Sei sulla pagina 1di 87

CHAPTER - I

Item inside

1.1 Chandas : the w ord

1.1.1 Etym ology of the w ord

1.1.2 Use of the w ord in d iffe re n t co n te xt

1.1.3 D efinition o f Chandas

1.1.4 Essence of the stud y of C handahsastra

1.2 O rigin and developm ent of C handahsastra referring

im p o rta n t w orks

1.3 Vedic and C lassical S anskrit m etres : th e ir varieties

1.4 Elements of Chandas

1.4.1 Gana (M nem onic) and M atra (Mora)

1.4.2 Yati (Pause or Caesura or Haitus)


<

1.4.3 O ther elem ents of m etre - D evata, Varna

Svara and G otra


2

1.1 Chandas : the word


1.1.1 Etymology of the word

The chandas or the metre is an essential element of


versified poetry. The knowledge of metre is regarded as a Vidya
i.e. a systematic study ; it is essentially a Prayogasastra (i.e.
applied science) arranged in assemblage (i.e. c/Y / ) 1 and hence

the science is termed Chandoviciti.

The word chandas may be derived from several


roots - (i) cad, (ii) chad, (iii) r, (iv) canid and (v )
chand. The root *cad’ indicates ‘ delight’ or ‘joy’ 2. However,
V. S. Apte holds other meanings also viz. to ask, to beg etc . 3

Then, the suffix ‘num’ is added after ‘ cad’ 4. Then, it


becomes ‘ chanda’ . Here, ‘ ca’ is replaced by ‘cha* as per

1 citi sarrruhe I —STM, P.183


2 cadi ahlade I —CV, P.3
3 Apte, V.S., The practical Sanskrit English Dictionary, P.427
4 'cadi ahlade' iti dhatoh asun pratyaye krte cakarasya
chakaradese numagame ca krte chanda iti bhavati I
—Chandovicitivrtti of HrsIkesaSarma on CV, P.3
3

the U nadisutra - ‘ canderadesca c h a h ’ 5. Thus, the word

‘ chandas ’ is form ed.

S econdly, it is said to have been derived from the

root 1c h a d ’ ( t ° c o v e r)6. In the Vaiyakaranasiddhantakaumudi

(V S K ) of B hatto jid lksita, the root *c h a d ’ is explained in the

Curadiprakarana tw o tim es viz. ( i ) cha di samvarane ( dhatu

- 1 5 7 7 )7 and ( i i ) chad apavarane ( dhatu - 1 8 3 4 )8. H ere,

the firs t explanation carries the sense of ‘ to c o n c e a l’ or ‘ to

c o v e r’ and the second one bears the sense of ‘ restraint or

restriction ’ . It is stated tha t the chandas covers or envelops or

removes the sin of men and therefore called so9. S ayana, the

VSK, Vol-IV, Unadisutra-658, P.604

PS, P.51
VSK, Vol.-Ill, P.269
Ibid. Vol.-Ill, P.279
Again,

apavarakatvam tu chandojhanavatam papebhyahchadanat

— CV, P.4

chadayanti ha va enam chandamsi papatkarmanah I

— (AA-2.1.6 as quoted in the GV, P.4

Again,
4

com m entator derives the w ord ‘ chandas’ from the root

‘ c/7ad’ (to c o ve r i.e. samvarana")10. H a la y u d h a , the

com m entator on the Chandahsutra ( C S ) of P irig a la n a g a states

that four types of conjugation namely - ( i ) chadayati , ( i i )

chadati , iii) chadayati, ( i v ) chadayanti can be noticed in

resp ect of the said ro o t11. H o w e v e r, there is no difference in

meaning for the form s - chadayati and chadayanti as the first

one remains in singular num ber and the rest is in plural num ber

of present tense. On the other h a n d , Y a sk a in his Nirukta

derives the w ord from the root - c h a d ’ ( t o c o ve r i.e, chadi

acchadane ) 12. It means that the chandas is som ething that

co ve rs. D u rg a c a ry y a , the com m entator, has sub stitu ted the

chadayati enasah papat karmmanah iti srutlh I — CM, ed.


by Gurunatha Vldyanidhi, Nivedyam (Preface), P.2 (3)
purusasya papasambandham varayitumacchadakatvat chanda

ityucyate I — As quoted in the PS, P.51


nisItasarasahasraiSchadayatyantarlksam

chadati samarabhumim vldvisam mundakhandaih I


chadayati suraiokam yo gunairyatra yuddhe

surayuvativimuktaschadayanti srajasca II

— Kavirahasya, SL. No. 16 as quoted in the VLCP, P. 22

chandamsi chadanat I — NR, Daivatakanda, 12.2


5

word ‘ chadanat’ by ‘ bandhanat’ ™. The word ‘ bandhana’

again denotes the sense of ‘ binding ’ . The chandas has tied up

all the syllables of any Vedic hymn in such manner that ail the

Vedic mantra-s have to remain in certain metres of their own.

Nothing or none can untie this binding. Loss of a single syllable

even in reciting may cause harm to a person14. So, it is nothing

but chandas that gives a binding to each syllable of a Vedic

hymn. Therefore, it is called chandas.

Regarding the act of covering (i.e. acchadana) by

chandas as derived from the root chad, some arguments in

Samhita-s,
favour of can be traced from some Vedic texts i.e,

Brahmana-s, Aranyaka-s, Upanisad-s , Pratisakhya-s and


others. Firstly, in the Aitareya Aranyaka (A A ) 1.5.2, the

mention of metre is available where various types of meditation

of 'prana* are illustrated15. Therein, it is noted that the

13
Durgabhasya on NR, Dalvatakanda, 7 .12.2

14 dustah Sabdah svarato varnato va mithya prayukto rta


tamarthamaha I sa vagbajro yajamanam hinastl yathendrasatruh
svaratoparadhat II — MB, Paspasa Ahnika, P.19 ;
But §!ksa reads 'mantro hlnah' In place of 'dustah sabdah'.

— Ibid. Udyota com. P.19


15
AA, 1.5.2 as quoted in the PS, P.52
6

‘ prana* (G o d ) is to be meditated as covered by the metres.

For this act of covering w ith m etres, these are termed chandas.

One who knows metres as the cover of the ‘ prana* (G o d ) is

sure to be rescued from ones sins16. S econdly, as the story

go es, once Lord Prajapati performed agnicayana in connection

with a sacrifice. B u t, at that time Agni disguised himself as

‘ ksurapavi* which means a thunderbolt as sharp as a knife.

Having seen Agni in such a dangerous fo rm , no god dared to

reach Him. Then the gods covered their bodies with various

metres and went to Agni. Thus, these elements which covered

the bodies of the g o d s, came to be known as chandas. The

T aittiriya Samhita ( T S ) too holds a sim ilar s to ry 17. It can thus

be opined that the root ‘ chad* in respect of the word

‘ c h a n d a s * , is used in the sense of ‘ c o v e rin g ’ . T h ird ly , it is

stated in the Chandogyabrahmana (C B r .) tha t once g o d s ,

ch ad a yan tl ha va enam chandam sl pap a tka rm an o yasyarn c it apt

kam ayate ya evam etacchandasam chandastvam veda It! I

— PS. P.52

p ra jap a tira gn im acin u ta / sa ksu ra pa virb h utva ttsh a t, tarn deva

vibhyato nopayante chandobhiratm anam chadayitvopayan, ta t

chandasam chandastvam I — TS, 5. 6. 6. 1


7

having got frightened of death, entered into the ‘ traylvidya’ ™.

Then, they covered themselves with various mantras endowed

with metres and got rid of untimely death. For this act of

covering these are designated as chandas. Hence, there should

be no hesitation in accepting the meaning of the root ‘ chad'

as ‘ to cover’ , in the context of the word ‘ chandas’ .

