Agni Purana — Raja-dharma, Shloka 10
Chapter 231 — शकुनानि (Śakunāni) | Omens in Governance, Travel, and War
दुष्करमिति ख , छ च दक्षिणो ऽन्नविनाशकृदिति ग , घ , ञ च वामो ऽनुलोमगः श्रेष्ठो मध्यमो दक्षिणः स्मृतः प्रतिलोमगतिर्वामो गमनप्रतिषेधकृत्
duṣkaramiti kha , cha ca dakṣiṇo 'nnavināśakṛditi ga , gha , ña ca vāmo 'nulomagaḥ śreṣṭho madhyamo dakṣiṇaḥ smṛtaḥ pratilomagatirvāmo gamanapratiṣedhakṛt
ખ અને છના પ્રસંગે યતિ/છેદને ‘દુષ્કર’ કહે છે; અને ગ, ઘ તથા ઙના પ્રસંગે ‘દક્ષિણ’—જે અન્ન (અર્થાત્ સરળ પાઠ)નો વિનાશક—કહે છે. અનુલોમ ક્રમે ચાલતો ‘વામ’ શ્રેષ્ઠ છે, ‘દક્ષિણ’ મધ્યમ માનવામાં આવે છે. પ્રતિલોમ ક્રમે ચાલતો ‘વામ’ ગમન-પ્રતિષેધક (છંદપ્રવાહમાં અવરોધક) બને છે.
Lord Agni (in the Agni Purana’s instructional narration to Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"For prosody and recitation training, classify caesura/break types and movement orders (anuloma/pratiloma) to maintain fluent metrical gait and avoid obstructive patterns.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"Definition","entry_title":"Chandas: Duṣkara/Dakṣiṇa Breaks and Vāma/Dakṣiṇa Gati (Anuloma vs Pratiloma)","lookup_keywords":["chandas","vritta-lakshana","duṣkara","dakṣiṇa","anuloma pratiloma"],"quick_summary":"Certain caesura placements are termed Duṣkara (hard) and Dakṣiṇa (recitation-disrupting). Forward-order (anuloma) vāma-gati is best, dakṣiṇa is middling, and reverse-order (pratiloma) vāma-gati obstructs smooth progression."}
Concept: Sound-structure (pause and movement) governs intelligibility and aesthetic ease; correct order (anuloma) is privileged over reversal (pratiloma).
Application: In teaching/learning meters, mark yati points and practice gati in forward order to prevent stumbling and preserve intended cadence.
Khanda Section: Chandas-śāstra / Prosody (Vṛtta-lakṣaṇa: metrical gait and caesura-types)
Primary Rasa: shanta
Secondary Rasa: adbhuta
Visual Art Cues: {"scene_description":"A prosody teacher points to a palm-leaf chart showing gaṇa groups (kha/cha; ga/gha/ña) and labels ‘Duṣkara’ and ‘Dakṣiṇa’; students clap tāla while practicing anuloma vs pratiloma gati on a metrical grid.","kerala_mural_prompt":"Kerala mural of a gurukula: teacher with stylus and palm-leaf manuscript, students seated; a large stylized metrical diagram on a board with ‘Duṣkara’ and ‘Dakṣiṇa’; rhythmic hand gestures, warm palette.","tanjore_prompt":"Tanjore painting of a seated ācārya with gold-embossed manuscript and ornate backdrop; students with cymbals/tāla; highlighted gold on manuscript edges; diagrammatic panel showing anuloma/pratiloma paths.","mysore_prompt":"Mysore style technical illustration: clear metrical grid, arrows for anuloma and pratiloma, labeled vāma/dakṣiṇa; teacher demonstrating yati with hand; clean lines and readable captions.","mughal_miniature_prompt":"Mughal miniature of a literary salon: scholar-teacher, students, manuscripts; a chart with gaṇa letters and pause marks; refined interior architecture, delicate colors, marginal floral motifs."}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Hamsadhwani","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: dakṣiṇo 'nnavināśakṛt→dakṣiṇaḥ+anna-vināśa-kṛt; vāmo 'nulomagaḥ→vāmaḥ+anuloma-gaḥ; pratilomagatirvāmo→pratiloma-gatiḥ+vāmaḥ (visarga→r before voiced); gamanapratiṣedhakṛt→gamana-pratiṣedha-kṛt.
Related Themes: Agni Purana: Chandas-śāstra/prosody chapters on gaṇa classification, yati, and vṛtta names
FAQs
It teaches technical classifications in Chandas-śāstra: how certain prosodic gaṇa-classes (kha/cha vs. ga/gha/ña) are associated with named caesura/movement-types (Duṣkara, Dakṣiṇa, Vāma) and how forward vs. reverse progression affects metrical flow.
Beyond theology and ritual, the Agni Purana preserves formal literary sciences—here, Sanskrit prosody—mapping precise metrical mechanics (gaṇa, anuloma/pratiloma gait, recitation smoothness) as part of its wide-ranging knowledge system.
Accurate meter and unobstructed recitation preserve the integrity of sacred speech; maintaining proper chandas is traditionally linked with purity of utterance and the efficacy (phala) of hymns and ritual recitations.