Narada Purana — Purva Bhaga, Shloka 47
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
आचार्याः सममिच्छंति पदच्छेदं तु पंडिताः । स्त्रियो मधुरमिच्छंति विक्रुष्टमितरे जनाः ॥ ४६ ॥
ācāryāḥ samamicchaṃti padacchedaṃ tu paṃḍitāḥ | striyo madhuramicchaṃti vikruṣṭamitare janāḥ || 46 ||
المعلّمون (ācārya) يختارون الأداء المتساوي الموزون؛ والعلماء (paṇḍita) يختارون وضوح فصل الكلمات؛ والنساء يملن إلى عذوبة النبرة؛ أمّا سائر الناس فيفضّلون التلاوة الجهيرة القوية.
Narada (teaching on proper recitation and audience disposition, in dialogue context with Sanatkumara tradition)
Vrata: none
Primary Rasa: hasya
Secondary Rasa: shanta
FAQs
It teaches discernment in sacred speech: different listeners seek different qualities, but the practitioner should value disciplined, intelligible recitation that supports understanding and inner steadiness—key to Moksha-oriented Dharma.
Bhakti is strengthened when recitation becomes pleasing yet clear and steady; the verse cautions that mere loudness is not devotion—devotion matures through mindful, respectful chanting that conveys meaning.
It points to Shiksha (phonetics/intonation) via “samam” and “vikruṣṭam,” and to Vyakarana-oriented practice through “padaccheda,” emphasizing correct parsing for accurate comprehension and transmission.