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 ||
El mantra que comienza con un conjunto de sonidos de «ṣaṭkāra» y «pañcaka» se recuerda como «madonmatta», como si estuviera ebrio e inestable. Y el mantra en cuyo centro se coloca un sonido áspero y cortante (asra) se tiene por «mūrcchita», como desvanecido u oscurecido en su potencia.
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.