सर्वस्य नाथस्य कुमारकाय क्रौंचारये तारकमारकाय । स्वाहेय गांगेय च कार्तिकेय शैवेय तुभ्यं सततं नमोऽस्तु
sarvasya nāthasya kumārakāya krauṃcāraye tārakamārakāya | svāheya gāṃgeya ca kārtikeya śaiveya tubhyaṃ satataṃ namo'stu
لتكن لك التحياتُ على الدوام—يا كُمارا، يا ربَّ الكلّ؛ يا عدوَّ كراونچا؛ يا قاتلَ تارَكا؛ يا ابنَ سْفَاهَا؛ يا ابنَ الغانغا؛ يا كارتيكِيا؛ يا السليلَ الإلهيَّ لشِيفا.
Agastya
Scene: A litany of names unfolds as visual vignettes: Skanda as Kumāra (youth), as Kraunca-bhedin (mountain pierced), as Tāraka-māraka (demon-slayer), as Gāṅgeya (river-born), as Śaiveya (Śiva’s scion), all unified in one radiant form receiving salutations.
Remembering the Lord through His many sacred names (nāma-smaraṇa) strengthens devotion and dharmic courage.
The hymn is situated in Kāśī-khaṇḍa, aligning Skanda’s praise with the sanctity of Vārāṇasī’s sacred space.
Implicit nāma-japa and stotra-recitation through repeated salutations and epithets.