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 ||
風神ヴāユは言った。「彼はあらゆる角笛と太鼓の響きをもって鳴り渡る者、すべての楽器の総体を己が内に蔵する者である。大蛇の姿として現れながら、（心の）洞窟にひそかに住まう。彼こそ“グハ”—すなわちスカンダそのもの—花鬘を帯び、飢えや渇きなど、身を受けた生のうねる『波』を知り、証しする者である。」
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).