The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
निविष्टं मम दुःस्वप्नभयं निगडशब्दतः । भयं कान्तारशब्दान्ते भयं विषपदात्ततः ॥ १७५ ॥
niviṣṭaṃ mama duḥsvapnabhayaṃ nigaḍaśabdataḥ | bhayaṃ kāntāraśabdānte bhayaṃ viṣapadāttataḥ || 175 ||
Dahil sa tunog ng mga tanikala, sinakmal ako ng takot mula sa masamang panaginip. Sa dulo ng ugong ng gubat ay may takot; at sa pagbigkas ng salitang “lason” ay sumisibol din ang takot.
Narrative voice within the Adhyāya (instructional/illustrative verse in a Vedāṅga-technical context; traditionally within the Narada–Sanatkumāra dialogue framework)
Vrata: none
Primary Rasa: bhayanaka
Secondary Rasa: shanta
It highlights how the mind becomes conditioned by sounds and words—dreams, noises, and verbal cues can trigger fear—implying the need for disciplined speech, hearing, and mental steadiness.
By implication, it contrasts fear-producing sounds/words with fear-dispelling remembrance and hearing of auspicious divine names; Bhakti redirects the same faculty of hearing (śravaṇa) toward sacred sound.
It points to śabda-centered reasoning relevant to Vedāṅga concerns—especially Śikṣā (phonetics) and Nirukta (sense of words)—showing that sound (śabda) and word-units (pada) can produce distinct mental effects used in omen-reading or instruction.
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