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
“Onde, pois, está o tocar do mṛdaṅga, e onde está o ḍamaru? Onde está o ribombar dos bherī, e onde está o bramido infausto dos cornos?”
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.