Gṛhastha-nitya-karman: Śauca, Sandhyā-vidhi, Pañca-yajña, and Āśrama-krama
सहस्रपरमां देवीं शतमध्यां दशावराम् । त्रिपदां प्रणवोपेतां भूर्भुवः स्वरुपक्रमाम् ॥ ५९ ॥
sahasraparamāṃ devīṃ śatamadhyāṃ daśāvarām | tripadāṃ praṇavopetāṃ bhūrbhuvaḥ svarupakramām || 59 ||
Aku bermeditasi pada Dewi Ilahi itu: yang tertinggi sebagai “seribu”, yang bagian tengahnya “seratus”, yang bagian bawahnya “sepuluh”; yang bertiga-langkah, bersatu dengan Pranava (Oṁ), dan bergerak menurut urutan Bhūḥ, Bhuvaḥ, Svaḥ.
Narada (as part of a mantra-style description/meditation within the teaching dialogue)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It encodes a meditative understanding of the Goddess as mantra itself—structured by sacred numbers (1000–100–10), grounded in Oṁ, and spanning the three worlds (Bhūḥ, Bhuvaḥ, Svaḥ), indicating that divine power pervades the entire Vedic cosmos and is approached through ordered recitation and contemplation.
Bhakti here takes the form of upāsanā—devotional meditation on the Divine as present in the Pranava and the cosmic levels. By reverently contemplating her threefold presence and mantra-form, the devotee cultivates steadiness, purity, and God-centered awareness.
It points to mantra-vidyā: disciplined use of Pranava (Oṁ), awareness of Vedic cosmological utterances (Bhūḥ–Bhuvaḥ–Svaḥ), and the structured, sequential nature of recitation—core to Śikṣā (phonetics) and Chandas (meter) in applied ritual and japa.