Shloka 6
पणवं स्यान्मनयगैर्मयूरसारिणी भवेत् / रजाभ्याञ्च रगाभ्याञ्च रुक्मवती भमौ सगौ
paṇavaṃ syānmanayagairmayūrasāriṇī bhavet / rajābhyāñca ragābhyāñca rukmavatī bhamau sagau
A metrical pattern is called “Paṇava” when it is formed with the gaṇas ma–na–ya–ga. When arranged in another way it is termed “Mayūrasāriṇī.” And when constituted by the gaṇas ra–jā and ra–gā, it is named “Rukmavatī,” with the closing feet described as 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.