The third derivation of the word ‘ chandas ’ is taken

from the root ‘ r ’ 19. The root ‘ r ’ means ‘ to move’ . All the

Vedic hymns possess some short of movement at the time of

recitation and therefore the root ‘ r ’ may significantly be

treated as responsible for formation of the word ‘ chandas’ 20.

The fourth derivation of the word ‘ chandas’ that

comes from the root ‘ cand’ is based on PaninS’ s grammar.

18 deva val mrtyorvibhyatastraylm vidyam pravlsamste


chandobhiracchadayan, yadebhiracchadayamstacchandasarp
chandastvam t — CBr,, 3.4.2 as quoted in the VLCP,
P.27

caderatestacchandasi I chadayatiti va i —
{Devatadhyaya Brahmana 3.20 ) as quoted in the CV, P.4
20
pSdavaddhesu sarvesu mantresu gamanat
artidhatuvyutpattirupapadyate I — Ibid. P.4
8

Here, ‘ c a n d ’ means ‘ to please ’ 21 . Harsata, the commentator

on Jayadeva’s Chandahsastra, also accepts this root

‘ c a n d ’ . He speaks of two acts viz. ‘ pleasing’ and ‘ shining’ 22.

As c h a n d a s pleases or shines forth by its melodious nature it is

called so .

Again the root ‘ c h a n d ’ is also supposed to have

formed the word ‘ ch a n d a s ’ 24. Here the root ‘ c h a n d ’ is said

to have two meanings viz. ‘ gladdening ’ and ‘ covering’ 25.

It is no denying the fact that there may be many

etymological explanations in respect of the formation of' the

word ‘ c h a n d a s ’ . However, almost all the scholars are found

to be agreeing with regard to the two roots - (i) ‘ c a n d ’

c a n d a y a ti h la d a y a t l it i c h a n d a h , c a n d e ra d e s c a ch a h I

— CM, ed.by Gurunatha Vidyarsldhi, N iv e d y a m (Preface), P.=(3)


Also PS, P.51
c a n d -a h la d a n e d ip ta u ca I — VP, P.33

c a n d a t i h la d a r n k a ro tl d lp y a t e va S ra v y a ta y a Iti c h a n d a h I

— Ibid. P.33
Ibid. P.33

a h la d a n e , s a m va ra n e ca I — Ibid. P.33
9

and ( ii) ‘ chad’ as responsible for its formation. In the light

of the foregoing discussion, it can easily be understood, as

observed by Prof. A. C. Sastrl26also, that the root 'chad*

(to cover) is mostly applicable to the Vedic derivation of the


/

word ‘ chandas' as held by Yaska in his Nirukta and the root

‘ cand* (to please) is mostly applicable to the Laukika

derivation of the word as found in Paninian system of grammar.

1.1.2 Use of the word in different context

The word ‘ chandas’ is found to have used in

various senses more particularly in Vedic literature. Sometimes

the word *chandas’ is used to carry the conventional

meaning, sometimes attributive meaning and sometimes

figurative meaning. Conventionally the word *chandas’ means

the science of metrics or any metre in general or any hymn

composed in any metre. Again, this word is attributed to

28 cf. There are two kinds of derivations of the word 'chandas' :


'laukika' and 'alaukika'. In the Nirukta of Yaska the derivation
given is chandarpsi chadanat iti, i.e., 'chandas' comes from the
root ‘chad' (Curadi). In Panlni's grammar the word comes from

the root 'cand'. PS. P.51


10

represent the Veda-s. In addition to this, the word ‘ chandas’

is employed in various figurative meanings such as-

pasavo vai chandamsi27, raso vai chandamsi28,

viryam vai chandamsi29, chandamsi vai disah30, chandamsi vai

gnah m, chandamsi vai lomani32, chandamsi daivah33,

chandamsi vai pranah34, chandamsi vai vraj'o gosthanah 35 and


so on.

In ail these expressions, the chandas is


metaphorically identified with cattle (pasava/?) , soma

juice ( r a s a /? ) , energy (v /ry a ) , quarters (cf/sa/7) ,

women (pna/7) , hairs Qlomani') , divine beings


( daivah ) , life (prana/7) and the, region of Sun (vrajo

gosthanah ) respectively.

27
S.Br, 7.5.2.41
28
Ibid. 7 .1.1.37
29
Ibid. 9 .5 .1 .3 9
30
Ibid. 8 .3 .1 .1 2
31
Ibid. 9 .5 .4 .7
32
Ibid. 6.4.1.6
33
Ibid. 9.5.1.39
34
KBr. 7.9.11.8
35
TBr. 3.2.9.3
11

The word *chandas ’ has been used in the sense of

l vayu’ also. In the Atharvaveda (A V ) , it is found that the

word ‘ chandas’ indicates water, air and herbs30. However, in

all these cases, that word is employed to denote some sentient

as well as insentient objects of the Universe. Needless to say,

such metaphorical meanings are aimed at to serve certain

contextual purposes. In some Vedic texts, reasons for such

figurative meanings are also stated.

Of the attributed meanings of the word ‘ chandas ’

the Aksarasamamnaya (i.e. displayed letters) comes first. All

the letters under the Aksarasamamnaya and even sounds

uttered by beasts were designated as chandas . Then the word

‘ chandas ’ comes to denote various mantra-s viz. - the rk , the

saman and the yajus. The chandas becomes absolutely the

symbol of mantras as Yaska in his Nirukta declares

trlni chandamsI kavayo apo vata osadhayah

— A V.18.1.27

chandah purusa iti yam avocam aksarasamanyaya evam

tasyaltasyakaro rasah I — TS. 3.2.3.4


1 2

“ c h a n d o b h y a h s a m a h rty a s a m a h r ty a ,l38 etc. Here Durgacaryya,

the commentator, opines that m a n tr a -s are termed c h a n d a s .

Again, in the CBr. as well as in the Satapathabrahmana


(SBr.) the word ‘ c h a n d a s means '1 m a n t r a 40.

The word ‘ c h a n d a s ’ is found to be in use as an

equivalent for the Vedas. Panini, too has used the word in that

sense41. In his Astadhyayl (AD), the word ‘ c h a n d a s ’ is found

112 times in the aforesaid sense. Katyayana in his Vartika and

Patanjali in his Mahabhasya(MB) have also employed this word

to denote the Vedas. In the Pratisakhya-s too, this word is

used frequently to mean the Vedas in general42. Sayanacaryya

NR. NaighantukakandaA .6
chandamsl m antrlkhya I —Durgabhasya on the NR,
NaighantukakandaA .6
G.Br. 3,4.2
Also, cf. yad ebhiratmanam acchadayat deva mrtyorvibhyatah tat
chandasam chandastvam it! I — S.Br. 4.5.1.1
bahularp chandasi I — AD.2.4.39
Also , chandasi ca I — Ibid.5.1.67
svarasamskarayoSchandasi niyamah I —Sukta Yajuh
Pratisakhya, 1.1
also a p p lie d th e w o rd ‘ c h a n d a s ' in th e sense o f the Vedn

Maxmuller h o ld s th a t th e V e d ic h ym n s com posed in earlier

tim e s may be ta ke n as chandas and o f later tim e s are named

m an tra -s. A c c o r d in g to a m antra o f the Purusasukta of the

Rgveda, th e w o rd ‘ chandas’ d e n o te s th e poeti cal

c o m p o s it io n s of the Yajurveda w h ile th e p ro s e p a rt is k n o w n by

the w o rd ‘ y a j u s ’ 44. But “ m a n fr a b r a h m a n a y o r v e d a n a m a d h e y a

m ” is one of the d e fin itio n s of th e Veda, w h ic h m eans th a t the

m ixtu re o f th e mantra and th e Brahm ana is ca lle d Veda. Again ,


it is g e n e ra lly a c c e p te d th a t th e w o rd * chandas ' s ta n d s for the

w o rd ‘ V e d a In th a t c a s e , n o t o n ly the m antra po rti o n but

also th e Brahm ana p o rtio n of V e d ic lite ra tu re wou ld

a u to m a tic a lly be in c lu d e d into th e d o m a in of the wo rd

‘ c h a n d a s ’ . H ere , it will n o t be o u t of c o n te x t to re c o rd that

Panini did not like to a c c e p t su ch a p o s it i o n , as he is fou nd to

have used th e w o rd in th e se n se o f m antra o n ly . The chandas

43 yah pranavah chandasam m adhye rsabhah sreshah e tc .

