mahāśivarātri: Attempt at a saṃskṛta verse on śiva
This is just an attempt by someone with zero background in saMskRta poetry. There is no metre here per se. But may these 4 lines of 28 syllables each be an offering to the god who gave the 28 siddhAnta Agama-s as the essence of the 4 veda-s for mahāśivarātri
He (yaH) who is the lord of the cidambara (City or inner space of heart where brahman dwells), the one who is adorned (shobhitaH) by the good actions (sukAryeNa) of the crushing (sUdaka) of the stain (kalaGka) caused (kRta) by the seperation (viraha) from the svarUpa
This refers to the siddhAnta doctrine that the primal impurity of ANava (atomism) or mUla-mala (thus, the filth/stain) falsely makes one think that he is a finite, embodied soul (atom) when he is reality is as expansive and blissful as shiva. Shiva removes this filth by means of dIkSA and anugraha (Grace). He is ornamented by the numerous initiations and other acts of grace, where he has graced souls with the removal of mala.
He who is agitated (kSobhitaH) by the [erotic] play (vihAreNa) in the lotus-endowed waters (sapaGkajodaka) by varAha of good form (surUpavarAha), the lord (pati) of the one who has the oceans (nidhi) as her garments nidhyambarI–earth)
The idea for this is from shrI sambandhar’s & appar’s old tamizh poems where he refers to varAha’s tusk on the neck of shiva as an ornament. varAha after finishing his work is imagined in some purANas as indulging in erotic sport with bhUdevI. That play has been imagined as a play in the muddy (paGka) lotus-filled waters….
shiva is apparently upset with that play which causes the cosmos to tremble and after causing him to leave that body & go back to his blissful & peaceful station in vaikuNTha, keeps varAha’s tusk as keepsake. But as we will see in line 3, the tusk comes handy.
Also, the word paGkaja has been chosen for lotus as mud invokes shrI varAha association very well and sapaGkajodaka rhymes with previous line’s kalaGkasUdaka & subsequent shivAgkamodaka & saTaGkabodhaka.
He who is the lord (patiH) with vidyA (knowledge) as his garments (vidyAmbara), who makes write (lekhayati) kumAra, who, holding (dhRta) the good tusk (su-rada) of the boar (sUkara), delights (modaka) the lap of shivA (devI) (shivAGka)
The basic premise for this whole poem was this imagery of baby skanda doing akSarAbhyAsam with the tusk of his uncle that shiva kept as souvenir when helping him get out of the avatAra and go back to vaikuNTha. Since he is too young to do it, shiva makes him write with that tusk.
That one; he, the lord of the cloth to be pierced (vidhya+ambara; vidhya: to be pierced), the one who supports/carries (bhRta) the good-natured/compassionate (sUrata) ones of good actions (sukara); the teacher (bodhakaH) endowed with the axe (saTaGka; referring to the iconographic axe); he (the one who is all these things described in these four lines) causes me (mAm) to attain (prApayati) knowledge (vidyA).
The cloth to be pierced is the tiras of shaiva siddhAnta; the tirodhana shakti of shiva that veils our consciousness and limits our self-awareness. It is a cloth/curtain that is to be pierced (vidhya) as that is the main function of sadAshiva–to pierce through the veil and free us…..Since shiva/sadAshiva is the lord of this tiras/curtain, the lord of the tirodhana shakti; he is called vidhyAmbarapati.
He carries and sustains the great sages, gods and bhaktas who have pleased him with good acts. He causes me to attain knowledge.
The author of this poem thanks @yaajushi bhagini for her kind assistance and constructive criticisms, and @rkedar1 and @pinakasena for their feedback on the poem.