Shloka 120
Adhyāya 284: Tapas as a Corrective to Household Attachment
Parāśara’s Instruction
हायिहायिहुवाहायिहाबुहायि तथा5सकृत् । गायन्ति त्वां सुरश्रेष्ठ सामगा ब्रह्म॒वादिन:
hāyihāyihuvāhāyihābuhāyi tathā sakṛt | gāyanti tvāṃ suraśreṣṭha sāmāgā brahmavādinaḥ ||
ພີສະມະກ່າວວ່າ: «ໂອ ຜູ້ປະເສີດທີ່ສຸດໃນບັນດາເທວະ! ບັນດາຜູ້ຂັບຮ້ອງສາມະ—ນັກຮູ້ວີດະຜູ້ອຸທິດຕົນຕໍ່ສຽງພິທີ—ຂັບຂານຊ້ຳໆ ດ້ວຍພະຍາງ ‘hāyi hāyi, huvā hāyi, habu hāyi’ ແລະດ້ວຍທຳນອງສາມັນນັ້ນ ພວກເຂົາຮ້ອງສັນລະເສີນພຣະສະຫງ່າລາສີຂອງພຣະອົງຢ່າງບໍ່ຂາດສາຍ.»
भीष्म उवाच
Educational Q&A
The verse highlights the dharmic power of sacred sound: learned Vedic chanters use Sāman melodies and ritual vocables to sustain continuous praise of the supreme divine, implying that disciplined recitation and devotion are themselves a form of worship.
Bhīṣma addresses the supreme deity as ‘best of the gods’ and describes how Sāma-chanters and Veda-scholars repeatedly intone characteristic Sāman syllables and thereby sing the deity’s greatness without interruption.