Adhyāya 284: Tapas as a Corrective to Household Attachment
Parāśara’s Instruction
नमो नर्तनशीलाय मुखवादित्रवादिने । नाद्योपहारलुब्धाय गतिवादित्रशालिने
namo nartanaśīlāya mukhavāditravādine | nādyopahāralubdhāya gativāditraśāline ||
ಯಾವನು ಸದಾ ತಾಂಡವ-ನೃತ್ಯದಲ್ಲಿ ನಿರತನಾಗಿರುವನು, ಮುಖದಿಂದಲೇ ಶೃಂಗಿ ಮೊದಲಾದ ವಾದ್ಯಧ್ವನಿಯನ್ನು ಹೊರಹೊಮ್ಮಿಸುವಲ್ಲಿ ನಿಪುಣನು, ಗೀತ-ವಾದ್ಯಸಹಿತ ಉಪಹಾರವನ್ನು ಸ್ವೀಕರಿಸಲು ಸದಾ ಉತ್ಸುಕನು, ಲಯ-ತಾಳ-ವಾದ್ಯಕಲೆಯಿಂದ ಶೋಭಿಸುವನು—ಅವನಿಗೆ ನಮಸ್ಕಾರ।
भीष्म उवाच
Devotion can be expressed through disciplined arts—dance, rhythm, and music—when offered as worship. The verse values sincere offering and cultivated skill as a dharmic mode of reverence, turning aesthetic practice into spiritual homage.
In Śānti Parva, Bhīṣma continues a hymn-like praise, saluting a deity characterized by perpetual dance and musical mastery, and describing the deity’s delight in offerings made through performance. It functions as devotional glorification within Bhīṣma’s broader instruction.