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,२५७ सर्वतूर्यनिनादी--सब प्रकारके बाजे बजानेवाले, २५८ सर्वातोद्यपरिग्रह:-- सम्पूर्ण वाद्योंका संग्रह करनेवाले, २५९ व्यालरूप:--शेषनागस्वरूप, २६० गुहावासी-- सबकी हृदयगुफामें निवास करनेवाले, २६१ गुहः--कार्तिकेयस्वरूप, २६२ माली-- मालाधारी, २६३ तरज्भवित्--क्षुधा-पिपासा आदि छहों ऊर्मियोंके ज्ञाता साक्षी
sarvatūryaninādī ca sarvātodyaparigrahaḥ | vyālarūpo guhāvāsī guho mālī taraḍravit ||
Vāyu-deva said: “He is the one who resounds with every kind of trumpet and drum, the one who holds within himself the totality of all musical instruments. He appears in the form of the great serpent, yet dwells hidden in the cave (of the heart). He is Guha—Skanda himself—garland-bearing, and the knower-witness of the surging ‘waves’ of embodied life such as hunger and thirst.”
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).