Shloka 7

Devanagari script

भेरीमुरजसंनादैर् आडम्बरकडिण्डिमैः मर्दलैर्वेणुवीणाभिर् विविधैस्तालनिःस्वनैः

Transliteration

bherīmurajasaṃnādair āḍambarakaḍiṇḍimaiḥ mardalairveṇuvīṇābhir vividhaistālaniḥsvanaiḥ

Translation

Dengan gemuruh bherī dan muraja, dengan ḍambara dan kaḍiṇḍima sebagai genderang perang; bersama mardala, seruling, vīṇā, dan aneka bunyi ketukan ritmis—balairung pun bergema dalam perayaan suci di hadapan Pati, Hakikat yang menampakkan diri sebagai Liṅga.

Word by Word

• भेरी (bherī): kettle-drum

• मुरज (muraja): muraja drum

• संनादैः (saṃnādaiḥ): with loud reverberations

• आडम्बर (āḍambara): a large drum/war-drum

• कडिण्डिमैः (kaḍiṇḍimaiḥ): with kaḍiṇḍima drums

• मर्दलैः (mardalaiḥ): with mardala drums

• वेणु (veṇu): flute

• वीणाभिः (vīṇābhiḥ): with vīṇās

• विविधैः (vividhais): with various kinds

• ताल (tāla): rhythm/time-beat, clapping

• निःस्वनैः (niḥsvanaiḥ): with sounds/resonances

Speaker

Suta Goswami (narrating to the sages of Naimisharanya)

Characters & Entities

• Shiva

FAQs

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

It highlights nāda-upacāra—offering sound (drums, instruments, rhythmic tāla) as an auspicious service during Linga-pūjā, showing that devotion can sanctify sensory activity into worship of Pati (Śiva).

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

By placing all resonant sound in the sphere of sacred celebration around the Linga, it implies Śiva as the inner ground of nāda (vibration) and the transcendent Pati who receives and purifies the devotees’ expressions.

What ritualistic or Yogic practice is highlighted here?

Ritually, it indicates festival-style upacāras—instrumental music and rhythmic tāla as offerings; yogically, it aligns with focusing the mind through sacred sound, redirecting the pashu’s senses away from bondage (pāśa) toward the Lord (Pati).