Narada Purana — Purva Bhaga, Shloka 65

Anūcāna (True Learning), the Vedāṅgas, and Śikṣā: Svara, Sāmavedic Chant, and Gandharva Theory

Devanagari script

धैवतः । अतिस्वार्यः ॥ ६ ॥

Transliteration

dhaivataḥ | atisvāryaḥ || 6 ||

Translation

ဓိုင်ဝတ (Dhaivata) — (အသံထွက်ရာတွင်) အလွန်မြင့်တင်သော သံဖြင့် ဖြစ်၏။

Word by Word

• धैवतः: Dhaivata (the note ‘Dha’)
• धैवतः: कर्ता (Karta/Subject)
• Type: Noun
• Root: धैवत (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा-विभक्ति (Nominative/1st), एकवचन (Singular)

• अतिस्वार्यः: very sonorous / highly melodious
• अतिस्वार्यः: विशेषण (Viśeṣaṇa/Qualifier)
• Type: Adjective
• Root: अति (उपसर्ग/अव्यय) + स्वार्य (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा-विभक्ति (Nominative/1st), एकवचन (Singular); समासः—कर्मधारयः (‘very’ + ‘melodious/sonorous’)

Speaker

Sanatkumara (instructing Narada in a technical enumeration style)

Vrata Kalpa

Vrata: none

Verse Rasa

Primary Rasa: shanta

Secondary Rasa: none

FAQs

What is the spiritual significance of this verse in Narada Purana?

It underscores that precision in sound—svara (intonation/pitch)—matters in sacred recitation; disciplined speech supports clarity of mind and dharmic practice.

How does this verse explain the path of devotion (Bhakti)?

Bhakti is expressed through mantra and kirtana; this line highlights that devotion is strengthened when chanting is attentive and correctly intoned rather than careless or exaggerated.

What practical Vedic knowledge (Vedanga) is highlighted here?

Shiksha (Vedic phonetics): it points to svara control—specifically identifying Dhaivata and warning against अतिस्वार्य (over-raised pitch) in disciplined chanting/intonation.