Pañca-prakṛti-nirūpaṇa and Mantra-vidhi: Rādhā, Mahālakṣmī, Durgā, Sarasvatī, Sāvitrī; plus Sāvitrī-Pañjara
एवं पञ्चविधा जाता सा राधा सृष्टिकारणम् । आसां पूर्णस्वरूपाणां मंत्रध्यानार्चनादिकम् ॥ ३२ ॥
evaṃ pañcavidhā jātā sā rādhā sṛṣṭikāraṇam | āsāṃ pūrṇasvarūpāṇāṃ maṃtradhyānārcanādikam || 32 ||
Ainsi, Rādhā est apparue sous une forme quintuple ; elle est la cause même de la création. Pour ces manifestations parfaites, il convient d’entreprendre les disciplines commençant par le mantra (récitation), le dhyāna (méditation) et l’arcana (culte rituel).
Sanatkumara (teaching Narada in a guru–śiṣya dialogue)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It presents Rādhā as the creative principle (sṛṣṭi-kāraṇa) and affirms that her fivefold manifestations are approached through structured sādhana—mantra, meditation, and worship—linking metaphysics to practice.
Bhakti is framed as disciplined devotion: one relates to Rādhā’s complete forms through mantra-japa, dhyāna, and arcana, making inner contemplation and outer worship complementary expressions of devotion.
It highlights ritual-technical application—mantra usage and arcana procedure—requiring correct recitation (śikṣā/phonetics) and proper formulation/understanding of words (vyākaraṇa/grammar) for effective worship.