— S a y a n a 's c o m m e n t a r y on TS. as q u o t e d in th e PS, P .5 4

tasm ad ya jn a t sarvahutah rcah sa m a n i ya jn ire I

chandarpsi yajn ire tasm at ya ju sta m a d a ja ya ta II

— RV, 1 0 .9 0 .9

ch an d ob ra h m a n a n i ta d vis a ya n i I — AD, 4 .2 .6 6
14

and the Brahmana are mentioned here separately where

chandas means mantra only. There are some scholars who

believe that the origin of chandas is the ‘ kantikarma’ of the

Nighantu. According to some other scholars, the chandas is

derived from the ‘ arcatikarma’ of the Nighantu as observed by

Prof. A.C. Sastri48. In the Nighantu, the word ‘ chandas’ is

seen in the names of the stotra-s. Again, the rk mantra-s of

the Samasamhita (ss) are also named ‘ chandas’ 47.

SadguruSisya considers that the word ‘ chandas’ is used to

mean primarily the gayatrl and also other metres48. He further

opines that the Vedas are also known as ‘ chandas ’ , because

they are composed in these metres49. Thus the word

‘ chandas ’ is attributed to mean the entire Vedic literary works.

This attributed meaning of the word ' chandas ’ is well accepted

in the Sanskrit literature.

PS, P.55
rcah samani chandamsi
puranam yajusa saha
ucchistanjajhire sarve I — AV, il.4.2.4

chando gayatryadi, tadyogadhi vedah I — VD, P.58 as

quoted in the VP, P.28

chandamsi vedah I — VD, P.59 as quoted In Ibid. P.28


15

Finally, the word ‘ chandas conventionally refers


to the entire prosodical science or any metre in general. That


the ‘ chandas’ has a significant role to play, can easily be
evidenced not only in the Vedic texts but in Classical literature
as well. In the Ramayana of Valmlki, the word is employed in
the sense of ‘ desire*50.

The Amarakosa (AK) furnishes two types of

meanings of the word *chandas ’ - one for Vedic context51


and the other for the use of Classical Sanskrit52. Here,
Amarasimha states that in the Classical context, the poetry
(i.e. padya') itself is metre. Again, in the
Sabdastomamahanidhi (STM) of Taranatha Tarkavacaspati

almost same explanation is there. In STM , two words are


noticed viz. (i) chanda and (ii) chandas55. The first one is of

mayocyamanam yadt te srotum chandovitasini I

— VR, Bhumika ed. by Madhusudana §astrf, P.5


51
gayatrfpramukham chando I — AK. P.122,
52
chandah padye’bhilase ca I — Ibid. P.236
53
STM. P.187
16

masculine gender (i.e . pumlinga) which stands for abhilasa54

etc. The rest one is of neuter gender Q.e.napumsakalinga')


RC

which denotes several meanings including metrics . However,

both the words are shown therein to have derived from the root

‘ ch a d ’ . But the second form i.e ., chandas only is stated to

have indicated the science of metre .

1.1.3 Definition of Chandas

There are found so many derivative meanings of the

word ‘ chandas’ through its semantic analysis. B ut, normally it

indicates some numerical arrangement of syllables57.

54 chanda (pumlinga) = abhllase, va6atayam, vlsabhede ca I

— Ibid. P.187

55 chandas (napurpsakalihga) = vede, svairacare, abhllase.


niyataksaravarnamatradisannlveiavaiat catuscaranadau
ukthadibhede gayatryadau chandasi, padye ca I
— Ibid. P.187

chanda (purn.) = chad! sarpvarane dhatoranekarthatvat iha


«

56

icchayam ghah I
And, chandas (napum.) = chadi-asi I — Ibid. P.187

57 yadaksaraparimanam tacchandah I —RgvedasarvanukramanI of


17

Again, the AV defines that the chandas is the thing

which is distinguished by the number of syllables58.

SadguruSisya, in his commentary of the Sarvanukramani of

katyayana on the Rgreda (R V ) , refers to the chandas as

something which envelopes or protects one from sms . Prof.

R.S.Murty refers to a definition60 in his Vedic Prosody as being

found in the Introduction to the CS. The definition under

reference means that the speech that is regulated by the

number of syllabic instant it contains, is termed chandas.

Halayudha in his commentary on CS-II.1 states that

the word ‘ chandas ’ refers to the item which is particularised

by the number of syllables61,

Harsata, the commentator on Jayadevacchandah

Katyayana as quoted in the VP. P.33

58 chando aksarasahkhyavacchedakam I — Ibid. P.34

59 chandayantlha va enam papatkarmanatlti sreteh I

And. papebhyaichadanat I — Ibid. P.35

60 matraksarasahkhya niyatavak chandah I — Ibid. P.34

61 chandaSsabdenaksarasahkhyavacchando'trabhidhfyate I

— MS, under Plhgala-sutra -"chandah" (11.1)


18

states that the chandas is the base-word of metres having the

entire treasure of syllables62.

Several other definitions are also can be had of in

this context for both the Vedic and Classical prosody. All such

definitions have their acceptability on occasions suitable to

them.

In the domain of versified poetry, the word

1chandas ’ indicates the harmonious arrangement of syllables in

a verse. A poet always depends on some sets of chosen words

with particular syllables, so that these become appealing to the

reader as well as the listener. At the same time, the poet is

expected to remain cautious of the fact that the spontaneous

flow of the letters he proposes to use, is not getting

interrupted. That flow of syllables should have an agreeable

progression so that it generates some short of harmony. Any

arbitrary succession of syllables is not harmonious. That

harmony again creates a rhythm. Anundoram Borooah has used

62 chandaSSabdo vrttadharavacanah aksarakosatmakatvat I

— Harsata In Jayadeva's Chandoviciti, Chap.II as quoted In the


VP, P.34
19

the word rhythm as synonymous to the Sanskrit word ‘ vrtta ’ 63.


The form of such succession of syllables in agreeable
progression is termed chandas.

1.1.4 Essence of the study of Chandahsastra

In the Vedic literature, the science of metrics was


regarded as one of the Vedanga-s. In the Mundakopanisad
(M U ) , the chandas figures in the list of the six Vedanga-s54.

