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 ||
برہما وغیرہ کی اوّلین ارتعاشی دھارا کے طور پر ‘پرا’ وانی کہی گئی ہے؛ اسی طرح ‘پشیانتی’ بھی ہے۔ پھر ‘مدھیما’ اور ‘ویکھری’ آتی ہیں؛ ویکھری سر، حلق، تالو، ہونٹ اور دانتوں کے ذریعے ظاہر ہوتی ہے۔
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.