Shloka 119

उमामहेश्वरव्रतं—पञ्चाक्षरमन्त्रस्य माहात्म्यं, न्यासः, जपविधिः, सदाचारः, विनियोगः

Devanagari script

तस्माच्छतगुणोपांशुः सहस्रो मानसः स्मृतः यद् उच्चनीचस्वरितैः शब्दैः स्पष्टपदाक्षरैः

Transliteration

tasmācchataguṇopāṃśuḥ sahasro mānasaḥ smṛtaḥ yad uccanīcasvaritaiḥ śabdaiḥ spaṣṭapadākṣaraiḥ

Translation

तस्माच्छतगुणोपांशुः सहस्रो मानसः स्मृतः । यदुच्चनीचस्वरितैः शब्दैः स्पष्टपदाक्षरैः ॥

Word by Word

• tasmāt: therefore

• śataguṇaḥ: hundredfold (more efficacious)

• upāṁśuḥ: whispered/inaudible-lipped japa

• sahasraḥ: thousandfold (more efficacious)

• mānasaḥ: mental japa (performed in the mind)

• smṛtaḥ: is declared/remembered (in tradition)

• yat: that which

• ucca-nīca-svaritaiḥ: with high and low tones/intonations

• śabdaiḥ: with sounds (audible utterance)

• spaṣṭa-pada-akṣaraiḥ: with clearly pronounced words and syllables.

Speaker

Suta Goswami (narrating the teaching on japa within the Linga Purana discourse)

Characters & Entities

• Shiva

FAQs

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

It prioritizes inner worship (antar-yāga) during Linga-pūjā: moving from audible recitation to whispered and finally mental japa, which is taught as far more fruitful for pleasing Pati (Shiva) and purifying the pashu (individual soul).

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

By valuing mānasa-japa most, it implies Shiva is approached most directly through inward, subtle awareness—beyond gross sound—supporting the Shaiva Siddhānta emphasis that Pati is realized when the mind becomes purified and one-pointed, loosening pasha (bondage).

What ritualistic or Yogic practice is highlighted here?

A graded discipline of japa—vācika (audible), upāṁśu (whispered), and mānasa (mental)—with the yogic takeaway that mental repetition is the most potent for dhyāna, mantra-siddhi, and Pashupata-oriented inner restraint.