Narada Purana — Purva Bhaga, Shloka 184

Graha–Ketu–Utpāta Lakṣaṇas: Solar/Lunar Omens, Comets, Eclipses, and Calendar Rules

Devanagari script

हलादौ वृषनाशाय भत्रयं सूर्यमुक्तभात् । अग्रे वृद्ध्यै त्रयं लक्ष्म्यै सौम्यपार्श्वे च पंचकम् ॥ १८४ ॥

Transliteration

halādau vṛṣanāśāya bhatrayaṃ sūryamuktabhāt | agre vṛddhyai trayaṃ lakṣmyai saumyapārśve ca paṃcakam || 184 ||

Translation

以音节“ha”起首，规定三（单位/字母）用于摧破公牛（vṛṣa）。又从解脱的太阳光辉而说其后之布置：前方三以增益；为吉祥天女拉克什米（Lakṣmī）之故，并于柔和之侧置五。

Word by Word

• हलादौ: at the beginning (of ploughing)
• हलादौ: Adhikaraṇa (अधिकरण)
• Type: Noun
• Root: हल (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, सप्तमी (7th/locative), एकवचन; ‘आदौ’ (अव्ययभावे) समास/प्रयोगः: ‘at the beginning of the ploughing’

• वृषनाशाय: for the destruction of bulls/oxen (i.e., to avert harm)
• वृषनाशाय: Sampradāna/Prayojana (सम्प्रदान/प्रयोजन)
• Type: Noun
• Root: वृष (प्रातिपदिक) + नाश (प्रातिपदिक)
• Form: पुंलिङ्ग, चतुर्थी (4th/dative), एकवचन; षष्ठी-तत्पुरुषः: वृषस्य नाशः

• भ: a lunar mansion (bha)
• भ: Karma (कर्म)
• Type: Noun
• Root: भ (प्रातिपदिक; नक्षत्रनाम)
• Form: नपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन; नक्षत्र-सूचक

• त्रयम्: a set of three
• त्रयम्: Saṅkhyā (संख्या)
• Type: Adjective
• Root: त्रय (संख्या-प्रातिपदिक)
• Form: नपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन; संख्यावाचक

• सूर्य: of the Sun
• सूर्य: Sambandha (सम्बन्ध/षष्ठी)
• Type: Noun
• Root: सूर्य (प्रातिपदिक)
• Form: पुंलिङ्ग, षष्ठी (6th/genitive), एकवचन (समासपूर्वपद-भावः)

• मुक्त: released/loosened
• मुक्त: Viśeṣaṇa (विशेषण)
• Type: Adjective
• Root: मुच् (धातु) → मुक्त (कृदन्त-प्रातिपदिक; क्त)
• Form: नपुंसकलिङ्ग, षष्ठी (6th/genitive), एकवचन (समासपूर्वपद-भावः); भूतकर्मणि क्त-प्रत्ययः: ‘released/loosened’

• भात्: from (that which is) shining
• भात्: Apādāna (अपादान)
• Type: Adjective
• Root: भा (धातु) → भात् (कृदन्त/प्रातिपदिक; क्तवत्/भूतार्थ)
• Form: नपुंसकलिङ्ग, पञ्चमी (5th/ablative), एकवचन; ‘from the shining/illumined’ (पाठे ‘भात्’ = abl. of ‘भात’)

• अग्रे: in front/at the fore
• अग्रे: Adhikaraṇa (अधिकरण)
• Type: Noun
• Root: अग्र (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, सप्तमी (7th/locative), एकवचन; अव्ययीभाववत्: ‘in front/at the fore’

• वृद्ध्यै: for increase/prosperity
• वृद्ध्यै: Sampradāna/Prayojana (सम्प्रदान/प्रयोजन)
• Type: Noun
• Root: वृद्धि (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, चतुर्थी (4th/dative), एकवचन

• त्रयम्: a set of three
• त्रयम्: Saṅkhyā (संख्या)
• Type: Adjective
• Root: त्रय (संख्या-प्रातिपदिक)
• Form: नपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन

• लक्ष्म्यै: for Lakṣmī/fortune
• लक्ष्म्यै: Sampradāna/Prayojana (सम्प्रदान/प्रयोजन)
• Type: Noun
• Root: लक्ष्मी (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, चतुर्थी (4th/dative), एकवचन

• सौम्यपार्श्वे: on the auspicious side
• सौम्यपार्श्वे: Adhikaraṇa (अधिकरण)
• Type: Noun
• Root: सौम्य (प्रातिपदिक) + पार्श्व (प्रातिपदिक)
• Form: नपुंसकलिङ्ग, सप्तमी (7th/locative), एकवचन; कर्मधारयः: सौम्यं पार्श्वम् (the auspicious side)

• च: and
• च: Sambandha (सम्बन्ध/समुच्चय)
• Type: Indeclinable
• Root: च (अव्यय)
• Form: समुच्चय-अव्यय (conjunction)

• पंचकम्: a set of five
• पंचकम्: Karma (कर्म)
• Type: Noun
• Root: पंचक (संख्या-प्रातिपदिक)
• Form: नपुंसकलिङ्ग, प्रथमा/द्वितीया (1st/2nd), एकवचन; समूहवाचक: ‘set of five’

Speaker

Narada (teaching in a technical/ritual register within Moksha-Dharma discourse)

Vrata Kalpa

Vrata: none

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: shanta

Characters & Entities

• Surya
• Laksmi

FAQs

What is the spiritual significance of this verse in Narada Purana?

It encodes a ritual-technical rule: specific syllabic groupings and their placement are linked to intended outcomes—removal of an obstacle (vṛṣa), increase (vṛddhi), and Lakṣmī’s favor—showing how disciplined sacred sound is applied toward dharmic aims.

How does this verse explain the path of devotion (Bhakti)?

While not a direct bhakti hymn, it supports bhakti practice by prescribing orderly, auspicious mantra-usage aimed at purity, protection, and prosperity—conditions traditionally considered supportive for steady devotion to the Divine.

What practical Vedic knowledge (Vedanga) is highlighted here?

It reflects a Śikṣā/Vyākaraṇa-like concern with syllables and structured groupings (triads and a pentad) and a ritual-nyāsa style concern with directional/positional placement (front, side) to produce specific results.