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 ||
Dengan enam nada panjang yang ditahan pada register tinggi (tāra), hendaknya ia menyusun enam aṅga dari laku ini. Atau, dengan pada yang lahir dari mantra, urutan mulai dari meditasi dianggap sama seperti yang telah disebutkan sebelumnya.
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.