Agni Purana — Sahitya-shastra, Shloka 28
Chapter 336 — काव्यादिलक्षणम्
Definitions of Poetry and Related Arts
अतिशर्क्वरिकाष्टिभ्यामेकसङ्कीर्णकैः परः मात्रयाप्यपरः सर्गः प्राशस्त्येषु च पश्चिमः
atiśarkvarikāṣṭibhyāmekasaṅkīrṇakaiḥ paraḥ mātrayāpyaparaḥ sargaḥ prāśastyeṣu ca paścimaḥ
پہلے بیان کردہ اوزان کے بعد ‘اتیشَرکوری’ اور ‘کاشٹی’ نامی اقسام آتی ہیں۔ پھر ایک ہی نوع کے امتزاج سے بنے ہوئے مخلوط اوزان ہوتے ہیں۔ ایک اور طبقہ ‘ماترا’ (ہجائی مقدار) کے اعتبار سے ممتاز ہے؛ اور مدحیہ اوزان میں آخری قسم ‘پَشچِم’ کہلاتی ہے۔
Lord Agni (in discourse to Sage Vasiṣṭha)
Vidya Category: {"primary_vidya":"Alamkara","secondary_vidya":"Vyakarana","practical_application":"Prosodic classification for selecting appropriate metres in composition, especially eulogistic (praśasti) contexts; aids poets and reciters in matching metre to genre.","sutra_style":true}
Encyclopedic Reference: {"reference_type":"List","entry_title":"Metre-classes: Atiśarkvarī, Kāṣṭī, Saṅkīrṇa, Mātrā-based, and Praśasti Paścima","lookup_keywords":["Atiśarkvarī","Kāṣṭī","saṅkīrṇa-chandas","mātrā-chandas","praśasti Paścima"],"quick_summary":"Enumerates later/advanced metre categories: named varṇavṛtta types (Atiśarkvarī, Kāṣṭī), single-mixture saṅkīrṇa metres, mātrā-quantitative metres, and a concluding praśasti-oriented variety called Paścima."}
Concept: Right classification and selection of chandas according to structure (varṇa/mātrā) and purpose (praśasti).
Application: Use the metre-type as a compositional constraint: choose mātrā-vṛtta for quantitative rhythm, saṅkīrṇa for mixed patterns, and praśasti metres for panegyric.
Khanda Section: Sahitya-shastra (Chandas/Prosody and Poetic Meter Classification)
Primary Rasa: Adbhuta
Secondary Rasa: Shanta
Visual Art Cues: {"scene_description":"A learned poet-teacher points to palm-leaf charts listing metre names—Atiśarkvarī, Kāṣṭī, Saṅkīrṇa, Mātrā-vṛtta—while students chant a praśasti cadence labeled Paścima.","kerala_mural_prompt":"Kerala temple mural style, warm earthy palette, guru in white mundu teaching chandas from palm-leaf manuscript, students seated, stylized script panels showing metre names Atiśarkvarī Kāṣṭī Saṅkīrṇa Mātrā Paścima, flat decorative background","tanjore_prompt":"Tanjore painting, gold-leaf highlights on manuscript and haloed guru, ornate borders, chandas chart as gilded panel with Devanagari metre names, devotional-academic ambience","mysore_prompt":"Mysore painting, fine linework, instructional classroom scene with labelled metre table, subtle pastel wash, emphasis on manuscript diagrams and rhythmic hand-gestures of recitation","mughal_miniature_prompt":"Mughal miniature, courtly library setting, poet-scholar presenting a folio of prosody classifications to patrons, detailed textiles, calligraphic labels for Atiśarkvarī and Paścima"}
Audio Atmosphere: {"recitation_mood":"instructional","suggested_raga":"Shankarabharanam","pace":"medium","voice_tone":"instructional"}
Sandhi Resolution Notes: अतिशर्क्वरिकाष्टिभ्याम् = अति-शर्क्वरी-काष्ठिभ्याम्; एकसङ्कीर्णकैः = एक-सङ्कीर्णकैः; मात्रयापि = मात्रया अपि.
Related Themes: Agni Purana 336 (Sahitya-shastra: chandas sections immediately preceding and following this verse)
FAQs
It imparts chandas-vidyā (Sanskrit prosody): naming and grouping specific metres—Atiśarkvarī, Kāṣṭī, single mixed (saṅkīrṇa) forms, mātrā-based metres, and a praśasti metre called Paścima—used for composing correctly metered poetry and eulogies.
By cataloging technical metre-types and composition domains (like praśasti/eulogy), it shows the Agni Purana functioning as a multi-disciplinary manual that includes literary science (sāhitya-śāstra) alongside its better-known ritual and dharma topics.
Mastery of correct chandas is traditionally linked with preserving the potency and clarity of sacred and laudatory speech; composing accurate praise (praśasti) and recitation in proper metre is treated as a meritorious, purifying use of vāṇī (speech).