Shloka 17

Adhyaya 73 — त्रिपुरदाहे ब्रह्मस्तवः

Brahmā’s Hymn in the Context of Tripura’s Burning

Devanagari script

वायुर्भस्मेति च व्योम तथाम्भः पृथिवी तथा त्रियायुषं त्रिसंध्यं च धूलयेद् भसितेन यः

Transliteration

vāyurbhasmeti ca vyoma tathāmbhaḥ pṛthivī tathā triyāyuṣaṃ trisaṃdhyaṃ ca dhūlayed bhasitena yaḥ

Translation

Người thoa thân bằng tro thánh—quán tưởng tro ấy là Vāyu (gió), là Vyoma (hư không), là Ambhas (nước), và là Pṛthivī (đất)—và thực hành việc thoa tro vào ba thời sandhyā, sẽ đạt thọ mạng ba bậc và được thanh tịnh nhờ hạnh Pāśupata.

Word by Word

• vāyuḥ: wind-principle

• bhasma: sacred ash

• iti: thus (as)

• ca: and

• vyoma: space/ether

• tathā: likewise

• ambhaḥ: water

• pṛthivī: earth

• tathā: also

• tri-āyuṣam: threefold life-span/three measures of longevity

• tri-sandhyam: the three junction-times (dawn, noon, dusk)

• ca: and

• dhūlayet: should smear/dust (oneself)

• bhasitena: with ash

• yaḥ: he who

Speaker

Suta Goswami (narrating Shiva’s bhasma-vidhi within the Purva-Bhaga discourse)

Characters & Entities

• Shiva

FAQs

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

It links Linga-oriented Shaiva practice to bhasma-dhāraṇa: ash is not mere decoration but a purificatory, vow-based act performed at the three sandhyās as part of disciplined worship of Pati (Shiva).

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

By meditating on ash as the elemental field (wind, space, water, earth), the practitioner recognizes all tattvas as pervaded and transcended by Pati—Shiva—while the pashu (bound soul) moves from pasha (bondage) toward purification.

What ritualistic or Yogic practice is highlighted here?

Bhasma-dhāraṇa at the three sandhyās with bhāvanā (contemplation) of the elements—an outer rite supporting inner Pāśupata discipline (yoga of purification and detachment).