Hanūmaccarita
The Account of Hanumān
स्वधारामृतसंयुक्तं गानेनैवमपोनयन् । वासुदेवो मर्दलं च कराभ्यामप्यवादयत् ॥ ११७ ॥
svadhārāmṛtasaṃyuktaṃ gānenaivamaponayan | vāsudevo mardalaṃ ca karābhyāmapyavādayat || 117 ||
So vertrieb er durch seinen Gesang, erfüllt vom Nektar seines eigenen inneren Stromes, Müdigkeit und Kummer. Und auch Vāsudeva schlug die Mṛdaṅga (Mardala) mit beiden Händen.
Narada (as narrator within the dialogue tradition, typically addressed to the Sanatkumara brothers)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shanta
It presents devotional sound—song infused with “amṛta” (nectar-like spiritual relish)—as a force that dispels inner heaviness, while Vāsudeva’s drum-playing highlights sacred music as an elevating, sanctifying act.
Bhakti is shown as lived practice: kīrtana (devotional singing) and vādya (instrumental accompaniment) become direct vehicles for remembrance of Vāsudeva, transforming the atmosphere and the devotee’s inner state.
It points to disciplined use of voice and rhythm in sacred performance—skills aligned with traditional śikṣā (phonetics/recitation discipline) and the broader Vedic culture of regulated sound (nāda) used for focus and ritual efficacy.