Shloka 37

Adhyaya 44: Nandikesvara’s Manifestation and Abhisheka; The Rule of Namaskara in Shiva-Nama

Devanagari script

शिरस्यञ्जलिमादाय तुष्टाव च समाहितः प्राञ्जलिः प्रणतो भूत्वा जयशब्दं चकार च

Transliteration

śirasyañjalimādāya tuṣṭāva ca samāhitaḥ prāñjaliḥ praṇato bhūtvā jayaśabdaṃ cakāra ca

Translation

Chắp tay (añjali) đặt lên đỉnh đầu, tâm ý nhiếp trọn trong định, Ngài dâng lời tán thán. Với tay chắp và thân cúi lạy, Ngài còn cất tiếng khải hoàn: “Jaya!” kính dâng lên Pati—Đấng tháo gỡ dây pasha trói buộc pashu.

Word by Word

• śirasi: on the head

• añjalim: joined palms/añjali

• ādāya: having placed/taken up

• tuṣṭāva: he praised/eulogized

• ca: and

• samāhitaḥ: composed, inwardly concentrated

• prāñjaliḥ: with folded hands

• praṇataḥ: bowed down, prostrated

• bhūtvā: having become/doing so

• jaya-śabdam: the word/cry ‘jaya’ (victory)

• cakāra: he made/uttered

• ca: and

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 codifies core gestures of Śaiva pūjā—añjali on the head, prāñjali, praṇāma, and stuti—showing that outer ritual is meant to express inner samāhita (collected devotion) toward the Linga as Shiva.

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

By directing victory and praise to the Lord approached through humility and concentration, the verse implies Shiva as Pati—the supreme master—who is worthy of stuti and whose grace (anugraha) subdues bondage (pāśa) for the soul (paśu).

What ritualistic or Yogic practice is highlighted here?

A blend of pūjā-vidhi and yogic bhāva: samāhita (one-pointed composure), añjali and praṇāma (surrender), and jayaśabda (devotional acclamation) as a focused offering to Shiva.