Adhyaya 71: पुरत्रयवृत्तान्तः—ब्रह्मवरदानम्, मयकृतत्रिपुर-निर्माणम्, विष्णुमाया-धर्मविघ्नः, शिवस्तुति, त्रिपुरदाहोपक्रमः
यथा तरङ्गा लहरीसमूहा युध्यन्ति चान्योन्यमपांनिधौ च जलाश्रयादेव जडीकृताश् च सुरासुरास्तद्वदजस्य सर्वम्
yathā taraṅgā laharīsamūhā yudhyanti cānyonyamapāṃnidhau ca jalāśrayādeva jaḍīkṛtāś ca surāsurāstadvadajasya sarvam
جیسے سمندر میں موجیں—لہروں کے جھنڈ—آپس میں ٹکراتی اور جھگڑتی ہیں، ویسے ہی آب کے سہارے (پراکرتی) میں پناہ لے کر جمود پانے والے دیو اور اسور باہم کشمکش کرتے ہیں۔ اسی طرح یہ سب اَج (ازلی، اَجنما) پتی-سوروپ پروردگار کی مایا کا ہی ظہور ہے۔
Suta Goswami (narrating the Purana to the sages at Naimisharanya)
It reframes cosmic conflict as māyā-driven motion like waves in water, directing the devotee to worship the Linga as the unmoving Pati (Shiva) beyond the agitation of prakṛti.
Shiva is indicated as Aja (the Unborn), the ultimate ground in which all phenomena and oppositions arise; Devas and Asuras act as conditioned pashus, while Shiva remains the transcendent Pati whose power manifests the play.
A key Pashupata takeaway is vairāgya (dispassion): observe conflict as wave-like māyā, steady the mind in Shiva through dhyāna on the Linga and withdrawal from pasha-bound identifications.