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Shloka 6

तुलसी-शङ्खचूडोपाख्यानम् — Viṣṇu’s Disguise and the Tulasī Episode

Prelude to Śaṅkhacūḍa’s Fall

दुन्दुभिं वादयामास तुलसी द्वारसन्निधौ । जयशब्दं च तत्रैव बोधयामास सुन्दरीम्

dundubhiṃ vādayāmāsa tulasī dvārasannidhau | jayaśabdaṃ ca tatraiva bodhayāmāsa sundarīm

Standing near the doorway, Tulasī beat the kettle-drum; and right there she also roused the beautiful lady with the cry of “Victory!”

दुन्दुभिम्drum (dundubhi)
दुन्दुभिम्:
Karma (कर्म)
TypeNoun
Rootदुन्दुभि (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया (2nd/द्वितीया), एकवचन
वादयामासcaused to sound, played
वादयामास:
Kriya (क्रिया)
TypeVerb
Rootवद्/वादय् (धातु: वादयति = causative of वद्/वद्→वादय्)
Formलिट् (perfect), प्रथमपुरुष (3rd person), एकवचन; परस्मैपद; णिजन्त (causative)
तुलसीTulasi
तुलसी:
Karta (कर्ता)
TypeNoun
Rootतुलसी (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा (1st/प्रथमा), एकवचन
द्वारसन्निधौnear the door
द्वारसन्निधौ:
Adhikarana (अधिकरण)
TypeNoun
Rootद्वार (प्रातिपदिक) + सन्निधि (प्रातिपदिक)
Formपुंलिङ्ग, सप्तमी (7th/सप्तमी), एकवचन; तत्पुरुष (द्वारस्य सन्निधिः)
जयशब्दम्a cry of victory
जयशब्दम्:
Karma (कर्म)
TypeNoun
Rootजय (प्रातिपदिक) + शब्द (प्रातिपदिक)
Formपुंलिङ्ग, द्वितीया (2nd/द्वितीया), एकवचन; तत्पुरुष (जयस्य शब्दः)
and
:
Avyaya (अव्यय)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक-अव्यय (conjunction)
तत्रthere
तत्र:
Avyaya (अव्यय)
TypeIndeclinable
Rootतत्र (अव्यय)
Formदेशवाचक-अव्यय (adverb of place)
एवindeed, just
एव:
Avyaya (अव्यय)
TypeIndeclinable
Rootएव (अव्यय)
Formनिपात (particle)
बोधयामासinformed, made (someone) know
बोधयामास:
Kriya (क्रिया)
TypeVerb
Rootबुध् (धातु) → बोधयति (णिजन्त)
Formलिट् (perfect), प्रथमपुरुष (3rd person), एकवचन; परस्मैपद; णिजन्त (causative)
सुन्दरीम्the beautiful lady
सुन्दरीम्:
Karma (कर्म)
TypeNoun
Rootसुन्दरी (प्रातिपदिक)
Formस्त्रीलिङ्ग, द्वितीया (2nd/द्वितीया), एकवचन

Suta Goswami (narrating to the sages at Naimisharanya)

Tattva Level: pashu

Mantra: jaya

Shakti Form: Pārvatī

Role: nurturing

T
Tulasī

FAQs

Auspicious sound (the drum) and the proclamation of “jaya” symbolize the awakening of attention toward dharma and the Lord’s victorious protection—outer celebration reflecting inner alertness and devotion.

Though not naming the Liṅga directly, the verse uses traditional auspicious markers—drums and victory cries—commonly associated with Saguna worship and temple culture, where sound and proclamation support focused bhakti toward Shiva.

It suggests the use of sacred sound to steady the mind—e.g., beginning worship with auspicious sounds and then centering on mantra-japa such as the Pañcākṣarī “Om Namaḥ Śivāya,” turning external “jaya” into internal remembrance.