Shloka 29
Varaha-Pradurbhava Context: Prahlada’s Bhakti, Narasimha’s Ugra-Form, and Shiva’s Sharabha Intervention
स्तोष्यामस्त्वां कथं भासि देवदेव मृगाधिप स्तुतो ऽपि विविधैः स्तुत्यैर् भावैर्नानाविधैः प्रभुः
stoṣyāmastvāṃ kathaṃ bhāsi devadeva mṛgādhipa stuto 'pi vividhaiḥ stutyair bhāvairnānāvidhaiḥ prabhuḥ
اے دیودیو، اے مرگادھپ، اے پشوپتی! ہم تیری حمد کیسے کریں؟ تو بے اندازہ نور سے درخشاں ہے۔ بے شمار ستوتروں اور گوناگوں بھکتی بھاؤ سے ستوت ہونے پر بھی، اے پربھو، تو گفتار و فکر سے ماورا، ناقابلِ بیان اور لازوال ہے۔
Devotees/Devas offering a stuti within Suta’s narration (contextual hymn addressed to Shiva as Pashupati)
FAQs
It establishes that Shiva (the Linga’s indwelling Pati) is ultimately beyond complete verbal description; Linga-puja is therefore not mere recitation, but surrender through bhava (devotional inner state) and reverent approach to the transcendent Lord.
Shiva is addressed as Devadeva and Paśupati—supreme Pati—who “shines” beyond measure; even diverse hymns and moods cannot exhaust Him, indicating His transcendence over mind and speech while remaining accessible through devotion.
Bhava-centered upasana: offering stuti with varied devotional dispositions (nānāvidha-bhāva). This aligns with Pashupata-oriented practice where the pashu approaches Pati through disciplined devotion that loosens pasha (bondage).