Shloka 40

Bhṛgu–Bharadvāja-saṃvāda: Vānaprastha-parivrājaka-ācāra, Abhaya-dharma, and Lokānāṃ Vibhāga (Śānti-parva 185)

Devanagari script

ऐश्वर्येण तु सर्वत्र स्थितोडपि पटहादिषु

Transliteration

aiśvaryeṇa tu sarvatra sthito 'pi paṭahādiṣu | sva-vyāpaka-svarūpeṇa tu śabdaḥ sarvatraiva, kintu paṭaha-ādiṣu tasya viśeṣataḥ abhivyaktiḥ bhavati | mṛdaṅga-bherī-śaṅkha-megha-ratha-ghargharāhaṭa-ādiṣu yaḥ kaścid śabdaḥ śrūyate, jaḍa-cetana-yoḥ ca yat kiñcid api śravaṇagocaraṃ śabdam, tat sarvam etebhyaḥ sapta-bhedebhya eva antarbhūtam iti kathitam |

Translation

ଭରଦ୍ୱାଜ କହିଲେ—ଶବ୍ଦ ନିଜ ବ୍ୟାପକ ସ୍ୱରୂପରେ ସର୍ବତ୍ର ଅବସ୍ଥିତ, କିନ୍ତୁ ପଟହ (ନଗାଡ଼ା) ଆଦି ବାଦ୍ୟରେ ତାହା ବିଶେଷ ଭାବେ ପ୍ରକଟ ହୁଏ। ମୃଦଙ୍ଗ, ଭେରୀ, ଶଙ୍ଖ, ମେଘ ଓ ରଥର ଘର୍ଘର ଧ୍ୱନିରେ ଯେ କୌଣସି ଶବ୍ଦ ଶୁଣାଯାଏ, ଏବଂ ଜଡ କିମ୍ବା ଚେତନରୁ ଉତ୍ପନ୍ନ ହୋଇ ଶ୍ରବଣଗୋଚର ଯେ କୌଣସି ଶବ୍ଦ—ସେ ସବୁ ଏହି ସାତ ଭେଦର ଅନ୍ତର୍ଗତ ବୋଲି ଶିକ୍ଷା ଦିଆଯାଇଛି।

Word by Word

• ऐश्वर्येण: by (its) power/majesty
• ऐश्वर्येण: Karana
• Type: Noun
• Root: ऐश्वर्य
• Form: Neuter, Instrumental, Singular

• तु: but/indeed
• Type: Indeclinable
• Root: तु

• सर्वत्र: everywhere
• सर्वत्र: Adhikarana
• Type: Indeclinable
• Root: सर्वत्र

• स्थितः: situated/standing
• स्थितः: Karta
• Type: Verb
• Root: स्था
• Form: क्त (past passive participle), Masculine, Nominative, Singular

• अपि: also/even
• Type: Indeclinable
• Root: अपि

• पटहादिषु: in drums etc.
• पटहादिषु: Adhikarana
• Type: Noun
• Root: पटहादि
• Form: Masculine, Locative, Plural

Speaker

भरद्वाज उवाच

Characters & Entities

• Bharadvāja
• śabda (sound)
• paṭaha (kettledrum)
• mṛdaṅga (drum)
• bherī (drum)
• śaṅkha (conch)
• megha (cloud/thunder)
• ratha (chariot)
• ghargharāhaṭa (rumbling/rattling sound)

Educational Q&A

What is the core teaching?

Sound is inherently all-pervading, but it becomes distinctly perceptible when conditioned by particular media (like drums, conch, thunder, chariots). All audible sounds—whether from inert objects or living beings—can be subsumed under a sevenfold classification.

What is happening in the narrative?

Bharadvāja is explaining a doctrinal analysis of śabda (sound) in the Śānti Parva, using familiar examples (drums, conch, thunder, chariot-rumble) to show how an omnipresent principle becomes manifest and how all heard sounds fit into established categories.