Narada Purana — Purva Bhaga, Shloka 149
The Exposition of the Maheśa Mantra
Mahēśa-mantra-prakāśana
ताररुद्धैः स्वरैर्दीर्घैः षड्भिरंगानि कल्पयेत् । पदैर्मंत्रभवैर्वापिध्यानाद्यं पूर्ववन्मतम् ॥ १४९ ॥
tāraruddhaiḥ svarairdīrghaiḥ ṣaḍbhiraṃgāni kalpayet | padairmaṃtrabhavairvāpidhyānādyaṃ pūrvavanmatam || 149 ||
Mit sechs gedehnten Tönen, im hohen Register (tāra) gezügelt, soll man die sechs Aṅgas (Hilfsteile) der Übung anordnen; oder, mit mantra-geborenen Worten (pada), gilt die Abfolge, die mit Meditation (dhyāna) beginnt, als dieselbe wie zuvor dargelegt.
Sanatkumara (teaching Narada in the Vedanga/Śikṣā context)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It links correct mantra-phonetics (prolonged, properly placed tones) with the successful formation of the practice’s “six aṅgas,” showing that spiritual efficacy depends on disciplined sound and a structured inner sequence beginning with meditation.
While technical, it supports Bhakti by insisting that mantra-recitation and contemplation must be performed correctly—devotion is strengthened when sound (śabda) and meditation (dhyāna) are aligned in the prescribed order.
Śikṣā (Vedic phonetics): it emphasizes svara control, dīrgha (prolongation), and tāra register discipline, and indicates how mantra-derived padas are applied within a structured practice sequence.