Narada Purana — Purva Bhaga, Shloka 47
Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory
आचार्याः सममिच्छंति पदच्छेदं तु पंडिताः । स्त्रियो मधुरमिच्छंति विक्रुष्टमितरे जनाः ॥ ४६ ॥
ācāryāḥ samamicchaṃti padacchedaṃ tu paṃḍitāḥ | striyo madhuramicchaṃti vikruṣṭamitare janāḥ || 46 ||
アーチャーリヤ（師）は均整のとれた平らかな唱え方を望み、学匠（パンディタ）は語の切れ目が明瞭であることを望む。女性は甘美な声調を好み、その他の人々は高く力強い誦唱を好む。
Narada (teaching on proper recitation and audience disposition, in dialogue context with Sanatkumara tradition)
Vrata: none
Primary Rasa: hasya
Secondary Rasa: shanta
FAQs
It teaches discernment in sacred speech: different listeners seek different qualities, but the practitioner should value disciplined, intelligible recitation that supports understanding and inner steadiness—key to Moksha-oriented Dharma.
Bhakti is strengthened when recitation becomes pleasing yet clear and steady; the verse cautions that mere loudness is not devotion—devotion matures through mindful, respectful chanting that conveys meaning.
It points to Shiksha (phonetics/intonation) via “samam” and “vikruṣṭam,” and to Vyakarana-oriented practice through “padaccheda,” emphasizing correct parsing for accurate comprehension and transmission.