Shloka 40
वंशानुकीर्तनम् — Genealogical Recitation from Dakṣa to Yayāti and the Establishment of the Paurava Line
अथर्ववेदप्रवरा: पूगयज्ञियसामगा: । संहितामीरयन्ति सम पदक्रमयुतां तु ते,श्रेष्ठ अथर्ववेदीय विद्वान् तथा पूगयज्ञिय नामक सामके गायक सामवेदी महर्षि पद और क्रमसहित अपनी-अपनी संहिताका पाठ करते थे
atharvavedapravarāḥ pūgayajñiyasāmagāḥ | saṁhitām īrayanti sama-padakramayutāṁ tu te |
Então os mais eminentes atharvavedins e os cantores sāmavédicos conhecidos como Pūgayajñiya começaram a recitar suas respectivas Saṁhitās. Entoaram o texto védico de modo uniforme e cadenciado, completo tanto na recitação palavra por palavra (pada) quanto na sequencial (krama)—sinal de aprendizado disciplinado, correção ritual e reverência pela fala sagrada.
वैशम्पायन उवाच
Educational Q&A
The verse highlights the ethical and religious ideal of fidelity to sacred knowledge: Vedic recitation is performed with precision (pada and krama methods) and steadiness, reflecting discipline, authenticity of transmission, and reverence for dharma upheld through correct ritual speech.
Vaiśampāyana describes learned priests/chanters—eminent Atharvavedins and Pūgayajñiya Sāmavedic singers—reciting their Saṁhitās in formal styles (padapāṭha and kramapāṭha), indicating an ongoing ritual or solemn assembly where Vedic chanting is being performed.