प्रलय-तत्त्वलयः, नीललोहित-रुद्रः, अष्टमूर्तिस्तवः, एवं ब्रह्मणो वैराग्यम्
पशूनां पतये चैव पावकायातितेजसे भीमाय व्योमरूपाय शब्दमात्राय ते नमः
paśūnāṃ pataye caiva pāvakāyātitejase bhīmāya vyomarūpāya śabdamātrāya te namaḥ
سلامٌ وسجودٌ لك—يا پَتي (Pati)، ربَّ جميعِ البَشُو (paśu) أي النفوسِ المقيَّدة. سلامٌ للنار (Pāvaka) ذاتِ البهاء الفائق. سلامٌ للمهيبِ المُرعِب (Bhīma). سلامٌ لمن صورتُه الفضاءُ الواسع (vyoma). وسلامٌ لك، يا جوهرَ الصوتِ المحض (śabda-mātra)، الحقيقةَ اللطيفةَ التي تُدرَك بالمانترا.
Suta Goswami (narrating a traditional Shiva-stuti within the chapter’s discourse)
It praises Shiva as Pashupati—the liberating Lord of bound souls—while linking worship to subtle realization: Shiva is encountered not only as a form but as vyoma (all-pervasive space) and śabda (mantric essence), key to Linga-upasana.
Shiva is portrayed as both transcendent and immanent: surpassing radiance (atitejas), awe-inspiring sovereignty (bhima), all-pervading expanse (vyoma-rupa), and the subtlest principle accessible through mantra as pure sound (shabda-matra).
Mantra-centric worship is implied: contemplating Shiva as śabda-mātra supports japa and inner absorption (Pashupata-oriented sadhana), while the fire imagery evokes purified offering and disciplined tapas in Shiva-puja.