Shloka 137
Adhyāya 284: Tapas as a Corrective to Household Attachment
Parāśara’s Instruction
सूचीरोमा हरिश्मश्रुरूर्ध्वकेशश्वलाचल: । गीतवादित्रतत्त्वज्ञो गीतवादनकप्रिय:
sūcīromā hariśmaśrur ūrdhvakeśaś calācalaḥ | gītavāditratattvajño gītavādanakapriyaḥ ||
ভীষ্মে ক’লে—তেওঁৰ দেহৰোম সূচিৰ দৰে; দাড়ি-মোঁচ ক’লা; মূৰৰ কেশ ঊৰ্ধ্বমুখী হৈ উঠা। তেওঁ চল আৰু অচল—দুয়ো জগতৰ স্বৰূপ। তেওঁ গীত আৰু বাদ্যৰ তত্ত্বজ্ঞ, আৰু গোৱা-বজোৱা তেওঁৰ বিশেষ প্ৰিয়।
भीष्म उवाच
Educational Q&A
The verse highlights a figure marked by unusual ascetic/cosmic traits yet also refined knowledge of the arts: true excellence can include mastery of aesthetic disciplines (song and instruments) alongside a broader, all-encompassing vision of reality (calācala—moving and unmoving).
In Bhīṣma’s discourse in the Śānti Parva, he is describing a particular being/person by distinctive physical signs and capacities—especially his comprehensive nature and his expertise and fondness for music—within a larger didactic context.