Shloka 46

मुनिमोहशमनम्

Pāśupata-yoga, Siddhis, Puruṣa-darśana, Saṃsāra, and Prāṇa-Rudra Pañcāhutī

Devanagari script

पवनो हि यथा ग्राह्यो विचरन्सर्वमूर्तिषु पुरि शेते सुदुर्ग्राह्यस् तस्मात्पुरुष उच्यते

Transliteration

pavano hi yathā grāhyo vicaransarvamūrtiṣu puri śete sudurgrāhyas tasmātpuruṣa ucyate

Translation

كما أنّ الريح، وإن كانت تجول في جميع الصور، لا تُمسَك إلا بصعوبة، كذلك الربّ الساكن في «المدينة» (الجسد) عسيرٌ جدًّا على الإدراك؛ لذلك يُسمّى «بوروشا» (Puruṣa).

Word by Word

• पवनः: wind

• हि: indeed

• यथा: just as

• ग्राह्यः: graspable/apprehended

• विचरन्: moving about

• सर्वमूर्तिषु: in all forms/bodies

• पुरि: in the city (body)

• शेते: lies/abides

• सुदुर्ग्राह्यः: very difficult to grasp

• तस्मात्: therefore

• पुरुषः: Puruṣa (the indwelling Person/Lord)

• उच्यते: is called

Speaker

Suta Goswami (narrating the doctrine to the sages at Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It shifts the focus from merely external form to inner realization: the true object of Linga-puja is Shiva as the subtle indweller, difficult to grasp like wind, known through disciplined worship and contemplation.

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

Shiva is presented as Pati—the Antaryamin who pervades all embodied forms (sarva-mūrtiṣu) yet remains sudurgrāhya, accessible not by ordinary senses but by purified awareness and Shaiva insight.

What ritualistic or Yogic practice is highlighted here?

It implies inward Pashupata-oriented upasana: turning attention to the ‘puri’ (body-city) to recognize the indwelling Puruṣa through japa, dhyana, and inner Linga-bhavana rather than sense-based grasping.