Adhyaya 329
Chandaḥ-sāra (छन्दःसारः) — Essence of Metres (Prosody), Chapter 329
火神阿耆尼继续讲授《Chandaḥ-sāra》，界定 pāda（诗足/四分之一韵律单位）为 chandas 的基本构件，并说明韵律圆满（āpada-pūraṇa）受一套神圣分类体系所统摄。他按格律类型为增补音节配属神祇：Gāyatrī—Vasus，Jagatī—Ādityas，Virāj—诸方位。继而概述结构可能：一足至四足的格律、三足的例外，以及可变音节数（含七音节 pāda）。本章综览诸有名格律及其支类（Nīvṛt、Nāgī、Vārāhī；Uṣṇik、Paroṣṇik、Anuṣṭubh；Mahāvṛhatī；Bhaṇḍila 为 Paṅkti 类），并引入写作安置法（vṛhatī 的前/中/上排列；按方位插入 ‘navakā’）。不止于计数，阿耆尼更将韵律与宇宙论相融：把格律与神祇、乐音（自 ṣaḍja 起）、音色之“色”（varṇa），乃至 gotra 族系称号相联系。最后给出音节不足/过多（avarāṭ/adhika）的判别规则，并以依 pāda 与 devatā 序列诵读来消疑，使格律学成为守法（dharma）而严整的形制之学。
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Frequently Asked Questions
It emphasizes metre-identification and correction: the pāda as the core unit, rules for completing deficient pādas (āpada-pūraṇa), and diagnostic categories for deficiency/excess (avarāṭ/adhika), alongside structured classifications of major metres (Gāyatrī, Uṣṇik, Anuṣṭubh, Triṣṭubh, Jagatī, Vṛhatī).
By sacralizing measurement: metres are linked to deities, directions, notes, and qualities, so correct prosody becomes a disciplined alignment with ṛta/dharma—training attention, speech, and ritual-literary precision as supports for devotion and inner order.