Narada Purana — Purva Bhaga, Shloka 158
The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
ब्रह्माद्यावृत्तिरूपा च परा पश्यतिका तथा । मध्यमा वैखरी शीर्षकण्ठताल्वोष्ठदन्तगा ॥ १५८ ॥
brahmādyāvṛttirūpā ca parā paśyatikā tathā | madhyamā vaikharī śīrṣakaṇṭhatālvoṣṭhadantagā || 158 ||
Vāk pada bentuk tertinggi, «Parā», bersifat getaran purba yang bermula daripada Brahmā; demikian juga ada «Paśyantī», ujaran batin yang melihat. Kemudian datang «Madhyamā» dan «Vaikharī»; dua yang terakhir terzahir melalui kepala, tekak, lelangit, bibir dan gigi.
Sanatkumara (teaching Narada in the Vedanga/Śikṣā context)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It frames mantra and Vedic sound as a graded manifestation—from the subtlest Parā to audible Vaikharī—showing that recitation is not merely physical speech but a movement from inner consciousness to articulated sound.
By implying that devotional mantra-japa can be practiced at multiple depths: inwardly (Paśyantī/Madhyamā) as concentrated remembrance and outwardly (Vaikharī) as spoken praise—both aiming to align speech with sacred awareness.
Śikṣā (Vedic phonetics): it links spoken Vaikharī to precise articulation points—head, throat, palate, lips, and teeth—emphasizing correct pronunciation for accurate mantra recitation.