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 ||
Vāyu-deva bersabda: “Dia bergema dengan segala bunyi tūrīya, terompet dan genderang; di dalam diri-Nya terhimpun keseluruhan segala alat musik. Ia menampakkan diri sebagai ular agung, namun bersemayam tersembunyi di gua hati. Dialah Guha—Skanda sendiri—yang mengenakan untaian bunga, dan menjadi saksi-pengetahu atas gelombang kehidupan berjasad seperti lapar dan dahaga.”
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).