Pañca-prakṛti-nirūpaṇa and Mantra-vidhi: Rādhā, Mahālakṣmī, Durgā, Sarasvatī, Sāvitrī; plus Sāvitrī-Pañjara
अद्भिर्ह्रस्वत्रयक्लीबरहितैः पूजयेदिमाः । प्रणवो वज्रनखदंष्ट्रायुधाय महापदात् ॥ ८१ ॥
adbhirhrasvatrayaklībarahitaiḥ pūjayedimāḥ | praṇavo vajranakhadaṃṣṭrāyudhāya mahāpadāt || 81 ||
Man verehre diese Silben/Formen mit Wasser, frei von den drei kurzen Vokalen und vom neutralen Laut (klība). Der Praṇava „Oṃ“ ist auf die Gottheit anzuwenden, deren Waffen Vajra, Klauen und Fangzähne sind, hervorgegangen aus dem großen Wort-Sitz (mahā-pada).
Narada (teaching within a Vedanga/ritual-phonetic framework, traditionally in dialogue with Sanatkumara)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It links ritual worship to mantra-phonetic purity: the praṇava (Oṃ) and precise sound-forms are treated as sacred technology, where correct recitation and ritual medium (water) together make the worship efficacious.
Bhakti here is expressed as disciplined mantra-upāsanā: devotion is not only feeling but also correct invocation of the Lord through Oṃ and properly formed syllables, offered with reverence (pūjā) using water.
Śikṣā (Vedic phonetics) is implied: the verse references constraints involving vowels (hrasva-traya) and sound-classifications (klība), emphasizing that correct articulation is a practical requirement for mantra-ritual correctness.