Shloka 21

शिवार्चनविधिः — देवतानां पाशुपतव्रतप्राप्तिः तथा पशुपाशविमोक्षणम् (अध्याय ८०)

Devanagari script

किंचिद् विस्रस्तवस्त्राश् च स्रस्तकाञ्चीगुणा जगुः चतुर्थं पञ्चमं चैव षष्ठं च सप्तमं तथा

Transliteration

kiṃcid visrastavastrāś ca srastakāñcīguṇā jaguḥ caturthaṃ pañcamaṃ caiva ṣaṣṭhaṃ ca saptamaṃ tathā

Translation

کچھ کے کپڑے ذرا ڈھیلے ہو گئے تھے اور کمر بند کی ڈور بھی شل تھی؛ پھر بھی وہ ترتیب سے چوتھا، پانچواں، چھٹا اور ساتواں حصہ گاتی رہیں۔

Word by Word

• kiṃcit: slightly, somewhat

• visrasta-vastrāḥ: with loosened garments

• ca: and

• srasta-kāñcī-guṇāḥ: with slackened girdle-cords

• jaguḥ: they sang/recited

• caturtham: the fourth (section/verse)

• pañcamam: the fifth

• caiva: and indeed/also

• ṣaṣṭham: the sixth

• ca: and

• saptamam: the seventh

• tathā: likewise/so too

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It highlights that Linga-worship is performed through a structured sequence of recitation—moving through successive sections (fourth to seventh)—showing that devotion to Pati (Śiva) is expressed by ordered mantra/hymn practice.

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

Śiva-tattva is implied as the stabilizing Pati-principle: even when outer appearance becomes loosened in ecstatic devotion, the worship remains regulated, indicating Śiva as the inner lord who converts emotion into liberating discipline.

What ritualistic or Yogic practice is highlighted here?

A stotra/mantra-based puja sequence (krama-pāṭha-like progression) is emphasized—devotional singing as a regulated sādhana that reduces pasha (bondage) for the pashu (individual soul) by turning attention toward Pati.