atha japa-bhedāḥ tal-lakṣaṇādi ca
atha japa-bhedāḥ tal-lakṣaṇādi ca—
trividho japa-yajñaḥ syāt tasya bhedān nibodhata |
vācikaś ca upāṁśuś ca mānasaś ca tridhā mataḥ |
trayāṇāṁ japa-yajñānāṁ śreyān syād uttarottaraḥ ||
yad ucca-nīca-svaritaiḥ spaṣṭa-śabdavad-akṣaraiḥ |
mantram uccārayed vyaktaṁ japa-yajñaḥ sa vācikaḥ ||
śanair uccārayen mantram īṣad auṣṭhau pracālayet |
kiñcic chabdaṁ svayaṁ vidyād upāṁśuḥ sa japaḥ smṛtaḥ ||
dhiyā yad akṣara-śreṇyā varṇād varṇaṁ padāt padam |
śabdārtha-cintanābhyāsaḥ sa ukto mānaso japaḥ ||
(Nṛsiṁha Purāṇa; cited in Hari-bhakti-vilāsa: 17.155–158)
“Now, the divisions of japa and their characteristics [are described]—‘Japa-sacrifice (yajña) shall be [known to be] of three types. Hear of the [three] divisions of this. The three types are known as verbal (vācika), sotto voce (upāṁśu) and mental (mānasa). There shall be successive superiority amid these three [types of] japa-sacrifices [i.e., they are listed in order from lesser to greater]. That which shall pronounce the mantra distinctly with clear, audible syllables and high and low pitches is [called] verbal (vācika) japa-sacrifice. That which shall pronounce the mantra [only] softly, move the lips [only] slightly, and make known [i.e., heard] some sound [only] to oneself is known as sotto voce (upāṁśu) japa. That which is a repetition of contemplation of the meaning of the words [in the mantra] with the mind [moving] from one phoneme to another phoneme in the series of syllables [within each word] and from one word to another word [throughout the mantra] is called mental (mānasa) japa.”