Shloka 61
Śiva-stavarāja: Upamanyu’s Preface and Initiation of the Śarva-Nāma Enumeration
Anuśāsana-parva 17
सर्वतूर्यनिनादी च सर्वातोद्यपरिग्रह: । व्यालरूपो गुहावासी गुहो माली तरड्रवित्
sarvatūryaninādī ca sarvātodyaparigrahaḥ | vyālarūpo guhāvāsī guho mālī taraḍravit ||
قال إله الريح فايُو: «إنه الذي يدوّي بكل صنوف الأبواق والطبول، والذي يضمّ في ذاته جملةَ الآلات الموسيقية كلّها. يتجلّى في هيئة الحيّة العظمى، ومع ذلك يقيم خفيًّا في كهف (القلب). إنه غُها—سكندا نفسه—حاملُ الأكاليل، والعالِمُ الشاهدُ على أمواج الحياة المتجسّدة المتلاطمة، كالجوع والعطش.»
वायुदेव उवाच
Educational Q&A
The verse strings together divine epithets to point to a single reality that pervades outer ritual splendor (music, instruments) and inner spiritual life (dwelling in the heart-cave). Ethically, it emphasizes cultivating awareness of the inner witness who knows the recurring pressures of embodied existence (the ‘waves’ like hunger and thirst), encouraging steadiness and self-mastery rather than being driven by them.
Vāyudeva is speaking and describing the deity through a litany of attributes: cosmic sound and completeness (all instruments), mysterious hidden indwelling (heart-cave), and specific divine identification (Guha/Skanda). The description blends mythic forms (serpent-form, Skanda) with contemplative language (inner abode, witnessing the bodily urges).