Shloka 6
Nāmāṣṭottara-dviśata: Gaṇa–Chandas–Yati Catalogue and Mnemonic Coding
पणवं स्यान्मनयगैर्मयूरसारिणी भवेत् / रजाभ्याञ्च रगाभ्याञ्च रुक्मवती भमौ सगौ
paṇavaṃ syānmanayagairmayūrasāriṇī bhavet / rajābhyāñca ragābhyāñca rukmavatī bhamau sagau
يُعرَف هذا النسق العَروضي باسم «پَنَڤا» حين يُصاغ من الغَنا ma–na–ya–ga. وإذا رُتِّب على وجهٍ آخر سُمّي «مَيوراسارِني». وإذا تكوَّن من الغَنا ra–jā وra–gā دُعي «رُكمَڤَتي»، وتُوصَف أقدامه الختامية بـ bha–mau–sa–gau.
Lord Vishnu (in dialogue instruction to Garuda/Vinata-putra, within a didactic section on chandas/prosody)
Concept: Form (saṃsthāna) in sound: rearrangement of the same building blocks (gaṇa) yields distinct identities (metre-nāma).
Vedantic Theme: Nāma-rūpa analogy: different ‘names’ arise from patterned ‘forms’ built from the same substratum (akṣara).
Application: When composing/reciting, verify gaṇa sequences (ma-na-ya-ga etc.) and the closing cadence (bha-mau-sa-gau) to avoid chandas-doṣa.
Primary Rasa: shanta
Secondary Rasa: adbhuta
Related Themes: Garuda Purana 1.209.5-9 (series of chandas definitions); Gaṇa terminology used across the chapter
FAQs
This verse shows that the Purana preserves technical rules for identifying metres by gaṇas, supporting accurate chanting and transmission of sacred text.
It classifies metres by naming the gaṇa-sequences (like ma–na–ya–ga) and the ending patterns (bha–mau–sa–gau), indicating how syllable-groups determine a metre’s identity.
When reciting or teaching Garuda Purana verses, use gaṇa-based metre identification to maintain correct rhythm and reduce errors in memorization and oral chanting.