Śreyas and Paramārtha: The Ribhu–Nidāgha Teaching on Non-Dual Self
Advaita
विज्ञानं परमार्थोऽसौ वेत्ति नोऽतथ्यदर्शनः । वेणुरंघ्रविभेदेन भेदः षङ्जादिसंज्ञितः ॥ ३२ ॥
vijñānaṃ paramārtho'sau vetti no'tathyadarśanaḥ | veṇuraṃghravibhedena bhedaḥ ṣaṅjādisaṃjñitaḥ || 32 ||
விஞ்ஞானத்தையும் அந்த பரமார்த்தத்தையும் அறிந்தவன் தத்துவதரிசி; பொய்த் தரிசனம் உடையவன் அறியான். புல்லாங்குழலில் விரல் துளை வேறுபாடால் ஷட்ஜம் முதலிய ஸ்வரப் பிரிவுகள் பெயர்பெறுவது போல.
Sanatkumara (teaching Narada in a Moksha-Dharma discourse; using a technical analogy from musical science)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
It teaches viveka: the realized knower apprehends paramārtha (ultimate truth), while the deluded remain in atathya-darśana (false seeing). The flute-note analogy shows how apparent differences arise from conditions, not from the essence.
By implying that devotion should be grounded in right vision: when perception is purified, the seeker recognizes the One Reality behind changing names and forms—supporting steady Vishnu-bhakti rather than devotion based on confusion or mere externals.
It gestures toward Śikṣā (phonetics/sound discipline) and nāda-based understanding: like notes (ṣaḍja etc.) arising from precise finger/air positions, spiritual insight also depends on correct method and discernment.