That the chandas is one of the six Vedanga-s is mentioned


elsewhere aiso in some couplets65. In both cases, the chandas
occupies the fifth position. The objectives of all these Vedanga-
s are the proper interpretation of the Vedic texts. Traditionally,
it is believed that the Vedic hymns are some revelation made
possible by the god to the seers. Unlike the mantra-s, the

63 Prosody, P.xcv
64 tatrapara rgveda yajurvedah samavedosrtharvavedah Siksa kalpo
vyakaranam niruktam chando jyotisamlti I —MU, 1.1.5
65 siksa kalpo vyakaranam niruktam chando ityapi I
jyotisamayanahcaiva sadahgo veda isyate I
—CM, ed. by Gurunatha Vidyanidhi, Nivedyam (Preface), P.=(2)
20

Vedanga-s are having no divine origin. However, it is rightly felt


that a thorough knowledge of all the Vedanga-s is a prerequisite
for understanding the Vedic hymns. Patanjali, refers to the
Vedanga-s as obligatory especially for the Brahminm. A study of
prosody is essential specially for Vedic literature because
without the knowledge of the metre contained in a Vedic
mantra , the reading of the same is useless and even very
dangerous for the reader87. Similarly, SrIhrsTkeSa§arma in his
commentary to the Chandoviciti (cv) of Patanjali quotes a
CO

couplet , the authorship of which is ascribed to Vidyaranya, a


commentator of the Arseyabrahmana (ABr.). The verse under
reference states that one who applies a mantra without proper

66 brahmanena nlskarano dharmo sadarigo vedo 'dhyeyo jneyasca I

— MB, PaspaSa Ahnika, P.15

87 avldltva rsim chando daivatam yogameva eva ca I

yo'dhyapayedyapedvapl paptyan jay ate tu sah II


— Brhaddevata, 8.13.6 as quoted In the PS, P.59

68 rsicchandodaivatani brahmanartharp svaradyapi I

avldltva prayunjano mantrakanaka ucyate II


— CV, P.8
Prof. A.C.Sastri holds that this couplet is mentioned in the com.
of the SarvanukarmanI of Sadgurusisya. — PS, P.59
21

knowledge of the rsi, the chandas and the devata, is called

mantrakantaka. Similar view is also found to be expressed in

another stanza of Vidyaranya69. SadguruSisya too says that

one performs a sacrifice with insufficient knowledge of the

devata, the chandas, the nirukta, the brahmana, the rsi,

the krt suffix and the taddhit suffix etc. of the mantra is

called yagakantaka70. In the Paninlyasiksa (P N S ) ,as mention­

ed by Gurunatha Vldyanidhi in the Preface of the Chando-


manjarl (C M ) of Gangadasa, the essence of the knowledge

of metre is cited71. It is stated that a Brahmin should specially

endeavour to acquire proper knowledge of the rsi, the

aviditva rslrp chando daivatarp yogameva ca I

yodhyapayejjapetsnayanna sa tatphalamapnuyat II

— (1.1.6) as quoted in the GV, P.8

70 mantranarp daivatarp chando niruktarp brahmanan rsln I

krtaddhitadi cajhatva yajanto yagakanaka II

— (1.1.2) Ibid. P.8

71 arsarp chandasca daivatarp viniyogah punah punah I

veditavyarp prayatnena brahmanena visesatah II — CM, ed.


by Gurunatha Vidyanidhi, Nivedyam (Preface). P.3 ; also PS.
P.59-60 ; also VLGP, P.33 : But this couplet is not seen in the
PNS ed. by Pramodabardhan Kaundinnyayan, Chowkhamba
Vidhyabhavan, Varanasi-1, 2004
22

chandas, the devata, the viniyoga (application) etc. In the


Chandovicitivrtti, SrihrsTke§a§arma quotes a line from the

A B r. , wherein also the importance of chandas is clearly

stated72. Again, the negative effect caused due to uttering a


Vedic mantra without knowing its metre is stated in the verse
rserhlna73etc. It was held that the violation of metrical rules in
Vedic hymns might cause harm to the preceptor as well as the
sacrificer. So, the knowledge of metrics was considered to be
of sufficient priority.

The prime necessity of the chandas is to understand


the meaning of Vedic verses. All the Vedic mantra-s are

72 — — _
yo ha va aviditarseyacchandodaivata brahmanena mantrena
yajayati vadhyapayati, va sthanum va rrcchati gartta va padyatl

pra va miyate paplyan bhavatni I

— ABr.1.1.6 as quoted in the GV, P.8 ; But Prof. R.S.Murty in his

VP quotes these lines with slight variation and the source is


mentioned there as the Chandogyabrahmana of.
yo ha va aviditarseyacchando daivata viniyogena brahmanena
mantrena yajayati vadhyapayati va, sa sthanum varcchati, gartam
va padyate, pramiyate va, paplyan bhavati, yatayamanyasya

chandasim bhavanti I — VP, P.19

73 rserhinamanayusyam chandobhirvyadhyupadravah I

devatabhisca maranam varnaigodhananaSanam II — CV, P.9


23

metrical. A mantra without metre cannot be thought of.


Therefore, there exists a close relationship between the mantra
and the chandas. Prof. A.C. Sastrl in his
1Pingalacchandahsutra - A Study ’ (P S ) expresses “ In some

d o u b tfu l cases metre makes a co rre c t meaning o f the Vedic

verses. So m etres are called the m outh o f the Veda”74.


Further, he states - “ A ccording to the sastra-s this reading

o f the Veda-s is po sitively n o t be ended till the sense o f

meaning becomes de ar. Metre is the lim b o f the Veda and so

learning o f metre is mandatory. ‘ By anustup you should

perform ritu a l, you are to sing by b rh a ti m e tre , you are to

praise by g a y a trl m e tre ’ . These are the injunctions regarding

rituals. S o , if a man is willing to perform rituals he should know

the m etres p ro p e rly ” 75. As grammar is meant for removing


doubts76, so also the science of metrics is needed to remove
the doubt of Vedic m a ntra - s in certain occasion77. As the
Nirukta helps in deciphering the meanings of the words in a
74 chando vai vedasya mukham I — PS, P.46

75 Ibid. P.114

76 raksoragamalaghvasandehah prayojanam I

— MB, Paspasa Ahnika, P.13

77 asandehartham ca adhyeyam chandah I — VLGP, P.34


24

mantra, so also the particular metre applied in a certain mantra

can be a determinant of its meaning.

The Veda-s are regarded as the Aparavidya78, and

so also the metre. Therefore, as one of the branches of

Aparavidya , the Chandahsastra is also a subject to be pursued

for.

The chandas bears the capability of granting a birth

in the heaven for a sacrificer79. Being one of the main

components of the Vedic hymns, the chandas aims at

deciphering knowledge in general. This knowledge can lead a

person towards immortality. So, the ethical power of the

chandas leading to spiritual uplift is sung in the RV . Similar

view is expressed in the verse chandasam vicayamm etc.

MU. 1.1.5
gayatrau svistakrtah sarpyajye kurvita tejaskamo
brahmavarcakamah I —ATBr.5.1 as quoted in the PS, P.66
Again cf.
gayatryam praugam kuryad ityahus tejo vai brahmavarcam gayatrt
tejasvf brahmavarcasf bhavatfti etc.
—AA. 1.11.111 as quoted Ibid. P.67
80 yada gayatre adhi gayatram ahitam
25

It is to be noted here that the scope for the study of


metrics is not confined within the Vedic literature only, the
knowledge of metre is rightly felt to be a must in the Classical
Sanskrit as well. The Vedic metres are determined by counting
the number of syllables and there is no division of gana-s as in
the Classical Sanskrit. In the Classical Sanskrit, metres are
mainly based upon gana-s. The maximum possible number of
syllables that can remain in one pada of a Vedic metre is twelve
only but in the Classical Sanskrit, metres having more than
twelve syllables in each pada are enumerable. Thus several
aspects of difference are there in both Vedic and Classical
metres ; and usually the essence of the knowledge of metrics
in Classical Sanskrit is also different from Vedic context.

For assessment of the importance of the knowledge


of metre in the Classical Sanskrit, it is necessary to discuss the

traistubhad va traistubham nlrataksata I


yad va jagajagatyahitam padam
ya It tad v/dus te amrtattvam anaiuh II — RV, 1.164.23

81 chandasam vicayam janan yah sariradvimucyate I

chandasameti salokyamanantyayasnute sriyam II

CV, P.175
26

structural pattern of poetry in general. It is the chandas which


differentiates a poem from prose. Any common reader or even a
listener can feel the effect of metre in a poem with the least of
attention even. It is. the metre in a poem that has a melting
effect upon the heart of the reader. Lucidity is the main
characteristic feature of a poem. Successful poets are always
aware of choosing the suitable words for their composition in
conformity with the harmonious arrangement leading to that
lucidity. Such lucidity creates a rhythm. That rhythm is, in
reality, nothing but the. metre. So knowledge of metrics is
essential for a poet to compose an effective and successful
poem. That knowledge is also essential for the reader too. If a
reader doesnot possess the requisite knowledge of the metre
concerned with a particular poem, a proper reading can never
i

be expected. Without a proper reading, the proper rhythmic


lucidity as well as poetic taste of the poem also can not be
realised. So knowledge of metrics is quite necessary for a
reader.

