Adhyāya 284: Tapas as a Corrective to Household Attachment
Parāśara’s Instruction
नमो नर्तनशीलाय मुखवादित्रवादिने । नाद्योपहारलुब्धाय गतिवादित्रशालिने
namo nartanaśīlāya mukhavāditravādine | nādyopahāralubdhāya gativāditraśāline ||
जो सदैव तांडव-नृत्यात रत आहे, मुखानेही शृंगी इत्यादी वाद्यध्वनी काढण्यात कुशल आहे, गीत-वाद्ययुक्त अर्पण स्वीकारण्यास सदैव उत्सुक आहे, आणि लय-ताल व वाद्यकलेने शोभून दिसतो—त्याला माझा नमस्कार असो।
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.