Shloka 37
वीरभद्रस्य गमनप्रस्थानम् — Vīrabhadra’s Departure for Dakṣa’s Sacrifice
तदा भेरीमहानादः शंखाश्च विविधस्वनाः । जटाहरोमुखाश्चैव शृंगाणि विविधानि च
tadā bherīmahānādaḥ śaṃkhāśca vividhasvanāḥ | jaṭāharomukhāścaiva śṛṃgāṇi vividhāni ca
Then there arose the mighty booming of kettle-drums; conches too sounded in many different tones, and likewise the jhaṭā-hara and romukha instruments, along with various kinds of horns.
Suta Goswami (narrating the Rudra Samhita account to the sages at Naimisharanya)
Tattva Level: pati
Shiva Form: Vīrabhadra
FAQs
The verse highlights auspicious nāda (sacred sound) arising in a divine or ceremonial moment—music becomes an offering that sanctifies the atmosphere and supports bhakti, turning external sound into an inward remembrance of Shiva.
In Saguna Shiva worship—especially in temple pūjā and processions—conch, drums, and horns traditionally mark auspiciousness and invite focused devotion. Such sounds accompany offerings to the Linga, helping the mind gather toward Shiva as the compassionate Lord accessible through form.
A practical takeaway is nāda-upāsanā in a Shaiva spirit: begin worship with auspicious sounds (or attentive listening), then steady the mind by japa of the Panchākṣarī—“Om Namaḥ Śivāya”—as the inner ‘conch’ that leads attention to Shiva.