Not only the versified forms, some passages of the


great prose-writers also exhibit some sort of rhythmic form.
Such a rhythm creates a sense of movement to one while one
27

goes on reading a literary piece. In the PNS, this movement is

compared with the movement of feet82. A man can walk or go

ahead with the help of feet. Similarly, with the help of metres,

one line of a poem or a prose even, attains its movement

generating some poetic charm at the time of reading. Again for

a manuscriptologist also, a practical acquaintance with the

chandas enables one to detect successfully all faults of

omission, insertion and alteration of syllable. Hence, A.

Borooah has properly justified the essence of the study of

metrics - “A thorough knowledge of prosody appears therefore

to be essential for all linguistic and historical examination of

Sanskrit” 85.

1.2 Origin and development of Chandahsastra referring

important works

The history of Sanskrit metrics is to be compared

with the discovery of mathematical perspective in the

82 chandah padau tu vedasya I — PNS, V.41


83
Prosody, Preface, P.xci
28

development of occidental pictorial dots as observed by Prof.


A. C. Sastri84. The beginning of the science of metre in Sanskrit
can be traced to the Vedic literature. It has been already
discussed that the word ‘ chandas ’ is seen in various mantra-s
of the RV, the earliest specimen of human intellect in India.
However, the sense of the word *chandas in those Vedic ’

texts is not only metre which is called prosody at present day.


In many occasions, the word ‘ chandas stands for the Veda

itself as has been hinted at earlier.

The science of metre is considered as


supplementary to the Veda and the age of this Vedanga is
difficult to ascertain. After considerable deliberations the
Vedanga s are accepted to be written somewhen before the 5th

century B.C.85 However, this date can help very little in fixing
the age of the chandas.

The Rksamhita (RS), being completely a metrical


work, is also known to be the earliest source book on prosody.

84
PS, Preface, P.V
85
Ibid. P.50
2 9

“ What is meant by chandas” m - is an enquiry for the first time


in the RS. The names of the seven prime metres with their
characteristics are mentioned in brief there in a few text of that
Samhita. After the RV, the Taittiriya Samhita (TS ) is known
to have laid down many references on prosody wherein on more
than twenty occasions, the importance of chandas in sacrificial
rites, some metaphorical expressions and some deified
characteristics of prosody are stated .

Taking into consideration of the Brahmanic


sources, it is evident that the contextual references of prosody
are made in almost all Brahmana-s. But the Aitareyabrahmana
(ATBr.) , the SBr., and Daivatabrahmana have dealt with this
topic more elaborately. Then in the Sutra literature, prosody
which is found in a scattered way in the Samhita-s and the
Brahmana-s, has attained the status of a science as shown by
Dr. R. S. Murty88. The Rk-pratisakhya of §aunaka has a great
importance on the growth of prosody. The last three patala-s of

88 chandasim klmasit ? — RV, X.130.3

87 gayatrl chandah (TS, IV.3.7.10), usnih chandah (TS., IV.3.7.70),


anustubh chandah (TS, IV.3.7.8 ) etc. are some citations and
many other citations alongwith passages are also there.
88 VP, P.152
30

this Pratisakhya are exclusively devoted to explanation of the

nature of Rigvedic prosody which is really a concise but

complete work on prosody. Again, there is a book on Vedic

prosody called Rgvedachando’ nukramani (R C K ) , the

authorship of which goes to Saunaka where an index of

different metres employed in the RV is corroborated with. The

Sarvanukramani of Katyayana gives considerable information

about the metres of Rigvedic hymn systematically in accordance

with the Sakala recension of the RV. The main part of this

treatise is preceded by an Introduction in twelve paragraphs

where except the first, the second and the twelfth paragraphs,

all the rest deal with the nature of Vedic prosody. One

Rgvedanukramani, which has been extracted from the

commentary of Venkatamadhava on the RV is regarded as the

latest as well as the authentic text on the Rigvedic indices

where alongwith other matters, the metres are also dealt with.

This work is of historical value as the names of almost all the

exponents on prosody like Saunaka, Katyayana, Patanjali,

Pihgalanaga, Y Iska, Bodhayana, Apastamba, ASvalayana,

Jaimini, SkandasvamI, Narayana, Udglta, Kautsa, Susrta

etc. are resorted to. Again, the Nidanasutra of the Samaveda

comprises prosodial matters which is called Chandoviciti^ C V ).


31

The authorship of this work is ascribed to Patanjali, a disciple

of Katyayana. There is another work on Vedic prosody which is

called Chandovicaya or Samaganam Chandah or Chandah


Parisista. Like the R C K , this is also an Index of the metres and

other related items used in the SS. The Sankhyayana


Srautasutra also discusses some elements on Vedic prosody.

The valued contribution of several commentators on the above

discussed treatises is also to be taken note of. The commentary

of SadguruSisya on the K atyayana’ s SarvanukramanI on the

RV called Vedarthadlpika ( V D ) is recordable here. On the

commentaries of the C V , the Tattvabodhini of Tataprasada

and the Chandovicitivrtti •


of Hrslke6a
• •
§arma alias Petta
••
§ astrl

are worth mentioning.

The works mentioned above have considered the

Vedic metres sometimes in fragmentary manner with other items

of Vedic text and sometimes independently but comprehensive

manner which helps to acquire an overall idea on various

metres. Of course, these are not acknowledged as full-fledged

Chandovedanga in the true sense of the term. While the

Chandahsutra ( C S ) of Piiigala has come into existence which


32

has initiated discussions on ail the required topics on metrical

science applicable for both Vedic and Classical Sanskrit, the

scholars have become very much pronounced to recognise this

book as the systematic text on metrics. It deserves mention

here that the name of Pingala in many occasions is found as

Pingaianaga. Prof. A. C. Sastri89 cites that Pingala may be

somehow associated with the ' naga' dynasty who ruled from

fifth century B.C. Again, Patanjali is also stated to be an

incarnation of Sesanaga. On the basis of this consideration,

some scholars opine that Patanjali wrote the work on prosody

under the name of Pirtgaiacaryya90. Anyway, Pingaianaga is

credited to shape the prosody into an independent science for

the first time. Regarding the date and antiquity of Pingaianaga,

the scholars are of different views. Still he is placed in the

fourth century B.C. At present, two treatises are found as

attributed to the authorship of pingaianaga - viz.

