Shloka 7

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

Devanagari script

भेरीमुरजसंनादैर् आडम्बरकडिण्डिमैः मर्दलैर्वेणुवीणाभिर् विविधैस्तालनिःस्वनैः

Transliteration

bherīmurajasaṃnādair āḍambarakaḍiṇḍimaiḥ mardalairveṇuvīṇābhir vividhaistālaniḥsvanaiḥ

Translation

以贝利鼓与穆拉迦鼓的轰鸣，以檀婆罗与迦丁地摩战鼓之声，并以马尔达拉、笛（veṇu）与维那琴，以及种种拍节（tāla）之响——会众在帕提之前、在以林伽显现的真实面前，吉庆庆赞，声震四方。

Word by Word

• भेरी (bherī): kettle-drum

• मुरज (muraja): muraja drum

• संनादैः (saṃnādaiḥ): with loud reverberations

• आडम्बर (āḍambara): a large drum/war-drum

• कडिण्डिमैः (kaḍiṇḍimaiḥ): with kaḍiṇḍima drums

• मर्दलैः (mardalaiḥ): with mardala drums

• वेणु (veṇu): flute

• वीणाभिः (vīṇābhiḥ): with vīṇās

• विविधैः (vividhais): with various kinds

• ताल (tāla): rhythm/time-beat, clapping

• निःस्वनैः (niḥsvanaiḥ): with sounds/resonances

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 nāda-upacāra—offering sound (drums, instruments, rhythmic tāla) as an auspicious service during Linga-pūjā, showing that devotion can sanctify sensory activity into worship of Pati (Śiva).

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

By placing all resonant sound in the sphere of sacred celebration around the Linga, it implies Śiva as the inner ground of nāda (vibration) and the transcendent Pati who receives and purifies the devotees’ expressions.

What ritualistic or Yogic practice is highlighted here?

Ritually, it indicates festival-style upacāras—instrumental music and rhythmic tāla as offerings; yogically, it aligns with focusing the mind through sacred sound, redirecting the pashu’s senses away from bondage (pāśa) toward the Lord (Pati).