Shloka 46

मुनिमोहशमनम्

Pāśupata-yoga, Siddhis, Puruṣa-darśana, Saṃsāra, and Prāṇa-Rudra Pañcāhutī

Devanagari script

पवनो हि यथा ग्राह्यो विचरन्सर्वमूर्तिषु पुरि शेते सुदुर्ग्राह्यस् तस्मात्पुरुष उच्यते

Transliteration

pavano hi yathā grāhyo vicaransarvamūrtiṣu puri śete sudurgrāhyas tasmātpuruṣa ucyate

Translation

正如风虽游行于一切形相之中，却难以执取；同样，内在之主安住于“城”（此身）之内，极难被觉知；因此祂被称为“普鲁沙”（Puruṣa）。

Word by Word

• पवनः: wind

• हि: indeed

• यथा: just as

• ग्राह्यः: graspable/apprehended

• विचरन्: moving about

• सर्वमूर्तिषु: in all forms/bodies

• पुरि: in the city (body)

• शेते: lies/abides

• सुदुर्ग्राह्यः: very difficult to grasp

• तस्मात्: therefore

• पुरुषः: Puruṣa (the indwelling Person/Lord)

• उच्यते: is called

Speaker

Suta Goswami (narrating the doctrine to the sages at Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It shifts the focus from merely external form to inner realization: the true object of Linga-puja is Shiva as the subtle indweller, difficult to grasp like wind, known through disciplined worship and contemplation.

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

Shiva is presented as Pati—the Antaryamin who pervades all embodied forms (sarva-mūrtiṣu) yet remains sudurgrāhya, accessible not by ordinary senses but by purified awareness and Shaiva insight.

What ritualistic or Yogic practice is highlighted here?

It implies inward Pashupata-oriented upasana: turning attention to the ‘puri’ (body-city) to recognize the indwelling Puruṣa through japa, dhyana, and inner Linga-bhavana rather than sense-based grasping.