Shloka 21

Nāmāṣṭottara-dviśata: Gaṇa–Chandas–Yati Catalogue and Mnemonic Coding

Devanagari script

मञ्जुभाषिणी सज्सा ज्गौ सुनन्दिनी सजसा मगौ / ननौ ततौ चन्द्रिका गः सप्तभिश्च रसैर्यतिः

Transliteration

mañjubhāṣiṇī sajsā jgau sunandinī sajasā magau / nanau tatau candrikā gaḥ saptabhiśca rasairyatiḥ

Translation

この偈では、Mañjubhāṣiṇī、Sunandinī、Candrikā などの韻律・音律の型とその組合せが列挙され、整えられた「ヤティ」（規則正しい休止・律動）は七つの「ラサ」（七区分・七度量）によって成ると説かれる。

Word by Word

• मञ्जुभाषिणी: the sweet-speaking (one) / Mañjubhāṣiṇī (name)
• मञ्जुभाषिणी: Karta (Subject/कर्ता)
• Type: Noun
• Root: मञ्जु-भाषिणी (प्रातिपदिक; मञ्जु + भाषिणी)
• Form: स्त्रीलिङ्ग, प्रथमा (1st/प्रथमा), एकवचन; कर्मधारय-समास ('sweet-speaking')

• सज्सा: sajsā (prosodic label)
• सज्सा: Visheshya (Label/संज्ञा)
• Type: Noun
• Root: सज्सा (प्रातिपदिक; छन्दोगण-संज्ञा)
• Form: स्त्रीलिङ्ग, प्रथमा (1st/प्रथमा), एकवचन; छन्दः-गण/वृत्त-संज्ञा (as given)

• ज्गौ: (the gaṇa) jgau
• ज्गौ: Visheshya (Label/संज्ञा)
• Type: Noun
• Root: ज्गौ (प्रातिपदिक; छन्दोगण-संज्ञा)
• Form: पुंलिङ्ग, प्रथमा (1st/प्रथमा), द्विवचन; छन्दः-गणनाम (orthographic variant)

• सुनन्दिनी: Sunandinī (name)
• सुनन्दिनी: Karta (Subject/कर्ता)
• Type: Noun
• Root: सु-नन्दिनी (प्रातिपदिक; सु + नन्दिनी)
• Form: स्त्रीलिङ्ग, प्रथमा (1st/प्रथमा), एकवचन; उपसर्गपूर्वक-तत्पुरुष/कर्मधारयार्थ ('very/auspiciously joyful')

• सजसा: by/with sajasā (prosodic element)
• सजसा: Karana (Instrument/करण)
• Type: Noun
• Root: सजसा (प्रातिपदिक; छन्दोगण-संज्ञा)
• Form: नपुंसकलिङ्ग/पुंलिङ्ग, तृतीया (3rd/तृतीया), एकवचन; छन्दः-गण/वृत्त-संज्ञा (as given)

• मगौ: (the gaṇa) magau
• मगौ: Visheshya (Label/संज्ञा)
• Type: Noun
• Root: मगौ (प्रातिपदिक; छन्दोगण-संज्ञा)
• Form: पुंलिङ्ग, प्रथमा (1st/प्रथमा), द्विवचन; छन्दः-गणनाम

• ननौ: (the gaṇa) nanau
• ननौ: Visheshya (Label/संज्ञा)
• Type: Noun
• Root: ननौ (प्रातिपदिक; छन्दोगण-संज्ञा)
• Form: पुंलिङ्ग, प्रथमा (1st/प्रथमा), द्विवचन; छन्दः-गणनाम

• ततौ: (the gaṇa) tatau
• ततौ: Visheshya (Label/संज्ञा)
• Type: Noun
• Root: ततौ (प्रातिपदिक; छन्दोगण-संज्ञा)
• Form: पुंलिङ्ग, प्रथमा (1st/प्रथमा), द्विवचन; छन्दः-गणनाम

• चन्द्रिका: moonlight; Candrikā (name)
• चन्द्रिका: Karta (Subject/कर्ता)
• Type: Noun
• Root: चन्द्रिका (प्रातिपदिक)
• Form: स्त्रीलिङ्ग, प्रथमा (1st/प्रथमा), एकवचन

• गः: (the gaṇa) gaḥ
• गः: Visheshya (Label/संज्ञा)
• Type: Noun
• Root: ग (प्रातिपदिक; छन्दोगण-संज्ञा)
• Form: पुंलिङ्ग, प्रथमा (1st/प्रथमा), एकवचन; छन्दः-गणनाम

• सप्तभिः: with seven
• सप्तभिः: Karana (Instrument/करण)
• Type: Adjective
• Root: सप्तन् (प्रातिपदिक)
• Form: पुंलिङ्ग/नपुंसकलिङ्ग, तृतीया (3rd/तृतीया), बहुवचन; संख्याविशेषण

• च: and
• च: Sambandha (Connector/सम्बन्ध)
• Type: Indeclinable
• Root: च (अव्यय)
• Form: समुच्चयबोधक-अव्यय (conjunction)

• रसैः: with rasas (tastes/essences)
• रसैः: Karana (Instrument/करण)
• Type: Noun
• Root: रस (प्रातिपदिक)
• Form: पुंलिङ्ग, तृतीया (3rd/तृतीया), बहुवचन

• यतिः: yati (metrical pause)
• यतिः: Visheshya (Predicate label/संज्ञा)
• Type: Noun
• Root: यति (प्रातिपदिक)
• Form: पुंलिङ्ग, प्रथमा (1st/प्रथमा), एकवचन; छन्दः-परिभाषा

Speaker

Suta/Compiler narration (prosodic enumeration within the text; not a direct Vishnu–Garuda dialogue line)

Philosophical Teaching

Concept: Prosodic knowledge: named metrical/phonetic configurations and the principle that yati is organized through seven divisions (here termed ‘rasas’ as measures/segments).

Vedantic Theme: Order (ṛta-like regularity) reflected in speech; disciplined articulation as a support for clarity of meaning.

Application: When scanning/constructing verses, apply the named configurations and ensure the cadence aligns with a seven-part segmentation rule for yati as taught in this section.

Verse Rasa

Primary Rasa: adbhuta

Secondary Rasa: shanta

Cross References

Related Themes: Garuda Purana 1.209.20-24 (gaṇa lists and yati formation rules)

Characters & Entities

• Chandrika (metre name)
• Sunandini (metre name)
• Manjubhashini (metre name)

FAQs

What is the importance of yati (metrical pause) in Garuda Purana recitation?

This verse highlights that yati is a regulated cadence structured through defined divisions (here described as seven), helping preserve correct chanting rhythm and textual integrity.

How does this verse relate to the Garuda Purana’s teachings on death rituals or afterlife?

Directly, it does not describe afterlife doctrine; it functions as a technical note on chandas/prosody, supporting accurate preservation and recitation of the Purana where those teachings appear.

Practical application of this wisdom today?

When chanting or studying the Garuda Purana, observe proper pauses (yati) and metrical flow to avoid misreading; this improves memorization, pronunciation, and fidelity to the transmitted text.