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 ||
Ang nakaaalam ng vijñāna at ng paramārtha—ang kataas-taasang katotohanan—siya ang tunay na nakakakita; ang may maling pagtanaw ay hindi. Gaya ng plauta: dahil sa pagkakaiba ng mga butas na tinatakpan ng daliri, nalilikha ang mga hati ng himig na tinatawag na Ṣaḍja at iba pa.
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.