Shloka 39

Adhyaya 8: Yogasthanas, Ashtanga Yoga, Pranayama-Siddhi, and Shiva-Dhyana leading to Samadhi

Devanagari script

स्वाध्यायस्तु जपः प्रोक्तः प्रणवस्य त्रिधा स्मृतः वाचिकश्चाधमो मुख्य उपांशुश्चोत्तमोत्तमः

Transliteration

svādhyāyastu japaḥ proktaḥ praṇavasya tridhā smṛtaḥ vācikaścādhamo mukhya upāṃśuścottamottamaḥ

Translation

স্বাধ্যায়কেই জপ বলা হয়েছে; আর প্রণব (ওঁ)-এর জপ তিন প্রকার স্মৃত। উচ্চারিত (বাচিক) জপ অধম, মানস জপ প্রধান, আর উপাংশু (নিম্নস্বরে/গুপ্ত) জপ সর্বোত্তম।

Word by Word

• स्वाध्यायः: svādhyāya (self-study/recitation of sacred teaching)

• तु: indeed

• जपः: japa (repetitive mantra-recitation)

• प्रोक्तः: is declared

• प्रणवस्य: of the Praṇava (Oṁ)

• त्रिधा: in three ways

• स्मृतः: is remembered/traditionally taught

• वाचिकः: vocal/aloud

• च: and

• अधमः: lowest

• मुख्यः: principal/primary

• उपांशुः: whispered/low-voiced (between speech and mind)

• च: and

• उत्तमोत्तमः: the best of the best/supremely excellent

Speaker

Suta Goswami (narrating to the sages of Naimisharanya, conveying Shaiva discipline of Pranava-japa)

Characters & Entities

• Shiva

FAQs

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

It prioritizes inner worship (antar-yajana) through Praṇava-japa, indicating that refined, subtle recitation supports Linga-upāsanā by turning the pashu (soul) inward toward Pati (Śiva).

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

By centering the Praṇava and valuing mental/whispered japa, the verse implies Śiva-tattva is approached most truly through subtle, interiorized awareness rather than merely external sound—moving from gross to subtle toward the Lord.

What ritualistic or Yogic practice is highlighted here?

Praṇava-japa as svādhyāya, taught in three modes—vācika (aloud), upāṁśu (whispered), and mānasa (mental)—with emphasis on the subtler forms as superior for yogic concentration in a Pāśupata-oriented discipline.