Narada Purana — Purva Bhaga, Shloka 68
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
षङ्जं मयूरो वदति गावो रंभंति चर्षभम् । अजाविके तु गांधारं क्रौंचो वदति मध्यमम् ॥ ६१ ॥
ṣaṅjaṃ mayūro vadati gāvo raṃbhaṃti carṣabham | ajāvike tu gāṃdhāraṃ krauṃco vadati madhyamam || 61 ||
Le paon profère la note Ṣaḍja ; les vaches meuglent en Ṛṣabha. Chez les chèvres et les brebis se trouve la note Gāndhāra, et l’oiseau krauñca émet Madhyama.
Sanatkumara (in dialogue with Narada, within Moksha-dharma instruction)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: shanta
FAQs
It points to nāda (sacred sound) as a universal principle: even animals naturally manifest distinct svaras, implying that disciplined sound—used in mantra and śikṣā—supports inner refinement conducive to mokṣa.
By highlighting the natural order of sound, it indirectly supports bhakti practice where correct vocalization and attentive chanting (kīrtana/japa) become a precise, reverent offering—devotion expressed through purified speech.
Śikṣā (Vedic phonetics) and svara-jñāna: recognition of specific notes/svaras (Ṣaḍja, Ṛṣabha, Gāndhāra, Madhyama) and the broader idea that accurate sound-production underlies correct mantra recitation.