Narada Purana — Purva Bhaga, Shloka 93
Sṛṣṭi-pralaya-kathana: Mahābhūta-guṇāḥ, Vṛkṣa-indriya-vādaḥ, Prāṇa-vāyu-vyavasthā
एवं बहुविधाकारः शब्द आकाशसंभवः । वायव्यस्तु गुणः स्पर्शः स्पर्शश्च बहुधा स्मृतः ॥ ९३ ॥
evaṃ bahuvidhākāraḥ śabda ākāśasaṃbhavaḥ | vāyavyastu guṇaḥ sparśaḥ sparśaśca bahudhā smṛtaḥ || 93 ||
Assim, o som—de muitas formas—surge do éter (ākāśa). Mas a qualidade distintiva do ar (vāyu) é o tato; e o tato também é lembrado como sendo de muitos tipos.
Sanatkumara (teaching Narada)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It links the sensory world to the elemental framework: sound arises with ether, and touch characterizes air—guiding the seeker to analyze experience as guṇas of tattvas rather than as the Self, aiding detachment and moksha-oriented discrimination.
Indirectly, it supports bhakti by refining understanding: when sound and touch are known as elemental qualities, one can redirect the mind from sensory fascination toward sacred sound (nāma, mantra) and devotion to Vishnu as the transcendental reality beyond the elements.
The verse most closely aligns with Śikṣā (phonetics) through its focus on śabda (sound) and its varieties, providing a conceptual basis for why precise articulation and disciplined engagement with mantra are treated as powerful in Vedic practice.