Shloka 55
Nāgendra–Brāhmaṇa Saṃvāda: Praśna-vidhi and Dharmic Approach on the Gomatī Riverbank
शैक्ष्यं स्वरं समास्थाय उदगीतं प्रासृजत् स्वरम् । रसातलमें प्रवेश करके परम योगका आश्रय ले शिक्षाके नियमानुसार उदात्त आदि स्वरोंसे युक्त उच्च स्वरसे सामवेदका गान करने लगे || ५४ $ ।। स स्वर: सानुनादी च सर्वश: स्निग्ध एव च
śaikṣyaṃ svaraṃ samāsthāya udagītaṃ prāsṛjat svaram | rasātalaṃ praviśya parama-yogam āśritya śikṣā-niyamānusāreṇa udātta-ādi-svaropetaṃ uccaiḥ-svaraṃ sāma-veda-gānaṃ cakāra || (55) | sa svaraḥ sānunādī ca sarvaśaḥ snigdha eva ca |
ヴァイシャンパーヤナは言った。音声学（śikṣā）の規定する節度ある発声法を身に収め、彼は高く、長く保たれる詠唱を放った。ラサータラ（Rasātala）に入り、至高のヨーガに帰依して、ウダーッタ（udātta）などのアクセントを正しく備えた高音域で『サーマ・ヴェーダ』（Sāma-veda）を歌い始めた。その声は四方に響き渡り、滑らかで厚みがあった。
वैशग्पायन उवाच
Educational Q&A
The passage highlights disciplined speech as a spiritual instrument: correct phonetics and Vedic accentuation (śikṣā, udātta-ādi) are not merely technicalities but supports for higher yogic absorption, where sound becomes a vehicle for inner steadiness and sacred order (dharma).
Vaiśaṃpāyana describes a figure entering Rasātala and, established in supreme Yoga, producing a powerful, resonant, smooth chant of the Sāma-veda in a high register, carefully aligned with the traditional rules of pronunciation and Vedic accents.