Shloka 6

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

Devanagari script

भेरीमृदङ्गकाद्यैश् च पणवानकगोमुखैः वादित्रैर्विविधैश्चान्यैः पटहैरेकपुष्करैः

Transliteration

bherīmṛdaṅgakādyaiś ca paṇavānakagomukhaiḥ vāditrairvividhaiścānyaiḥ paṭahairekapuṣkaraiḥ

Translation

以贝利鼓与姆利檀伽鼓之声，又以般那瓦、阿那迦与牛口号角（gomukha）——并诸般乐器，以及帕塔哈鼓与单面普什迦罗鼓——他们轰然庆赞，奉敬湿婆：帕提，能松解众生（paśu）缚索（pāśa）之主。

Word by Word

• भेरी (bherī): kettle-drum

• मृदङ्ग (mṛdaṅga): barrel drum

• काद्यैः (kādyaiḥ): and other such (instruments)

• च (ca): and

• पणव (paṇava): small hand-drum

• आनक (ānaka): large drum

• गोमुख (gomukha): horn/trumpet shaped like a cow’s mouth

• वादित्रैः (vāditraiḥ): with musical instruments

• विविधैः (vividhaiḥ): of various kinds

• च (ca): and

• अन्यैः (anyaiḥ): other

• पटहैः (paṭahaiḥ): with paṭaha-drums

• एकपुष्करैः (eka-puṣkaraiḥ): with single-headed puṣkara-drums

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 the utsava (festival) dimension of Shiva worship—auspicious instruments (maṅgala-vādya) accompany public devotion, creating a sacred atmosphere that supports Linga-puja and collective remembrance of Shiva as Pati.

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

Though indirect, the verse frames Shiva as the supreme center of auspiciousness: the community’s ordered, celebratory sound becomes an offering, implying Shiva as Pati—the Lord who receives worship and grants release from pasha to the pashu.

What ritualistic or Yogic practice is highlighted here?

Ritual practice: Shiva-utsava with instrumental music as an upacāra (service/offering). Yogic takeaway: disciplined sensory expression (sound offered to the deity) is redirected from bondage toward devotion, aligning the pashu toward Pati.