Shloka 8

Adhyaya 44: Nandikesvara’s Manifestation and Abhisheka; The Rule of Namaskara in Shiva-Nama

Devanagari script

दर्दुरैस्तलघातैश् च कच्छपैः पणवैरपि वाद्यमानैर्महायोगा आजग्मुर्देवसंसदम्

Transliteration

darduraistalaghātaiś ca kacchapaiḥ paṇavairapi vādyamānairmahāyogā ājagmurdevasaṃsadam

Translation

Cuando los grandes yoguis se acercaron, la asamblea divina se colmó de música resonante—tambores de “rana” y de “tortuga”, y también paṇavas de mano tocados—anunciando la llegada auspiciosa de quienes han perfeccionado el Pāśupata-yoga.

Word by Word

• दर्दुरैः: with dardura-drums (frog-shaped/‘frog’ drums)

• तलघातैः: with time-keeping beats/struck rhythms (lit. ‘striking the tāla’)

• च: and

• कच्छपैः: with kacchapa-drums (turtle-shaped drums)

• पणवैः: with paṇava hand-drums

• अपि: also

• वाद्यमानैः: being played/sounded

• महायोगाः: great yogins, highly accomplished practitioners

• आजग्मुः: came/arrived

• देवसंसदम्: the assembly of the gods

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Devas
• Mahāyogins

FAQs

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

The verse frames the Devas’ assembly as ritually sanctified through sacred sound, implying that approach to the Lord (Pati) and His symbols (including the Liṅga) is traditionally preceded by auspicious nāda (drummed rhythms) that purify the space and signal divine presence.

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

By highlighting “mahāyogāḥ,” it points to Shiva-tattva as the supreme Yogin’s principle—Pati as the source and goal of yoga—whose nearness is marked by harmony, order, and auspicious resonance within the deva-sabha.

What ritualistic or Yogic practice is highlighted here?

It emphasizes sacred sound (vādyā) as an upacāra-like accompaniment to divine approach, aligning with Pāśupata discipline where external rites and inner yoga together prepare the pashu (soul) to move toward the Pati beyond pāśa (bondage).