Narada Purana — Purva Bhaga, Shloka 56
Gṛhastha-nitya-karman: Śauca, Sandhyā-vidhi, Pañca-yajña, and Āśrama-krama
रुद्राणी नवयौवना त्रिनयना वैयाघ्रचर्मांबरा खट्वांगत्रिशिखाक्षसूत्रवलयाऽभीतिश्रियै चास्तु नः । विद्युद्दामजटाकलापविलसद्बालेंदुमौलिर्मुदा सावित्री वृषवाहना सिततनुर्ध्येया यजूरूपिणी ॥ ५६ ॥
rudrāṇī navayauvanā trinayanā vaiyāghracarmāṃbarā khaṭvāṃgatriśikhākṣasūtravalayā'bhītiśriyai cāstu naḥ | vidyuddāmajaṭākalāpavilasadbāleṃdumaulirmudā sāvitrī vṛṣavāhanā sitatanurdhyeyā yajūrūpiṇī || 56 ||
Nawa’y pagpalain kami ni Rudrāṇī—laging sariwa ang kabataan, may tatlong mata, balot sa balat ng tigre—taglay ang khaṭvāṅga, trident, rosaryong rudrākṣa at mga pulseras—at ipagkaloob ang ningning ng kawalang-takot. Sa galak, ang kanyang jata ay kumikislap na parang kuwintas ng kidlat, at ang gasuklay na buwan ay korona niya. Siya si Sāvitrī, nakasakay sa toro, maputi at maningning—dapat pagnilayan—na ang likas niya’y ang Yajurveda.
Narada (in a stotra-style passage within the Narada Purana’s teaching dialogue)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: vira
FAQs
It presents the Goddess as both a protective power (granting abhaya/fearlessness) and as Veda-svarūpa—specifically the living form of the Yajurveda—linking devotion, mantra, and inner protection into one meditative vision.
Bhakti here is expressed as dhyāna and stuti: contemplating the Goddess’ iconography (three eyes, crescent moon, bull mount) and praying for her grace, showing that devotion becomes effective when joined with focused remembrance and surrender.
The verse emphasizes Vedic-mantra orientation (Yajurveda as her form), pointing to ritual application (yajña/adhvara spirit of the Yajur tradition) and disciplined recitation/meditation—key concerns supported by Śikṣā (phonetics) and Vyākaraṇa (correct form) in practice.