Shloka 3

मदनदाहः — पार्वतीतपः, स्वयंवरलीला, देवस्तम्भनं, दिव्यचक्षुर्दानम्

Devanagari script

जगाम स स्वयं ब्रह्मा मरीच्याद्यैर्महर्षिभिः तपोवनं महादेव्याः पार्वत्याः पद्मसंभवः

Transliteration

jagāma sa svayaṃ brahmā marīcyādyairmaharṣibhiḥ tapovanaṃ mahādevyāḥ pārvatyāḥ padmasaṃbhavaḥ

Translation

تب کنول سے پیدا ہونے والے برہما خود، مریچی وغیرہ مہارشیوں کے ساتھ، مہادیوی پاروتی کے مقدس تپوبن کی طرف روانہ ہوا۔

Word by Word

• जगाम: went

• स: he

• स्वयं: himself

• ब्रह्मा: Brahmā

• मरीच्याद्यैः: with Marīci and the others

• महर्षिभिः: with the great sages

• तपोवनम्: to the grove/forest of austerities

• महादेव्याः: of the Great Goddess

• पार्वत्याः: of Pārvatī

• पद्मसंभवः: the Lotus-born (Brahmā)

Speaker

Suta Goswami (narrating)

Characters & Entities

• Brahma
• Marichi
• Maharshis
• Parvati
• Mahadevi

FAQs

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

It sets the narrative ground: the creator Brahmā and the ṛṣis approach Pārvatī’s tapovana, indicating that even cosmic authorities seek the grace of Śakti, through whom devotion to Pati (Śiva) and the foundations of Linga-upāsanā are accessed.

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

By highlighting Mahādevī Pārvatī’s tapovana, the verse implies Śiva-tattva as inseparable from Śakti: Pati is approached through the power (Śakti) that reveals and mediates His presence—an essential Shaiva Siddhānta emphasis on Śiva-Śakti unity.

What ritualistic or Yogic practice is highlighted here?

Tapas in a tapovana is foregrounded—an ascetic discipline aligned with Pāśupata-oriented purification, where the paśu (bound soul) moves toward release from pāśa (bondage) by disciplined practice and seeking divine grace.