Shloka 35

उमास्वयंवरः / भवोद्वाहः, गणसमागमः, अविमुक्तक्षेत्रमाहात्म्यम्, तथा विनायक-उत्पत्तिसूचना

Devanagari script

तुंबरुर्नारदो हाहा हूहूश्चैव तु सामगाः रत्नान्यादाय वाद्यांश् च तत्राजग्मुस्तदा पुरम्

Transliteration

tuṃbarurnārado hāhā hūhūścaiva tu sāmagāḥ ratnānyādāya vādyāṃś ca tatrājagmustadā puram

Translation

ครั้นนั้น ตุมพุรุ นารท และคนธรรพผู้ขับสา—หาหา กับ หูหู—นำรัตนะและเครื่องดนตรี แล้วมุ่งไปยังนครนั้นในกาลนั้น

Word by Word

• तुंबरुः: Tumburu (a Gandharva musician)

• नारदः: Narada (divine sage)

• हाहा: Hāhā (a Gandharva)

• हूहूः: Hūhū (a Gandharva)

• च एव: and indeed

• तु: then/indeed

• सामगाः: Sama-chanters (singers of Sāma-veda melodies)

• रत्नानि: jewels/gems

• आदाय: taking/having taken

• वाद्यान्: musical instruments

• च: and

• तत्र: there

• आजग्मुः: went/arrived

• तदा: then/at that time

• पुरम्: city/fortified place

Speaker

Suta (narrating the Purana to the sages, with internal narrative description)

Characters & Entities

• Tumburu
• Narada
• Hāhā
• Hūhū
• Gandharvas

FAQs

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

It frames worship as upacāra offered through ratna (precious offerings) and nāda (sacred sound): music and Sama-chanting become devotional service directed toward the Pati (Shiva) and his sacred presence.

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

By implying that the divine is approached through purity of offering and vibration (nāda), it aligns with Shaiva Siddhanta’s view that Pati is worshipped through ordered rites and elevating sound that refines the pashu’s awareness beyond pāśa (bondage).

What ritualistic or Yogic practice is highlighted here?

Gāna and vādyopacāra—devotional singing (especially Sāma-style chant) and instrumental offering—highlight nāda as a supportive limb of pūjā, preparing the mind for concentration and reverence in Shaiva practice.