Shloka 29
सत्यप्रतिज्ञा-तपःसंवादः
Pārvatī’s Vow of Truth and the Dialogue on Her Tapas
क्व वा मृदंगवादश्च क्व च तड्डमरुस्तथा । क्व च भेरीकलापश्च क्व च शृंगरवोऽशुभः
kva vā mṛdaṃgavādaśca kva ca taḍḍamarustathā | kva ca bherīkalāpaśca kva ca śṛṃgaravo'śubhaḥ
“Di manakah paluan mṛdaṅga, dan di manakah ḍamaru? Di manakah gemuruh bherī, dan di manakah pula tiupan tanduk yang tidak membawa tuah?”
Suta Goswami (narrating to the sages at Naimisharanya)
Tattva Level: pati
Shiva Form: Naṭarāja
Jyotirlinga: Viśvanātha
Sthala Purana: The soundscape contrast (mṛdaṅga/bherī vs ḍamaru/śṛṅga) evokes Kāśī’s Viśvanātha as Lord of the universe where auspicious temple music and cremation-ground symbolism coexist; Śiva’s ḍamaru is central to cosmic rhythm and dissolution of ignorance.
Significance: Kāśī-darśana is sought for liberation-oriented bhakti; the Lord’s 'cosmic music' symbolizes cutting bondage and granting final good (śiva) beyond conventional auspicious/inauspicious binaries.
Type: stotra
Shakti Form: Pārvatī
Role: teaching
Offering: dipa
FAQs
The verse contrasts sacred, auspicious ritual sounds (drums used in worship) with “inauspicious” noise, implying that devotion should be aligned with śiva-maṅgala (Shiva’s auspiciousness) rather than disorderly or impure expressions that distract the mind from bhakti.
In Saguna Shiva worship—such as Linga-pūjā—sound (vādyāni, mantra, stotra) is part of upacāra. The verse underscores discernment: offerings, including music, should support reverence and sattva, not agitation or inauspicious display.
Prefer sāttvika worship: chant the Panchakshara (“Om Namaḥ Śivāya”) with steady attention, and accompany pūjā with clean, devotional sounds; avoid practices that create mental restlessness or are treated as inauspicious omens during worship.