Pañca-prakṛti-nirūpaṇa and Mantra-vidhi: Rādhā, Mahālakṣmī, Durgā, Sarasvatī, Sāvitrī; plus Sāvitrī-Pañjara
अद्भिर्ह्रस्वत्रयक्लीबरहितैः पूजयेदिमाः । प्रणवो वज्रनखदंष्ट्रायुधाय महापदात् ॥ ८१ ॥
adbhirhrasvatrayaklībarahitaiḥ pūjayedimāḥ | praṇavo vajranakhadaṃṣṭrāyudhāya mahāpadāt || 81 ||
ಮೂರು ಹ್ರಸ್ವ ಸ್ವರಗಳೂ ನಪುಂಸಕ ಧ್ವನಿಯೂ ಇಲ್ಲದ ಜಲದಿಂದ ಇವುಗಳನ್ನು ಪೂಜಿಸಬೇಕು. ಮಹಾಪದದಿಂದ ಉದ್ಭವಿಸಿದ ವಜ್ರ, ನಖ, ದಂಷ್ಟ್ರಾ ಆಯುಧಧಾರಿ ದೇವರಿಗೆ ಪ್ರಣವ ‘ಓಂ’ ಅನ್ನು ವಿನಿಯೋಗಿಸಬೇಕು।
Narada (teaching within a Vedanga/ritual-phonetic framework, traditionally in dialogue with Sanatkumara)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It links ritual worship to mantra-phonetic purity: the praṇava (Oṃ) and precise sound-forms are treated as sacred technology, where correct recitation and ritual medium (water) together make the worship efficacious.
Bhakti here is expressed as disciplined mantra-upāsanā: devotion is not only feeling but also correct invocation of the Lord through Oṃ and properly formed syllables, offered with reverence (pūjā) using water.
Śikṣā (Vedic phonetics) is implied: the verse references constraints involving vowels (hrasva-traya) and sound-classifications (klība), emphasizing that correct articulation is a practical requirement for mantra-ritual correctness.