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
ആദിയിൽ—ത്രി-പഞ്ചരൂപത്തിലും പതിനാറു സ്വരങ്ങളുടെ മൂന്നു കൂട്ടങ്ങളിലും—ആദ്യമായി ‘സ’കാരമുയരുമ്പോൾ, അതുതന്നെ ആരംഭ മഹാമന്ത്രമാകുന്നു.
Suta Goswami (narrating the Kailasa discourse to the sages, summarizing Shaiva mantra-śāstra)
Tattva Level: pati
Shiva Form: Tatpurusha
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.