Adhyāya 284: Tapas as a Corrective to Household Attachment
Parāśara’s Instruction
मृत्यु, क्षुर॒ .छेदन करनेका शस्त्र), कृत्य (छेदन करने योग्य), पक्ष (मित्र) तथा अपक्ष- क्षयंकर (शत्रुपक्षका नाश करनेवाले) भी आप ही हैं। आप मेघके समान काले, बड़ी-बड़ी दाढ़ोंवाले और प्रलयकालीन मेघ हैं ।।
mṛtyuḥ kṣuraś chedana-karaṇaṃ śastraṃ kṛtyaṃ chedana-yogyaṃ pakṣaḥ mitram apakṣa-kṣayaṅkaraḥ śatru-pakṣa-nāśakaś ca tvam eva | tvam megha-samaḥ kālaḥ mahā-dāḍhāḥ pralayakālīya-meghaḥ || ghaṇṭo ’ghaṇṭo ghaṭī ghaṇṭī carucelī milī-milī | brahma-kāyikam agnīnāṃ daṇḍī muṇḍas tri-daṇḍa-dhṛk tvam eva ||
ଭୀଷ୍ମ କହିଲେ— ମୃତ୍ୟୁ ତୁମେ ହିଁ; ତୁମେ ହିଁ କ୍ଷୁର—ଛେଦନକାରୀ ଶସ୍ତ୍ର, ତୁମେ ହିଁ କୃତ୍ୟ ଓ ଛେଦ୍ୟ। ତୁମେ ହିଁ ପକ୍ଷ (ମିତ୍ର) ଏବଂ ଅପକ୍ଷ-କ୍ଷୟକର (ଶତ୍ରୁପକ୍ଷନାଶକ)। ତୁମେ ମେଘଶ୍ୟାମ, ମହାଦଂଷ୍ଟ୍ର, ପ୍ରଳୟମେଘସମ। ‘ଘଣ୍ଟ’, ‘ଅଘଣ୍ଟ’, ‘ଘଟୀ’, ‘ଘଣ୍ଟୀ’, ‘ଚରୁଚେଲୀ’ ଓ ‘ମିଲୀ-ମିଲୀ’—ଏ ସବୁ ମଧ୍ୟ ତୁମେ; ଯେ ପ୍ରକାଶ-ଆବରଣ କର, କର୍ମଫଳରେ ବାନ୍ଧ, ଲୋକମାନେ ନାଦରୂପେ ଗୁଞ୍ଜ, ଜୀବମାନଙ୍କ ସହ କ୍ରୀଡା କର, ଏବଂ କାରଣରୂପେ ସର୍ବତ୍ର ବ୍ୟାପ୍ତ। ତୁମେ ହିଁ ବ୍ରହ୍ମ; ତୁମେ ହିଁ ଅଗ୍ନିସ୍ୱରୂପ; ତୁମେ ହିଁ ଦଣ୍ଡୀ, ମୁଣ୍ଡ ଓ ତ୍ରିଦଣ୍ଡଧାରୀ।
भीष्म उवाच
The verse identifies the supreme principle as both terrifying and sustaining: Death and Time, ally and destroyer, manifest and unmanifest. Ethically, it frames worldly power and mortality as expressions of a single cosmic order, urging humility and surrender to dharma rather than ego-driven control.
In Śānti Parva, Bhīṣma—lying on the bed of arrows—utters a hymn-like sequence of divine epithets. Here he praises the deity as the force behind destruction, karmic fruition, and ascetic discipline, using dense names and images (cloud-dark, pralaya, bells/time-measures) to convey omnipresence and sovereignty.