Shloka 39
Kāla-vañcana (Overcoming/Outwitting Time) and the Pañcabhūta Basis of the Body
तस्माच्छब्दा नव प्रोक्ताः प्राणविद्भिस्तु लक्षिताः । तान्प्रवक्ष्यामि यत्नेन नादसिद्धिमनुक्रमात्
tasmācchabdā nava proktāḥ prāṇavidbhistu lakṣitāḥ | tānpravakṣyāmi yatnena nādasiddhimanukramāt
لذلك أُعلِنَت تسعةُ أصواتٍ (śabda) وقد ميّزها العارفون بالبرانا (prāṇa) تمييزًا دقيقًا. وسأشرحها بعنايةٍ وبالترتيب، بوصفها وسيلة نيل الكمال عبر النادا (nāda)، الصوت الباطني.
Suta Goswami (narrating the Uma-saṃhitā teachings to the sages, presenting a yogic discourse on nāda and prāṇa)
Tattva Level: pashu
Shiva Form: Dakṣiṇāmūrti
Role: teaching
FAQs
It frames sound (śabda) as a disciplined yogic path: the sages of prāṇa identify specific inner sounds, and mastering them in order leads to nāda-siddhi—an inward absorption that supports liberation under Shiva’s grace.
In Shaiva Siddhanta, Saguna worship (such as Linga-pūjā and mantra) purifies the mind and steadies devotion; this verse points to the subtler, inner continuity of that worship—sound as a doorway from external devotion to internal realization of Shiva as Pati.
A nāda-and-prāṇa based meditation is implied: regulate the breath, withdraw attention inward, and contemplate the arising inner sounds sequentially, using mantra-japa (notably Shiva-mantras) as support for steadiness and purity.