( i) Pingalacchandahsutra and (ii) Prakrtapaingala. Of these

89 PS, Introduction, P.vi

90 patanjalesca namantaram pingala asidltyapi sruyate I at ah

patanjallreva pihgalacaryanamna chando'nuiasanamldam

vyaracayaditi I — VM, Bhumlka, P.14

91 PS, P.81
33

tw o w orks on prosod y, the firs t one is on both Vedic and

Classical Sanskrit ; and the second one is mainly on Prakrta

language. Pingalanaga has cited many w riters on m etrics as

his predecessors books such as Tandl, Saitava, KaSyapa,


Katyayana, Mandavya, Rati, Nylnku, Kraustuka, Yaska,
Sakatayana etc. But their w orks on prosody are not found. Of

the com m entators on the CS of Pingalanaga, the follow ing are

w orthm entioning :

1. Pingalabhavodyata of CandraSekhara
2. Pingalatika of Citrasena
3. Pingalasaravikasini of Ravikara
4. Pingalatattvaprakasini of Rajendrada&avadhana
5. Pingaladipa of Laksmlnatha
6. Pingalaprakasa of VamSldhara

7. Pingalaprakasa of Vamanacarya
8. Pingalamataprakasa of Vi§vanatha

9. Mrtasanjfvani(MS ) of Haiayudha
10. Pingalabhasya

11. Pingalavartika
34

12, Chandahsutra-vaidika-bhasya of Akhilananda

Sarm m a

13. Vratim angalavrtti o f M edhavrata

A g a in , nam es of P ad m ap rab h asuri, P a S u p a ti,

V a n ln a th a , S r lp a t l, M athuranatha S u k la , Y a d a v a p ra k a S a ,

B h a sk a ra ra y a , S rih rs ik e s a S arm m a, Dam odara and

M anoharakrsna are c o m m e n ta to rs on th e C S . It s h o u ld be

n o te d he re th a t H alayudha has o u tb la z e d all o th e r

c o m m e n ta to rs on th e C S by his m a je s tic e ru d itio n and p e rfe c t

u rb a n ity in his c o m m e n ta ry c a lle d M rtasanjivani ( M S ) .

P in g a la n a g a ’ s book is a tu rn in g p o in t to th e

d e v e lo p m e n t o f S a n s k rit m e tric s . A fte r P in g a la n a g a , so m any

b o o k s have co m e to be w ritte n in d iffe re n t a g es by d iffe re n t

a u th o rs p e rta in in g to th e m e tre s on C la s s ic a l S a n s k rit o n ly.

H o w e v e r, so m e o f th e m have tre a te d b o th V e d ic and C la s s ic a l

m e tre s . On b o th V e d ic as w e ll as C la s s ic a l p r o s o d ie s , th e

Jayadevacchandah o f Jayad eva is re m a rk a b le . T h is is c o m p o s e d

The names of these seventeen commentators have been enlisted

by Prof. A.C.Sastri . — Ibid. PP.74, 111-112


35

in eight chapters in both sutra and verse form . Among the

eighteen Mahapurana-s , the Agni , the Garuda and the

Naradapurana-s deal with prosody in some sections. Again

among these th re e , the Agnipurana 93 deals w ith chandas of

both Vedic and Classical groups in nine chapters (fro m 327 to

3 3 5 ) , but the other tw o hold discussion only on Classical

prosody.

Bharatamuni in his Natyasastra has discussed

metres in two chapters w ith definitions and illustra tions. There

is a treatise called Chandoviciti , the authorship of which goes

to JanaSraya who flourished in between 580 A.D. and 615 A.D.

The ChandosnuGasana of Hemacandra is regarded as a notable

contribution to the science of Sanskrit m etrics. Another

Chandosnusasana is authored by Jayakirti, a Jain w riter.

Ksemendra, the famous rh e to ricia n , has com posed a prosodial

treatise named Suvrttatilaka (S V T ). This book gives a new

light to the history of Sanskrit m etrical science as the last

93
The discussion of metrics in the Agnipurana starts from the last
portion of the chapter 327. Of course the whole chapter is not
devoted to chandas. From that portion of that chapter till the
end of the chapter 335, a separate book is published and named
Agneyaschandahsara(AC) .
36

chapter of this book called rrttariniyoga , has dealt with the

propriety of employment of metres in various occasions. The

next important work on Sanskrit prosody is the Vrttaratnakara

(V R ) of Kedarabhafta C15th century A .D .). This is one of the

popular treatises in six chapters. Of the commentators on this

book, the following ones are mentioned by M.

Krishnamacharlar94 - Pandltaclntamani, Narayana, S rln lth a,

Haribhaskara, Divakara, KavigardGla, Trivikrama,

Nrslmha, Taranatha, Devaraja etc.

Another work called Vrttaratnakaraparisista of

unknown author is seen in the Chandomanjari (C M ) of

Gangadlsa which gives the definitions of some metres. A.

Borooah also referred to it95. The Srutabodha ( S B ) , the

authorship of which is ascribed to Kalidasa, is really a useful

work on Sanskrit prosody. Several commentaries have been

written on the SB. Among those commentators the names of

Harsakirti Upadhyaya, Manohara Sarma, Taracandra,

Hamsaraja etc. are worthmentioning. The next popular treatise

on chandas is the Chandomanjari of Gahgadasa ( 1 5th or 16th

94 HGSL, P.908
95 Prosody, Preface, P.VI
37

century A .D .). In six c h a p te rs , the author describes various

metres on Classical Sanskrit and illustrates them by verses in

praise of Lord Krsna. J a g a n n a th a , C andraS ekhara,

D a ta ra m a , G ovarddhana, V am S id hara, K rsnavarm a and

G urunatha V idya nidh i are the some of the com m entators on the

CM. A gain, G a n g ld a s a 96 has mentioned P u ru so tta m a , his

m aster, as author of another prosody called Chandogovinda.


Another w ork named Vagvallabha 97 by D ukhabhanjanakavi is
(

also mentioned which is com posed in 16th century A.D. The

Vanibhusana (V B ) of D lm o d a ra m is ra is a valued prosody

which is mentioned in the Vrttamanjarl (V M ) of

D h ire § va ra ca ryya several times. Another Dam odara is stated

as one of the com m entators on the CS98. In the 16th century

A .D ., K avikarnapura of Assam com posed the Vrttamala


(V M L ) which deals with a few varieties of selected metres of

frequent use in Classical Sanskrit.

A Vedic prosody called Vrttamuktavatl authored by

§ r!k rs n a b h a tta (1 7 th century A .D .) is considered as the

98
CM, ed. by G urunatha Vidyanidhi, P.13
97
Preface by Pundit Brajamohana Jna on the SVT, P.18
HCSL, P.903, F.N.8
38

latest w ork dealt only on Vedic part of metres. Another

Vrttamuktavali is referred to by A b h in a v a g u p ta , the famous

com m entator of the Dhvanyaloka , the authorship of which goes

to one BhattaSarikara.

The Vfttam anjari ( V M ) of D h lre £ va ra ca ryya is

the relatively modern work on prosody from Assam next to the

VML of K avikarnapura. This book came to be published in 1961

A.D. by the Departm ent of H istorical and Antiquarian S tu d ie s,

Govt, of A ssam , Guwahati. The author has made the text

understandable for the readers by adding a com mentary of his

own. A caryya M anoranjana§astrI has w ritten a scholarly

Preface to the book which throw s a light on the developm ent of

Sanskrit prosody. A caryya S a s trl quotes there the fam ous

s c h o o ls " of Chandahsastra from the com m entary called

Yadavaprakasa on the CS.

chandojnanamidambhavad bhagavato lebhe suranampati-


stasmad dusvyavanastatah suraguru mandivyanama tatah I
mandavyadapi saitavastatah rsi ryaskastatah piiigalah
tasyedamyasasa gurorbhuvi dhrtarp prapyasmadadyaih krtam I
—VM, Preface, P.13
39

A g a in , there is a process in the Sanskrit m etrical

science called p r a s t a r a , a mathem atical calculations which

gives the highest possible number of any class of metre.

Prosodists like Pingalanaga, Kedarabhatta, Dhlre§varacaryya

have discussed it along with other topics in the ir works. But

there are treatises on p r a s t a r a only. The P r a s t a r a c i n t a m a n i of

Clntamani in three chapters consisting, of a code of rules in a

variety of metres accom panied by a prose com m entary is

w orthm entioning here. A g a in , there are P r a s t a r a r i c a r a of

anonymous w rite r, P r a s t a r a s e k h a r a of Srinivasa,

P r a s t a r a p a t t a n a of Krsnadeva100. The L i l a v a t / of

Bhaskaracarya, a w ork on m athem atics, also cites some rules

of calculating p r a s t a r a .

