Adhyāya 284: Tapas as a Corrective to Household Attachment
Parāśara’s Instruction
सूचीरोमा हरिश्मश्रुरूर्ध्वकेशश्वलाचल: । गीतवादित्रतत्त्वज्ञो गीतवादनकप्रिय:
sūcīromā hariśmaśrur ūrdhvakeśaś calācalaḥ | gītavāditratattvajño gītavādanakapriyaḥ ||
ພີສະມະໄດ້ກ່າວວ່າ: ຂົນຕາມກາຍຂອງພຣະອົງແຫຼມດັ່ງເຂັມ; ໜວດແລະໜວດເທິງປາກເປັນສີດຳ. ຜົມເທິງສີສະຍືນຊັນຂຶ້ນ. ພຣະອົງຮວບຮວມໂລກທີ່ເຄື່ອນໄຫວແລະບໍ່ເຄື່ອນໄຫວໄວ້ໃນພຣະອົງ. ພຣະອົງຮູ້ແຈ້ງຫຼັກທີ່ແທ້ຂອງບົດຮ້ອງແລະດົນຕີເຄື່ອງດົນຕີ, ແລະພຣະອົງພິເສດຮັກໃນການຮ້ອງແລະການບັນເລງ.
भीष्म उवाच
The verse highlights a figure marked by unusual ascetic/cosmic traits yet also refined knowledge of the arts: true excellence can include mastery of aesthetic disciplines (song and instruments) alongside a broader, all-encompassing vision of reality (calācala—moving and unmoving).
In Bhīṣma’s discourse in the Śānti Parva, he is describing a particular being/person by distinctive physical signs and capacities—especially his comprehensive nature and his expertise and fondness for music—within a larger didactic context.