Narada Purana — Purva Bhaga, Shloka 116
The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga
पृंथु सुवृत्तं मसृणं वितस्तिमात्रोन्नतं कौ विनिखन्य शंकुम् । आक्रम्य पद्भ्यामितरेतरैस्तु हस्तैर्भ्रमोऽयं खलु रासगोष्ठी ॥ ११६ ॥
pṛṃthu suvṛttaṃ masṛṇaṃ vitastimātronnataṃ kau vinikhanya śaṃkum | ākramya padbhyāmitaretaraistu hastairbhramo'yaṃ khalu rāsagoṣṭhī || 116 ||
Qu’on enfonce solidement en terre un pieu large, parfaitement rond, lisse, élevé à la hauteur d’une empan; puis, en posant les pieds tour à tour et en le faisant tourner des mains, ce tournoiement même est, en vérité, semblable à une assemblée de la danse rāsa.
Narada (teaching in a technical/Vedanga-style instructional passage)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: hasya
FAQs
It shows that disciplined, correctly executed practice—even when technical and physical—can be framed as sacred, using devotional imagery (rāsa) to keep the mind reverent and concentrated.
By likening a mechanical whirling action to a rāsa gathering, the verse encourages the practitioner to remember divine play while performing prescribed actions, turning technique into remembrance (smaraṇa).
A procedural, measurement-based instruction (e.g., “vitasti-mātra” height, smooth round peg, firm fixing, alternating foot pressure and hand rotation) reflects the applied, technical side of Vedic practice associated with ritual-method precision.