Shloka 46

सूर्यरथ-रचना, ध्रुव-प्रेरणा, मास-गणाः च

Jyotish-chakra: Surya’s Motion and Monthly Retinues

Devanagari script

उरगो वासुकिश्चैव कङ्कणीकश् च तावुभौ तुम्बुरुर् नारदश्चैव गन्धर्वौ गायतां वरौ

Transliteration

urago vāsukiścaiva kaṅkaṇīkaś ca tāvubhau tumburur nāradaścaiva gandharvau gāyatāṃ varau

Translation

اُرگ، واسُکی اور کَنگَنیِک—وہ دونوں؛ اور تُنبُرو اور نارَد—گندھروؤں میں برتر—گیت گا کر ستوتی کی صورت میں بھکتی پشوپتی شِو کے قدموں میں نذر کرتے ہیں۔

Word by Word

• उरगः: Uraga (a named celestial being/serpent-associated attendant)

• वासुकिः: Vāsuki (serpent-king, divine attendant)

• च एव: and indeed

• कङ्कणीकः: Kaṅkaṇīka (a named attendant/musician)

• च: and

• तौ उभौ: those two

• तुम्बुरुः: Tumburu (chief Gandharva musician)

• नारदः: Nārada (divine sage and celestial minstrel)

• च एव: and also

• गन्धर्वौ: the two Gandharvas/celestial musicians

• गायताम्: of singers/among those who sing

• वरौ: the best, excellent ones

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Vasuki
• Tumburu
• Narada
• Gandharvas
• Shiva

FAQs

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

It frames stuti (praise) and sacred sound as a valid offering—Gandharva music becomes a form of upacāra to Śiva, supporting Linga worship through nāda-bhakti (devotion via sound).

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

By placing the best celestial singers in praise, the verse implies Śiva as Pati—the supreme Lord worthy of all stuti—whose grace loosens pāśa (bondage) and uplifts the paśu (individual soul).

What ritualistic or Yogic practice is highlighted here?

Stotra-gāna and nāda-upāsanā (worship through chant and music), aligning with Pāśupata-oriented devotion where focused praise supports inner purification and steadiness of mind.