Narada Purana — Purva Bhaga, Shloka 71
The Exposition of the Maheśa Mantra
Mahēśa-mantra-prakāśana
अघोरेभ्यस्तथा पूर्वमीरिता प्रथमा कला । अथ घोरेभ्य इत्यंते मोहास्यात्तदनंतरम् ॥ ७१ ॥
aghorebhyastathā pūrvamīritā prathamā kalā | atha ghorebhya ityaṃte mohāsyāttadanaṃtaram || 71 ||
पूर्वी ‘अघोरेभ्यः’ पासून आरंभ करून पहिली कला सांगितली. नंतर ‘घोरेभ्यः’ येथे समाप्त झाल्यावर, त्यानंतर तत्क्षणी मोह उत्पन्न होतो.
Sanatkumara (teaching Narada in a technical Vedanga-style exposition)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: bhayanaka
FAQs
It stresses that mantra portions (kalās) must be applied in the right sequence; mixing or ending with the ‘ghora’ formula improperly leads to moha—inner confusion that disrupts ritual clarity and spiritual focus.
Bhakti is supported by disciplined practice: careful, reverent recitation prevents mental agitation (moha) and preserves the devotee’s steadiness, making worship more sattvic and effective.
Śikṣā (phonetics/recitation discipline) and procedural mantra-vidhi: identifying a ‘first kalā’ and recognizing that the ending formula affects the practitioner’s mental state, so order and closure matter in ritual recitation.