Shloka 40
Paramātma-Svarūpa-Nirṇaya: Strī–Puṃ–Napuṃsaka-Vicāra
Inquiry into the Supreme Self and Gendered Forms
आद्ये त्रिपंचरूपे च स्वरे षोडशके त्रिषु । महामन्त्रो भवेदादौ स सकारो भवेद्यदा
ādye tripaṃcarūpe ca svare ṣoḍaśake triṣu | mahāmantro bhavedādau sa sakāro bhavedyadā
في البدء—في الهيئة ذات الثلاثة والخمسة، وفي المجموعات الثلاث من الحروف المتحركة الستة عشر—عندما تنبثق مقطعة «سا» أولاً، تصير منذ البداية هي المانترا العظمى.
Suta Goswami (narrating the Kailasa discourse to the sages, summarizing Shaiva mantra-śāstra)
Tattva Level: pati
Shiva Form: Tatpurusha
Type: panchakshara
FAQs
It highlights mantra-tattva: liberation-oriented worship begins with correctly apprehending sacred sound, where a specific seed-syllable (“sa”) is treated as an auspicious doorway into the Mahāmantra and Shiva-realization (Pati) in Shaiva Siddhanta.
Mantra is the sonic form of Saguna worship: through disciplined japa, the devotee approaches Shiva as the worshipful Lord (often contemplated with the Linga), while the sound-current purifies the bound soul (paśu) and loosens bondage (pāśa).
Practice mantra-japa with attention to the correct order and phonetic purity of syllables; as a Shaiva discipline, combine japa with Linga-dhyāna and traditional supports like bhasma (Tripuṇḍra) and rudrākṣa where prescribed.