Shloka 59
Ratnagrīva’s Pilgrimage and the Prescribed Procedure for Visiting Sacred Tīrthas
तदा दुंदुभयो भेर्य आनकाः पणवास्तथा । शंखवीणादिकाश्चैवाध्मातास्तद्वादकैर्मुहुः
tadā duṃdubhayo bherya ānakāḥ paṇavāstathā | śaṃkhavīṇādikāścaivādhmātāstadvādakairmuhuḥ
ત્યારે દુન્દુભિ, ભેરી, આનક, પણવ તેમજ શંખ, વીણા વગેરે વાદ્યો તેમના વાદકો દ્વારા વારંવાર વગાડાયા।
Narrator (contextual, within the Pulastya–Bhīṣma dialogue frame of the Pātālakhaṇḍa)
Primary Rasa: adbhuta
Secondary Rasa: vira
Sandhi Resolution Notes: पणवास्तथा = पणवाः + तथा; शंखवीणादिकाश्चैवाध्माताः = शङ्खवीणादिकाः + च + एव + आध्माताः; तद्वादकैर्मुहुः = तत् + वादकैः + मुहुः
FAQs
It depicts an auspicious, celebratory soundscape where multiple musical instruments—drums, conches, and string instruments—are played repeatedly, indicating a festive or ceremonial moment.
Such instruments commonly mark maṅgala (auspiciousness), royal or divine processions, temple rites, victories, or major sacred events; their collective sounding signals grandeur and sanctity.
While not a direct moral injunction, it underscores the Purāṇic ideal of honoring sacred moments with reverence and communal celebration—external harmony (music/ritual) reflecting inner joy and devotion.