Shloka 47

अध्याय 91: अरिष्ट-लक्षण, मृत्यु-संस्कार, पाशुपत-धारणा तथा ओङ्कार-उपासना

Devanagari script

तृतीयां निर्गुणां चैव मात्रामक्षरगामिनीम् गान्धारी चैव विज्ञेया गान्धारस्वरसंभवा

Transliteration

tṛtīyāṃ nirguṇāṃ caiva mātrāmakṣaragāminīm gāndhārī caiva vijñeyā gāndhārasvarasaṃbhavā

Translation

The third mātrā, too, is to be known as nirguṇā—beyond the qualities—and as the measure that moves through the imperishable syllable (akṣara). That mātrā is to be understood as Gāndhārī, arising from the Gāndhāra musical note.

Word by Word

• तृतीयाम्: the third

• निर्गुणाम्: beyond the guṇas (qualities)

• च एव: and indeed

• मात्राम्: phonetic measure/metrical unit (mātrā)

• अक्षर-गामिनीम्: moving in/going through the imperishable syllable (akṣara)

• गान्धारी: Gāndhārī (name of a mātrā/intonation)

• च एव: and indeed

• विज्ञेया: should be known/understood

• गान्धार-स्वर-सम्भवा: born from the Gāndhāra note (musical tone)

Speaker

Suta Goswami (narrating the Linga Purana’s teaching on sacred sound/intonation)

Characters & Entities

• Shiva

FAQs

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

It links Linga-upāsanā to disciplined mantra-recitation: correct mātrā and svara (here, Gāndhāra) refine nāda, making worship align with the akṣara—Shiva as the imperishable reality.

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

By calling the mātrā “nirguṇa” and “akṣaragāminī,” it points to Shiva as Pati who transcends the guṇas and is realized through the imperishable (akṣara) dimension of sound-consciousness.

What ritualistic or Yogic practice is highlighted here?

Svara-śuddhi and mātrā-śuddhi in japa/recitation—an element of nāda-yoga within Pashupata-oriented practice, where precise intonation supports inner absorption.