Shloka 46

Devanagari script

एष त्रिमात्रो विज्ञेयो व्यञ्जनं चात्र चेश्वरः प्रथमा विद्युती मात्रा द्वितीया तामसी स्मृता

Transliteration

eṣa trimātro vijñeyo vyañjanaṃ cātra ceśvaraḥ prathamā vidyutī mātrā dvitīyā tāmasī smṛtā

Translation

Dieser Herr ist als der Dreimātrige (trimātrā) zu erkennen; und hier ist er auch das vyañjana, das den Sinn offenbar macht. Die erste Mātrā wird als vidyutī erinnert, leuchtend wie ein Blitz; die zweite wird als tāmasī gelehrt, verhüllend, von der Natur des tamas.

Word by Word

• eṣaḥ: this (Ishvara)

• trimātraḥ: possessing three mātrās/three measures

• vijñeyaḥ: to be known/realized

• vyañjanam: that which manifests/expresses (meaning), the revealing principle

• ca: and

• atra: here/in this context

• ca īśvaraḥ: indeed the Lord

• prathamā: the first

• vidyutī: lightning-like, radiant

• mātrā: measure, syllabic unit, subtle power

• dvitīyā: the second

• tāmasī: tamasic, obscuring

• smṛtā: remembered/declared in tradition

Speaker

Suta Goswami (narrating the Linga Purana’s teaching to the sages of Naimisharanya)

Characters & Entities

• Shiva
• Ishvara

FAQs

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

It frames Ishvara (Shiva) as realized through subtle sonic measures (mātrās), implying that Linga-upāsanā is not only outer worship but also mantra-based inner recognition of the Pati who becomes manifest through sacred sound.

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

Shiva is presented as trimātra—beyond yet expressing Himself through three ordered powers—and as vyañjana, the principle that makes meaning and consciousness evident, while also holding both illumination (vidyutī) and veiling (tāmasī) aspects within His śakti.

What ritualistic or Yogic practice is highlighted here?

It points to mātrā-sādhana—disciplined mantra-japa and nāda-anusandhāna—where the sādhaka moves from tāmasī (obscuration) toward vidyutī (clarity), loosening pāśa (bondage) upon the paśu (soul) by the grace of Pati (Shiva).