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
Vượt ngoài các thể luật đã nêu trước, còn có các loại mang tên Atiśarkvarī và Kāṣṭī; kế đó là các thể hỗn hợp được tạo bởi một kiểu pha trộn duy nhất. Lại có một hạng khác được phân biệt theo mātrā (lượng trường–đoản của âm tiết); và trong các thể tán dương, loại được nhắc sau cùng gọi là Paścima.
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).