Shloka 121

Adhyaya 71: पुरत्रयवृत्तान्तः—ब्रह्मवरदानम्, मयकृतत्रिपुर-निर्माणम्, विष्णुमाया-धर्मविघ्नः, शिवस्तुति, त्रिपुरदाहोपक्रमः

Devanagari script

लीलांबुजेन चाहत्य कलमाह वृषध्वजम् देव्युवाच क्रीडमानं विभो पश्य षण्मुखं रविसन्निभम्

Transliteration

līlāṃbujena cāhatya kalamāha vṛṣadhvajam devyuvāca krīḍamānaṃ vibho paśya ṣaṇmukhaṃ ravisannibham

Translation

دیوی نے کھیل ہی کھیل میں کنول سے وِرشَدھوج (شیو) کو چھوا اور کہا—“اے وِبھُو، دیکھئے؛ شَنمُکھ سکند کھیل رہا ہے، سورج کی مانند درخشاں۔”

Word by Word

• līlā-ambujena: with a lotus used in play

• ca: and

• āhatya: having struck/tapped

• kalā: the gentle/soft one (a tender, graceful lady)

• āha: said

• vṛṣa-dhvajam: to the Bull-bannered Lord (Śiva)

• devī: the Goddess (Śakti/Umā)

• uvāca: spoke

• krīḍamānam: playing, sporting

• vibho: O all-pervading Lord

• paśya: behold, see

• ṣaṇmukham: the Six-Faced One (Skanda/Kārttikeya)

• ravi-sannibham: comparable to the sun, sun-like in splendor.

Speaker

Devi (Parvati/Uma)

Characters & Entities

• Shiva
• Parvati
• Skanda (Kartikeya)

FAQs

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

Though not a direct ritual injunction, the verse reinforces the Shaiva vision that all divine manifestations (like Skanda) arise within Śiva’s sphere as Pati; devotion to the Linga naturally includes reverence to Śiva’s powers and emanations, strengthening bhakti and śaraṇāgati.

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

Śiva is addressed as Vṛṣadhvaja and Vibhu—both sovereign and all-pervading—indicating Pati, the transcendent Lord who remains present while divine līlā unfolds through Śakti and their son Skanda.

What ritualistic or Yogic practice is highlighted here?

The verse highlights līlā-bhāva (devotional contemplation of divine play), a supportive bhakti attitude that steadies the pashu (soul) and loosens pasha (bondage) through loving remembrance of Pati (Śiva), even when no specific puja-vidhi is stated.