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 ||
ພຣະວາຍຸເທວະກ່າວວ່າ: «ພຣະອົງແມ່ນຜູ້ກ້ອງກັງວານດ້ວຍສຽງແຕຣແລະກອງທຸກຊະນິດ, ແມ່ນຜູ້ຮວບຮວມສັບພະດົນຕີທັງປວງໄວ້ໃນພຣະອົງ. ພຣະອົງປາກົດເປັນຮູບນາກໃຫຍ່ ແຕ່ພັກອາໄສຢ່າງລັບໆໃນຖໍ້າ (ແຫ່ງດວງໃຈ). ພຣະອົງແມ່ນ “ກຸຫາ”—ສະກັນດະເອງ—ຜູ້ສວມພວງມາລາ ແລະເປັນຜູ້ຮູ້-ພະຍານຕໍ່ຄື້ນຄວາມປັ່ນປ່ວນແຫ່ງຊີວິດມີຮ່າງກາຍ ເຊັ່ນ ຄວາມຫິວແລະຄວາມກະຫາຍ.»
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).