Shloka 4

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

Devanagari script

गायन्तश् च द्रवन्तश् च नृत्यन्तश् च महाबलाः मुखाडम्बरवाद्यानि वादयन्तस्तथैव च

Transliteration

gāyantaś ca dravantaś ca nṛtyantaś ca mahābalāḥ mukhāḍambaravādyāni vādayantastathaiva ca

Translation

Mereka yang amat perkasa itu bernyanyi, berlari-lari, dan menari; sambil itu juga meniup dan memalu alat-alat muzik yang bergema nyaring, dalam pesta sukacita memuliakan Pati (Śiva).

Word by Word

• गायन्तः: singing

• च: and

• द्रवन्तः: running/rushing

• च: and

• नृत्यन्तः: dancing

• च: and

• महाबलाः: of great strength (mighty ones)

• मुख-आडम्बर-वाद्यानि: loud/resounding mouth-blown musical instruments

• वादयन्तः: playing (making sound)

• तथा एव: just so/likewise

• च: and

Speaker

Suta Goswami (narrating to the sages of Naimisharanya; describing the gaṇas’ celebration)

Characters & Entities

• Shiva

FAQs

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

It portrays the auspicious, celebratory atmosphere surrounding Śiva’s presence—song, dance, and sacred sound function as mangala (propitiatory signs) that support focused reverence toward the Liṅga as Pati, the Lord of all.

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

Śiva-tattva is implied as the supreme center of divine joy: even His gaṇas become ecstatic, expressing devotion through movement and sound—signaling Pati’s sovereignty that draws all beings toward Him.

What ritualistic or Yogic practice is highlighted here?

The verse highlights devotional upacāra through gīta-vādya-nṛtya (song, instruments, and dance), which can accompany Liṅga-pūjā and supports Pāśupata-oriented inner absorption by turning the mind from pasha toward Pati.