This corresponds to Pingala chs. VI, VII and VIII, Sätras 1-19.
Agni said:
1. Yati (caesura) is said to be the break or pause (at the end of a quarter). (The metre) Tanumadhyā (has) ta and ya (in a quarter). Kumaralalita3 has ja, two sas and ga (in a quarter) (the pause occurring at the end of every three and four syllables). Chitrapada is known to have two bhas and two gas (in a quarter).
3. The Purāṇa is corrupt.
4. The Purāṇa is corrupt.
2. Vidyunmäla has two mas and two gas (in a quarter). (The pause occurs after every four syllables.) Mänavakakridi taka would be had with pha, ta, la and ga. (The pause occurs after every four syllables.) Halamukhi has ra, na and sa (in a quarter). (The pause occurs after three and six syllables.)
3. Bhujangaśiśusuta has two nas and ma (in a quarter). (The pause occurs after seventh and second syllables.) Harisaruta4 consists of ma, na and two gas (in a quarter). Suddhavirát has ma, sa, ja and ga in every quarter. (The pause occurs at the end of a quarter.)
4. Paņava has ma, na, ya and ga (in every quarter). (The pause occurs after every five syllables.) Mayūrasäriņi has ta, ja, ra and ga (in every quarter). (The pause occurs at the end of a quarter.) Matta has ma, bha, sa and ga (in a quarter). (The pause occurs after fourthi and sixth syllables.) Upasthita1 has ta, ja, ja and ga (in a quarter). (The pause occurs after every second and eighth syllables.)
1. The reading in the text is wrong.
5. Rukmavati has bha, ma, sa and ga (in a quarter). (The pause occurs at the end of a quarter.) Indravajrá has two tas, ja and two gas (in a quarter). (The pause comes at the end of a quarter.) Upendravajra consists of ja, ta, ja and two gas. (The pause occurs at the end of a quarter.) Mixed varieties are formed by (Indravajrã and Upendravajra) coming alternatively at the beginning and end.
6-7. Dodhaka has three bhas and two gas. Salini consists of ma, ta, ta and two gas. The pause occurs after every four and seven syllables. Vátormi consists of ma, bha, ta and two gas. (The pause occurs after) every fourth and seventh syllables, Bhramaravilasitā has ma, bha, na, la and ga. (The pause occurs) after fourth and seventh syllables. Rathoddhatā has ra, na, ra, la and ga.
8. Svägata has ra, na, bha and two gas. Vruntā has two nas, sa and two gas. Syeni consists of ra, ja, ra, la and ga. Ramya2 has ja, ra, ja and two gas.
2. Pingalacchandas VI. 32 reads Vilásini.
9. (The metres belonging to) the Jagati3 (class are now described). Vamśasthā consists of ja, ta, ja, and ra. Indravamsa has two tas, ja and ra. Toțaka is said to have four sas.
3. having twelve syllables in a quarter.
10-11. Drutavilambita would be with na, bha, bha, and ra. Puța has two nas, ma and ya. (The pause occurs after) the eighth and fourth syllables. Jaloddhatagati consists of ja, sa, ja and sa. (The pausc occurs) after every sixth syllable. (The metre) Tata is said to have two nas, ma and ra. Kusumavichitra has na, ya, na and ya. Chancalákshikä4 would have na, na ra and ra.
4. The Puräna reads Chalambikä.
12. Bhujangaprayata has four ya (ganas). Sragviņi has four ra (gaņas). Pramitaksharā has sa, ja and two sas. Kántotpidä has bha, ma, sa and ma.
13. Vaiśvadevi consists of two mas and two yas. (Thc pause occurs after the fifth and seventh1 syllables.) Navamålini consists of na, ja, bha and ya in each quarter. The Atijagati (metres) are described now.
1. The Puräna wongly reads anga denoting six.
14. Praharshiņia2 has ma, na, ja, ra and ga. The pause is after the third and tenth (syllables). Ruchirá has ja, bha, sa, ja and ga. It has pause after the fourth and ninth (syllables).
2. The Puråņic text is corrupt.
15-16. Mattamayūra consists of ma, ta, ya, sa and go. The pause is after the fourth and ninth (syllables). Gauri has three nas, sa and ga. Asambādha has ma, ta, na, sa and ga. It has pause after the fifth and ninth syllables. Aparājitā would have two nas, ra, sa, la and ga. (It has pause after every seven syllables.)
