Narada Purana — Purva Bhaga, Shloka 36
Dīkṣā, Mantra-Types, Mantra-Doṣas, and Qualifications of Ācārya–Śiṣya
षट्कारपंचकादिर्यो मदोन्मत्तस्तु स स्मृतः । यस्य मध्ये स्थितं चास्रं स मंत्रो मूर्च्छितः स्मृतः ॥ ३६ ॥
ṣaṭkārapaṃcakādiryo madonmattastu sa smṛtaḥ | yasya madhye sthitaṃ cāsraṃ sa maṃtro mūrcchitaḥ smṛtaḥ || 36 ||
Ein Mantra, das mit einem Bündel der Laute „ṣaṭkāra“ und „pañcaka“ beginnt, gilt als „madonmatta“—wie berauscht und schwankend. Und ein Mantra, in dessen Mitte ein rauer, schneidender Laut (asra) gesetzt ist, wird als „mūrcchita“ erinnert—wie ohnmächtig, in seiner Kraft verdunkelt.
Narada (teaching in a technical Vedanga-style context, traditionally within Narada–Sanatkumara dialogue flow)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: hasya
FAQs
It teaches that mantra-power depends on disciplined sound-structure (śabda-śuddhi); certain phonetic formations are treated as blemishes that disturb clarity and thus weaken ritual and contemplative efficacy.
Bhakti is strengthened by careful, respectful recitation; the verse implies that devotion expressed through mantra should be steady and well-formed, not distorted by faulty phonetics that scatter the mind and dilute focus on the deity.
Śikṣā (phonetics) and mantra-lakṣaṇa: it flags specific sound-group placements at the beginning or middle of a mantra as technical defects (doṣa) that practitioners should avoid in ritual recitation.