Narada Purana — Purva Bhaga, Shloka 67

The Account of the Lalitā Hymn, the Protective Armor

Kavaca), and the Thousand Names (Sahasranāma

Devanagari script

देशकालाकारशब्दरूपा संगीतयोगिनी । समस्तगुप्तप्रकटसिद्धयोगिनिचक्रयुक् ॥ ६७ ॥

Transliteration

deśakālākāraśabdarūpā saṃgītayoginī | samastaguptaprakaṭasiddhayoginicakrayuk || 67 ||

Translation

Ia menjelma sebagai tempat, waktu, bentuk, bunyi, dan rupa; Ia adalah Yoginī dari nyanyian suci. Ia bersatu dengan seluruh cakra Yoginī dan para Siddha—baik yang tersembunyi maupun yang nyata.

Word by Word

• deśa-kāla-ākāra-śabda-rūpā: whose form is space, time, shape, and sound
• deśa-kāla-ākāra-śabda-rūpā: Karta (कर्ता/Subject)
• Type: Adjective
• Root: deśa (प्रातिपदिक) + kāla (प्रातिपदिक) + ākāra (प्रातिपदिक) + śabda (प्रातिपदिक) + rūpā (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा, एकवचन; कर्मधारय-समास (देशः कालः आकारः शब्दः—एतेषां रूपा/स्वरूपा)

• saṃgīta-yoginī: the yoginī of music
• saṃgīta-yoginī: Karta (कर्ता/Subject)
• Type: Noun
• Root: saṃgīta (प्रातिपदिक) + yoginī (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा, एकवचन; तत्पुरुष-समास (संगीतसम्बद्धा योगिनी)

• samasta-gupta-prakaṭa-siddha-yoginī-cakra-yuk: joined with the wheel/circle of all (samasta) hidden and manifest siddha-yoginīs
• samasta-gupta-prakaṭa-siddha-yoginī-cakra-yuk: Karta (कर्ता/Subject)
• Type: Adjective
• Root: samasta (प्रातिपदिक) + gupta (प्रातिपदिक) + prakaṭa (प्रातिपदिक) + siddha (प्रातिपदिक) + yoginī (प्रातिपदिक) + cakra (प्रातिपदिक) + yuk (युज् धातु, कृदन्त)
• Form: स्त्रीलिङ्ग, प्रथमा, एकवचन; बहुपद-तत्पुरुष-समास; 'yuk' = युज्-धातुज कृदन्त (क्तिन्/क्विप्-प्रायः), 'युक्ता' अर्थे (ending shows stem yuk-; understood as yuk(tā))

Speaker

Narada (teaching within the Vedanga/technical-science context of Book 1.3)

Vrata Kalpa

Vrata: none

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: bhakti

Characters & Entities

• Yoginī
• Siddha
• Cakra (mandala)

FAQs

What is the spiritual significance of this verse in Narada Purana?

It presents sacred sound and music (śabda/saṅgīta) as a divine power that pervades space and time, and it links disciplined sonic practice to a mandala of yogic forces—both subtle (hidden) and overt (manifest).

How does this verse explain the path of devotion (Bhakti)?

By identifying the divine with sound and music, it supports bhakti through kīrtana and mantra—devotional practices where disciplined sound becomes a direct means of communion with the sacred.

What practical Vedic knowledge (Vedanga) is highlighted here?

Śikṣā-oriented sound discipline is implied: correct handling of śabda (tone, rhythm, articulation) and the structured ‘cakra’ idea mirrors technical organization used in mantra and ritual recitation.