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 ||
ആചാര്യർ സമമായും മിതമായും ഉള്ള ഗാനം ഇച്ഛിക്കുന്നു; പണ്ഡിതർ പദച്ഛേദം—വ്യക്തമായ പദവിഭാഗം—ആഗ്രഹിക്കുന്നു. സ്ത്രീകൾ മധുരസ്വരം ഇഷ്ടപ്പെടുന്നു; മറ്റു ജനങ്ങൾ ഉയർന്നും ശക്തമായും (വികൃഷ്ടമായി) ഉള്ള പാരായണം പ്രിയമാക്കുന്നു।
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.