Narada Purana — Purva Bhaga, Shloka 51
Yakṣiṇī-Mantra-Sādhana Nirūpaṇa
Lakṣmī-avatāra-vidyāḥ: Bālā, Annapūrṇā, Bagalā
निद्रा सचंद्रा कुर्वीत शिवार्णा मध्यदीपिनी । तारो मोक्षं च कुरुते नायं वर्णास्यदीपिनी ॥ ५१ ॥
nidrā sacaṃdrā kurvīta śivārṇā madhyadīpinī | tāro mokṣaṃ ca kurute nāyaṃ varṇāsyadīpinī || 51 ||
يُنشأ لفظ «نِدرَا» مع «چَندرا» (القمر)، ومقطعُ شِيفا هو الذي يلمع في الوسط. ومقطع «تارا» يمنح الموكشا (التحرّر)؛ وليس مجرد حرف يضيء الفم، أي ليس صوتًا لفظيًّا فحسب.
Sanatkumara (teaching Narada)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It teaches that certain sacred syllables (especially the tāra, commonly understood as Oṃ) are liberating in essence, not merely audible letters—pointing from sound as articulation to sound as spiritual power (śabda-brahman) leading to mokṣa.
By stressing that mantra-syllables are not ‘mere sounds,’ it supports devotional japa as a living spiritual practice: repeating divine syllables with meaning and faith transforms the practitioner, rather than remaining a mechanical recitation.
Śikṣā (Vedic phonetics) and mantra-vidyā are implied: correct formation/placement of syllables and understanding their intended inner meaning—showing that pronunciation is important, but realization of the mantra’s intent is essential.