Narada Purana — Purva Bhaga, Shloka 41
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
ऋषीणां मूर्छनाः सप्त यास्त्विमा लौकिकाः स्मृताः । षङ्जः प्रीणाति वै देवानृषीन्प्रीणाति चर्षभः ॥ ४१ ॥
ṛṣīṇāṃ mūrchanāḥ sapta yāstvimā laukikāḥ smṛtāḥ | ṣaṅjaḥ prīṇāti vai devānṛṣīnprīṇāti carṣabhaḥ || 41 ||
Les sept mūrcchanā des Ṛṣi — telles sont celles que l’on retient comme employées dans l’usage commun du monde. Parmi les notes, Ṣaḍja réjouit véritablement les Devas, tandis que Ṛṣabha réjouit les Ṛṣi.
Narada (teaching within a Moksha-Dharma context, framed as sacred knowledge of sound)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: adbhuta
FAQs
It links nāda (sacred sound) with spiritual efficacy: specific svaras are said to please divine and seerly realms, implying that correct tonal knowledge supports dharma and inner upliftment.
By showing that sound offered with right knowledge has devotional power—music, chanting, and praise can become offerings that gladden devas and align the practitioner with sacred tradition.
Śikṣā/phonetics and svara-discipline: the verse emphasizes mūrchanā and specific notes (Ṣaḍja, Ṛṣabha), pointing to the importance of correct tonal practice in recitation and sacred performance.