17. Praharaņakalita3 (has two nas, bha, na, la and ga). Vasantatilakả contains ta, bha, two jas and two gas. It is Simhonnatā (according to) the sage (Kaśyapa). It is Uddharshiņi according to Saitava.
3. The Puråņa has not defined this metre.
18-20. Chandråvartā has four nas and sa. The same is (known as) Mälä, if it has the pause after sixth and ninth letters. The same would be Manigunanikarā (if it has pause after the eighth and seventh syllables). Mālini has two nas, ma and two yas. The pause is after the eighth and seventh (syllables). Rshabhagaja vilasita4 has bha, ra, three nas and ga. The pause is after seventh and ninth (syllables). Sikhariņi (has ya, ma, na, sa, bha, la and ga). Pruthvi consists of ja, sa, ja, sa, ya, la and ga. It has pause after the eighth and ninth syllables. Thus they have been described by Pingala before.
4. The text is corrupt.
21. It would be Vamśapatrapatita, (if a quarter has) bha, ra, na, bha, na, la and ga. The pause occurs after the tenth (and seventh syllables). Hariņi has na, sa, ma, ra, sa, la and ga. It has pause after every sixth, fourth and seventh (syllables).
22-23. Mandäkrānta has ma, bha, na, ta, ta and two gas. It has pause after the fourth, sixth and seventh (syllables). Kusumitalatåvellitā (has) ma, ta, na and three yas. It has pause after the fifth, sixth and seventh syllables. (The following is based on the Vedic metre) Atidhrti. Śårdūlavikridita consists of ma, sa, ja, sa, two tas and ga. The pause comes after the twelfth and seventh (syllables).
24. (The following metres are based on the Vedic metre) Kruti. Suvadaná has ma, ra, bha, na, ya, bha, la and ga. The pause comes after the seventh, seventh and sixth (syllables). (The metre) Vrutta has ga and la in order.
25. (The following metre is based on the Vedic metre Prakruti.) Sragdharā consists of ma, ra, bha, na and three yas. The pause comes after seven, seven, seven syllables. Bhadraka1 has bha, ra, na, ra, na, ra, na and ga. (The pause occurs after) the tenth and twelfth (syllables).
1. The Puraņa reads Samudraka.
26. (The following are based on the Vedic metre Vikruti.) Asvalalita consists of na, ja, bha, ja, bha, ja, bha, la and ga. (The pause occurs after the eleventh (and twelfth syllables). Mattakrida has two mas, ta, four nas, la and ga. (The pause comes after) the eighth and fifteenth (syllables).
27. (The following is based on the Vedic metre Sankruti.) Tanvi has bha, ta, na, ma, two bhas, na and ya. (The pause comes after) the fifth, seventh and twelfth (syllables). (The following is based on the Vedic metre Abhikruti.) Krauñchapadā consists of bha, ma, sa, bha, four nas and ga. (The pause comes after) the fifth, fifth, eighth (and seventh syllables).
28-30. (The following metres are based on the Vedic metre Utkruti.) Bhujangavijrumbhita2 has two mas, ta, na, ra, sa, la and ga. The pause comes after the eighth, twelfth and seventh syllables. (The metre) called Apaváhaka3 similarly has ma, six nas, sa and two gas. The pause occurs after the ninth, sixth, sixth (and fifth syllables). (The Dandakas are now described.) Dandaka has two nas and seven ras (in a quarter). (The first variety of Dandaka) is Chaņdavrustiprapataka4. (It has twentyseven syllables in a quarter). Other varieties (of Dandaka) such as Vyala, Jimūta etc., would be had by adding one ra (each time) (to the original Dandaka).
2. The text is corrupt here.
3. The text reads Upahåra.
4. The text reads Chandavrustipraghätaka.
The remaining varieties are known as Pracitā. The tabular representation (of long andshort vowels) of Gätha (etc.) are described (now).
Summary of chapter 336 of the Agni Purāṇa is as follows:
The science of phonetics and correct Vedic recitation (śikṣā) is expounded, with the full inventory of Sanskrit phonemes enumerated as sixty-three or sixty-four sounds depending on the inclusion of the pluta (prolonged) variants. Agni describes the eight articulation points (sthāna) — throat, palate, teeth, lips, nose, chest, and the junctions between them — and explains how each phoneme is produced by the coordinated action of articulator and position. The three Vedic accents — udātta (raised), anudātta (lowered), and svarita (combination) — are defined in terms of the position of the resonating cavity, and their role in preserving the semantic integrity of the mantra is explained. Correct recitation is said to be the vehicle through which the mantra's śakti reaches its full power.