M. Krishnamachariar 101 has mentioned the names of

several m anuscripts as he found them in different

catalogues , which may be listed as :

01. V r t t a k a u m u d i of Ramacarana

02. V r t t a c a n d r i k a of Ramadayalu

100 Ibid. P.910


101 Ibid. P.910-912
40

03. Vrttaramaspada of K s e m a k a r a n a M is r a

04. Vrttaramayana of anon.

05. Kavyajivana of P r lt ik a r a

06 . Karaasantosa of M u d g a la

07 . Vrttamuktavali of D u r g a d a t a

08. Chandoratnakara of anon.

09 . Chandomala of S a r n g a d h a r a

10. Vrttaratnakarasutratika
• •
of T riv ik r a m a

11 . Chandahkosa of R a t n a ie k h a r a
* •

12. Chandassloka of anon.

13. Vrttakatpadruma of J a y a g o v in d a

14. Vrttakautuka of V iS v a n a t h a

15. Vrttakaumudi of J a g a d g u r u

16. V rtta ca n d ro d a ya of B h a s k a r a d d h a r in

17. Vrttatarangini of anon.

18. Vrttadipika of K r s n a

19. Vrttapratyaya of S a n k a r a d a y a lu

20. Vrttapradipa of J a n lrd a n a

21. Vrttapradipa of V a d a r ln a t h a

22. Vrttamala of V a lla b h a ji

23. Vrttalaksana of
• * •
anon.
41

24. Vrttavartika of Umapati


25. Vrttavartika of Vaidyanatha
26. Vrttavinoda of Bhaiehagiri
27. Vrttavivecana of Durgasahaya
28. Vrttasudhodaya of Mathuranatha Sukla
29. Vrttasudhodaya of VenTvillsa
30. Vrttasara of Bharadvaja
31. Vrttasiddhantamanjari of Raghunatha
32. Vrttabhirama of Ramacandra
33. Vrttadyumani of Ya§vanta
34. Vrttavinoda of anon.
35. Rangaratchandas of anon.
36. Karnananda of Krsnadasa
« • • •

37. Samavrttasara of Nllakanthlcarya


38. Vrttamuktavali of Harivyasami&ra
39. Chandahprakasa of Sesacintamani
40. Chandasudhakara of Krsnarama
41. Chandabkalpaiata of Mathuranatha
42. Chandasankhya of anon.
43. Chandascudamani of Hemacandra
44. Chandassudhacillaharl of anon.
42

45. V rtta ra tn a va li of D u rg ld a ta

46. V •rtta ra tn a va li of MiSrasananda

47. V rtta ra tn a va li of SadaSivamuni

48. Vrtta
• ka rika of N arayana purohita

49. Vrttam
• anim
• alika of S rin iva s a

50. Vrttamanikosa
• • • of S rin iva s a

51. Chandakaustubha of Radhadam odara

52. Chandovyakhyasara of Krsnabhatta

53. Chandassudha of G anastakavyakhya

54. Vrttacintaratna
* of Sanatarajapandita

55. Vrttadarpana of Bhlsm acand ra

56. V•
rtta ra tn a va li of VeiikateSa

57. Vrttaratna vali of Krsnaraja

58. rttam uktavali of Kfsnaram a


V•

59. Vrttam uktavali of Mallari

60. V•rttam uktavali of Gangadasa

61. Chandosnusasana of JineSvara

62. Chandassundara of Narahari

63. V rtta ra tn a va li of Narayana

64. V •rttaratna vali of Ravikara

65. V rtta ra tn a va li of Ya^vantasim ha


43

66. Vrttaratnavali of Ramasvami Sant!


67. Ramastutiratna of Ramasvami Santi

Thus, it is seen that from the Vedic period to the


Classical period, so many works on the science of metre have
been written, but a few have remained easily available and in
published form. Many manuscripts on chandas are in several
libraries of India and abroad ; some of them are only in the
citation of the catalogues. Hence, the entire works on metre
deserve a systematic study in present days for a historical build
up of metrical science. All the works mentioned above, both
published and unpublished, have contributed a lot for the
growth of Sanskrit prosody.

In the development of metrics, it is noticed that


many metre owe their origin more or less to the Veda-s. For
instance, the anustup metre as exhibited in the Upanisad-s as
well as in RS has attained the form as Sloka in the epics. The
unconscious effusion of sage ValmTki’ s grief caused by the
sight of killing of a kraunca by a hunter generates a verse in the
44

metre called Slokam. It is said that the words ma, prama,


pratima etc. in the portion ma cchandah etc. of the
Yajurveda are termed in the CS as ukta, atyukta, madhya

etc104. The seven principal Vedic metres from gayatri to jagati


are also there in the prosody of Classical Sanskrit as the
representative names of seven classes of metres. Prof. A. C.
Sastri has shown that the origin of the metre called
vidyunmala108 used in Classical Sanskrit can be traced in the

hymn dyava ksama etc. 106 of the RV. Some other examples can
also be cited in this context. Prof. Sastri opines _ “ It is
proved that Classical metres are originated from Vedic mantras.

In fact, all the Classical metres can be traced in some form or

amnayadanyatra nutanacchandasamavatarah I
—URC, Speech of Vanadevata after V.il.5
ma cchandah prama cchandah pratima
cchandosasrfvayaschandah
pahktlichanda'usnlk chando brhatl chando'nustup chando vlrat
chando gayatri chandastristup chando jagati chandah I
—Yajurveda 14.18
Preface by Akhilananda §arma on the CS, P.6
vidyunmala mau gau I —CS, 6.6
106 dyava ksama rukmo antah I —RKS.1.96.5 as quoted in the
PS, P.96
45

other in the Vedic text"™ 7. He also holds - “ Thus Vedic

m etres along with the gradual changes o f time and socie ty and

the tastes and m ind o f the people also underw ent drastic

changes side by side. As a re su lt o f this evolution the m etres o f

the Veda-s were transform ed into the C lassical form s of

m e tre s” 108. Dr. R. S. Murty also holds - “ Thus the prosod y has

undergone several stages o f developm ent finding its ultim ate

fulfillm ent In kavya Literature. In this p ro c e s s , Vedic prosody

has transform ed its structure into C lassical prosody. In the

classical a g e , the purpose o f prosod y has been sh ifte d from the

Vedic altars to the p o e tic fields. The sa n c tity o f the sub ject has

been transform ed into a litera ry charm ” 109.

Great poets have used metres in accordance with

the ir necessity leading to poetic excellence. While doing so

some new form s of metres come into existence. With the rolling

of tim e , the number of metres are increasing. Valm lki used

only thirteen Varieties of metres in the R am ayana, while in the

107
Ibid. P.96
108
Ibid. P.61
109
VP. P.166
46

Mahabharata, eighteen varieties of metres are seen 110. Later

writers have employed innumerable metres in their

compositions. A thorough study is expected to be capable of

showing this fact that there are many verses in the entire

Sanskrit literature, especially in the Classical Sanskrit

literature, the metres of which have remained undefined or

undetermined by the prosodists. Hence, the calculation of the

total number of metres in Sanskrit literature appears a never-

ending task. As literary works go on growing, the probability of

the rise of newer metres cannot be ruled out, and here lies the

importance and interest of the study of prosody.

1.3 Vedic and Classical Sanskrit metres : their


varieties

The Vedic metres are different from that of the

Classical metres in some aspects as has already been hinted at.

The number of syllables in each foot of a mantra is of primary

concern in the Veda-s ; while in Classical Sanskrit the number

as well as the quality (i.e. laghu and guru etc.) are taken into

110 CM, ed. by Gurunatha Vidyanidhl, Nivedyam (Preface), P.=(3)


47

account. In Vedic metre, there exists no consideration of gana.


