The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
सेन्दुगोविन्दपूर्वेण वियता सेन्दुनापुनः । षड्दीर्घाढ्ये न कुर्वीत षडंगानि विशालधीः ॥ १३२ ॥
sendugovindapūrveṇa viyatā sendunāpunaḥ | ṣaḍdīrghāḍhye na kurvīta ṣaḍaṃgāni viśāladhīḥ || 132 ||
A discerning reciter should not construct the sixfold phonetic units (ṣaḍaṅga) in a passage overburdened with six long vowels; rather, following the earlier rule—marked by the sequence “sendu–govinda”—one should again measure the utterance with the prescribed interval.
Sanatkumara (teaching Narada the technical rules of Vedanga-Śikṣā)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: none
It emphasizes that spiritual merit from mantra and Vedic study depends on precision in sound—proper measure, spacing, and phonetic method—so the sacred word is preserved and transmitted without distortion.
Indirectly: bhakti expressed through mantra-japa and Vedic praise becomes steadier and more effective when pronunciation and recitational discipline are correct, showing devotion through careful, reverent practice.
Vedāṅga-Śikṣā (phonetics): it gives a technical caution about not applying a six-part recitational scheme in syllable-groups heavy with long vowels, and instead following a prescribed measured interval indicated by a mnemonic example.