Sukta 21
छन्दांसि। गा॒य॒त्र्यु॑१ष्णिग॑नु॒ष्टुब् बृ॑ह॒ती प॒ङ्क्तिस्त्रि॒ष्टुब् जग॑त्यै
chándāṃsi | gāyatrī́ uṣṇík anuṣṭúb bṛhatī́ paṅktís triṣṭúb jágatī́ íti
The metres: Gāyatrī, Uṣṇih, Anuṣṭubh, Bṛhatī, Paṅkti, Triṣṭubh, Jagatī—thus.
Các thể thơ (chandas): Gāyatrī, Uṣṇih, Anuṣṭubh, Bṛhatī, Paṅkti, Triṣṭubh, Jagatī—như vậy.
Rishi: Notionally Atharvanic/technical (often unattributed in a personal r̥ṣi sense)
Devata: Chandas (the meters personified/collectivized)
Chandas: List-form (not a single meter; meta-liturgical)
Primary: shanta
Secondary: adbhuta
Sāyaṇa treats the enumeration of chandas as a liturgical-technical statement: meters are not mere form but powers (śakti) of mantra. Listing them can function as a compact invocation of the totality of Vedic speech-forms, useful for securing completeness and correctness in recitation.
To invoke/acknowledge the chandas as efficacious powers, ensuring completeness and stability of the rite and its protective speech.
Speech-therapy style warm-up: rhythmic naming to prime articulation and breath pacing.
unspecified
To invoke/acknowledge the chandas as efficacious powers ensuring completeness, stability, and correctness of the rite.
Naming-as-activation; mnemonic completeness charm (saṃgraha) to ‘include all’ metrical supports.
Ritual error, loss of efficacy, instability of recitation.
A liturgical enumeration of the principal Vedic metres (chandas): Gāyatrī, Uṣṇih, Anuṣṭubh, Bṛhatī, Paṅkti, Triṣṭubh, Jagatī.
Metres are cognitive containers: naming them aligns speech, breath, and attention. The list functions as a mental ‘inventory’ ensuring nothing is missing—completeness reduces ritual anxiety and instability.
Form is power: structured rhythm stabilizes meaning and community memory. When speech is well-formed, it becomes a reliable vehicle for intention and healing.
Attention to rhythmic form: each metre-name as a breath-count bead.
Vishuddha (speech center)
One slow inhale/exhale per metre-name, keeping the voice even and unstrained.
Seven luminous bands around the throat/heart representing the metres as protective rings.
Ordered clarity (saṃyama on vāc).
Use as a 2–3 minute vocal warm-up before longer Atharvanic recitations; keep tone neutral and precise.
Even, mnemonic recitation; treat each item as a separate beat.
Slight stress on the first syllable of each metre-name; keep pace consistent.
उष्णिक्: final -k is audible but light, त्रिष्टुप्: retroflex ṭ; do not soften to ‘tristub’, जगती: soft j-, long ī at end
Clear, instructional, unornamented.
Useful as a ‘reset’ if recitation feels unstable; re-establishes the frame of chandas before proceeding.
Beginning a chanting practice; worry about correctness; preparing for a protective/healing rite.
At the start of a session; before teaching/learning recitation; before complex Atharvanic sequences.
Greater steadiness of voice and attention; reduced performance anxiety; improved rhythmic consistency.
Avoid over-intellectualizing during healing rites—use it briefly, then move into the main mantra.
पदच्छेदः: छन्दांसि | गायत्री | उष्णिक् | अनुष्टुप् | बृहती | पङ्क्तिः | त्रिष्टुप् | जगती । पाठे 'गायत्र्यु॑१ष्णिग॑नु॒ष्टुब्' इति संहितारूपे दीर्घ-संधि/लोप-प्रवृत्त्या एकस्मिन् खण्डे दृश्यते; वस्तुतः सूची-समास/अनुक्रम-शैलीया गणना—अत्र क्रियापदं नास्ति, सर्वे प्रथमा-एकवचन-रूपेण छन्दोनामानि (छन्दांसि इति शीर्ष-बहुवचनम्) निर्दिश्यन्ते। अन्ते 'जगत्यै' इति दत्तपाठः अपेक्षितः, किन्तु अत्र मन्त्रपाठे 'जगती' (प्रथमा) दृश्यते; यदि 'जगत्यै' पठ्येत तर्हि तत् स्त्रीलिङ्ग-दत्तिव-एकवचन (सम्प्रदान) स्यात्।
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