Nārada, listen attentively as I share with you the proper application of ‘raṅga’, for this is my considered view. In the realm of metrical composition, there are four principal types of metrical feet, and within these, ten specific kinds of word-endings are described. You must understand that consonants cannot occur where only a vowel remains; in such cases, the consonant is absent. Consider the consonant as a precious gem, and the vowel as the thread that holds it together. When only the vowel remains, it is strong and prominent, while the consonant, without its support, is weak. It is important to know the points of articulation: the root of the tongue, the labial, and the eightfold movement of the sibilants. In these articulations, the visarga should be taken into account, and the palatal sounds also arise from these places. Wherever a sound expands, it is called ‘consonantal’, while a close contact of sounds is described as ‘vocalic’. Yet, wherever there is expansion, that too is designated as ‘vocalic’. Thus, a ‘vowel-ending’ should be recognized as such, except in the case of indistinct sibilants. If the affixes ‘sha’, ‘ṣa’, or ‘sa’ arrive at the second position in a word, they should not be acknowledged—just as a fish, swimming in water, pays no heed to a razor lying beneath the surface. The hymns of the Ṛg Veda are metrical, yet their meter is free, and the feet are measured by the number of syllables. When an affix is joined with the ‘repha’ (the sound of ‘r’), it is measured according to the division of the vowel. If a light ‘ṛ’ is joined with a sibilant, it should be recognized accordingly. The concept of the guru (heavy) syllable must be understood; here, the threefold verse serves as an example. The fifth is Nirṛti, and it is unmistakably marked by the syllable ‘ṛ’. Sometimes, a verse may be found lacking both the ‘i’ and ‘u’ vowels, and in such cases, it stands apart from the sequence of single words. By carefully considering the prescribed syllables, both vowel and consonant sounds are established in their place. Among the letters ‘ṣa’ and ‘sa’, the open form is recognized, while with ‘ha’, the closed form is known. The vowels ‘i’ and ‘u’, as well as those affected by faults, are also to be included in this study. Next, attention must be paid to the final nasal, the anusvāra, and the guttural nasal, for these too are important. That which possesses the stated characteristics is so defined; any that differ are called ‘vipulā’. After such combinations, it should be known that the resulting syllables are long and heavy. Where the open form appears, it stands before its own vowel. The characteristics of the tones of words are to be understood as eightfold: middle raised, tonal, and twice raised—these are the eight designations of words. All those gathered in the collection are marked with the initial raised tone. Where only the tonal accent is present, the soft accent should be applied. It is said that the excellence of pronunciation is indeed for the Vaiśyas; if the proper pronunciation of any syllable is not found, then the statement must be interpreted according to its own grammar. In the Sāma hymns, the pronunciation is subdued, and because of the subtlety of the tones, it is not easily discerned. When the garland of syllables is worn out and awakened, the Brahmin should contemplate the essence of the matter. As long as the night of residence—the middle one—remains, he should restrain his speech, rise early in the morning, and partake of the two-grained rice. All thorny plants are considered meritorious, and those that yield milk are renowned. He should utter the syllables properly, just as one would cross the eastern river with care and precision. These syllables are born from the fire-sacrifice, and in turn, they produce the proper sounds. After drinking honey and ghee, and having purified himself, then he should speak. Without omitting the seven mantras, he may utter speech as he desires. Yet, know this: the sweetness of vowels and consonants is lost—there can be no doubt about it.