, restoring auspiciousness is ultimately fulfilled through turning the mind toward Pati (Shiva) via devotion and worship.

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

Indirectly, it contrasts a limited “lord” (bhartṛ) with the deeper Shaiva Siddhanta truth: the real Pati is Shiva, whose presence restores auspiciousness (mangala) and whose absence is experienced by the pashu as grief under pasha (bondage).

What ritualistic or Yogic practice is highlighted here?

No specific puja-vidhi is stated; the verse highlights mangala-lakshanas (auspicious marital signs) as dharmic indicators, which in Shaiva framing point inward to steadiness of mind and devotion—preconditions for disciplined Shiva-puja and Pashupata-oriented self-restraint.