Again in the Veda-s, there are mantra-s from one foot to eight
feet. Even there are compound metres ( aticchandas) like
sakkari in Vedic text when a mantra possesses two or more

verses which comes to be known as pragatha'n. But in

Classical prosody, there must be four feet in a sloka or stanza


of a poetry . Again in Vedas , no metre can be had of with
more than twelve syllables in a foot but in Classical Sanskrit,
there exists so many metres containing more than twelve
syllables in a foot. However, there are certain Vedic texts, as
noticed by A. Borooah , which rarely consist of fourteen,
fifteen, sixteen and even eighteen syllables in a foot. But these
feet are so imperfect that it is doubtful whether their rhythm

111 Prosody, P.9

112 padyarp padanibaddham syaditl I — VM, P.17

Again,

padyarp catuspadityuktam I — Ibid. P.18

Again,

padasca padyate dhatoScaturbhaga it! smrtah I

— NS, 15.90

Again,

padaScaturbhagah I CS, V I.11


113
Prosody, P.11
48

was known to any Vedic poet. But in Classical Sanskrit very


correctly there are metres containing twenty six syllables in a
foot like apabaha under the utkrti class of metre. Again, in

Classical prosody the jati is a class of metre where a metre is


determined by syllabic instant or mora (i.e. matra"). This mora
is considered from the standpoint of short (i.e. hrasva) and
long (i.e. dlrgha') type of vowel (i.e. svara) only. No such
considerations are there in Vedic prosody.

The short and long of vowel are the regulators of a


metre in Classical prosody. The status of consonant appears to
be auxiliary as they are supposed to follow the vowels. Hence,
it is stated in the RudrayamaIanA, that the consonants follow
the vowels and vowels alone are syllables.

There are seven principal metres in the Veda-s viz.-


(i) gayatri, (ii) usnik , (iii) anustup , (iv) brhati

( vrhati) , (v ) pahkti, (vi) tristup and (vii) jagatl. The

metre called gayatri is of twenty-four syllables and the other six

114 svara aksarasankhya syuh hatastadanuyayinah iti I

— As quoted in the PS, P.63


49

metres from usnik to ja g a tl have an increment of four syllables

respectively. This can be shown with the help of the following

table :

SI. No Metre Syllables

1 gayatri 24

2 usnik 28

3 anustup 32

4 b rh a ti 36

5 pahkti 40

6 tristup 44

7 ja g a tl 48

Table : 1.1

The Vedic metres are broadly divided into two


classes - ( i ) chandas and ( i i ) aticchandasn5. When a verse

atikrantah chandah vrttanusarivarnavinyasabhedam I

— Apte.V. S. The Practical Sanskrit English Dictionary, P.29

Anundoram Borooah replaces the word 'chandas' in this context


by 'Ordinary metre'. Similarly he puts the word 'aticchandas' once
as ‘long metre' and in another occasion as 'compound metre'.

— Prosody, Part-ll, Sec.I, Preliminary P.9


50

does not exceed forty-eight Cor sometimes irregularly fifty)


syllables, it is called chandas. On the other hand, if a verse
consists of syllables from fifty-two (o r sometimes irregularly
fifty) to one hundred and four (or sometimes one hundred and
six) , it is called aticchandas.

Again, the first class (i.e. chandas) is divided into


two sub-groups v iz .- ( i ) sacchandas, e.g. gayatri and ( ii)
vicchandas e.g. mahabrhatf.

Similarly, the second class (i.e. aticchandas) is


also divided into two sub groups - ( j ) madhyamavarga and
('\\)trtiyavarga. If a verse consisting of syllables from fifty-two
to seventy-six it is called madhyamavarga. On the other hand, a
verse consisting of syllables from eighty to hundred and four, is
called trtlyavarga. It can be shown in the following way :

vaidikacchandas
1
1 1 6

chandas
r i
aticchandas
l A
'i I ‘A
sacchandas vicchandas madhyamavarga trtiyavarga

Table : 1.2

This table is based on the observation of A. R. Borooah. Prosody,


P.9
51

Prof. A. C. Sastri117 shows the division of Vedic metres as

follow s:

0 ) chandah 0 0 aticchandah O n ) vicchandasah

g a y a tri -24 syllables atijagati- 52syllables krti - 80 syllables

usnik - 28 „ sa k v a rl - 56 „ prakrti - 84 „

anustup - 32 „ atisakvari-60 „ akrti - 88 „

b fh a tl - 36 „ a s p - 64 „ vikrti - 92 „

pankti - 40 „ atyasti - 68 „ sahkrti - 96 „

tristup - 44 „ dhrti - 72 „ atikrti - 100 „

ja g a ti - 48 „ atidhrti - 76 „ utkrti - 104 „

T a b le :1 .3

The above m etrical set again sub-divided into eight

groups viz. ( i) a / 's / , (ii)c /a /V /, (\Y\)asurI, ( i v ) p ra ja p a ty a ,

Qsf^yajusi, ( v i) s a m n /, ( v ii p a r c e l and (viii)6ra/?/77/118.

A gain, the chandas from g a y a trl to j a g a t l , the aticchandas

117 VLCP. P.72


118
atra deva-asura-prajapatl-rsl-yajuh-sama-rk-brahmachando-
bhedena gayatryadlni chandamsyastavldhant bhavanti I
—-CV, P.4
52

from atijagatl to atidhrti and the vicchandas from krti to utkrti

as shown in the 'Table : 1 .3 ’ may be divided into five types of

each from the standpoint of syllabic deficiency viz. ( i ) virat,


( ii) nicrta, (iii) suddha, (iv ) bhurik and ( v ) svarat.

Thus 7 x 5 = 35 in chandas, 7 x 5 = 35 in aticchandas and 7 x

5 = 35 in vicchandas can be had of.

Even there are some irregular or unusual metres in

Vedic prosody such as sahkumati, kakudmati, nagi,


pipilikamadhya, yavamadhya etc.

Bharatamuni refers to divyagana, divyetaragana

and divyamanusagana of metres. From gayatrl to jagatl, the


metres are called divyagana, from atijagati to atidhrti,

divyetaragana and from krti to utkrti, divyamanusagana are the


categories120. Again, from the standpoint of foot (i.e ., pads') ,

sarvesameva vrttanam tajjnaijheya ganastrayah I


divyo.divyetarasvaiva divyamanusa eva ca I
—NS, XV.99, P.115
120
gayatryusniganustupca brhati pahktireva ca I
53

the Vedic metres are broadly divided into three classes viz. -

(j^ s a m a c c h a n d a s (i.e. the even metre) , (ii " ) v i s a m a c c h a n d a s

(i.e ., the uneven metre) and (iii ^ a t i c c h a n d a s (i.e. the

compound metre). When number of syllables is the same in

each foot, it is called sam acchandas , e.g. ja g a tl. When

number of syllables is not the same in each foot, it is called

visamacc h a n d a s , e.g. b r h a t i. When a verse is consisting of two

or more verses, it is called a t ic c h a n d a s , e.g. s a k v a r i. That

indicates that the a t ic c h a n d a s is what is known as p ra g a th a

(i.e. the compound verse). A. Borooah shows this special

division of Vedic metres . Thus, Vedic prosody refers to

several varieties of Vedic metres.

Some other specialities are also to be observed in

determining a metre of a Vedic m a n tra . Again, the avasana

t r is t u p c a j a g a t l c a lv a d iv y o 'y a m p ra th a m o g a n a h II
t a t h a t ija g a t l c a iv a s a k k a r i c a t is a k k a r i I

a s tir a ty a s tir a p l c a d h r t is c a t ld h r t i g a n a h ||

k r tis c a p r a k r t iic a iv a h y a k r t ir v ik r t is t a t h a I

s a h k r t y a t ik r t ls c a lv a u t k r tir d iv y a m a n u s a h II
— NS, XV.99-102, P.115-116
121
Prosody, P.9
54

(i.e. end) of a foot in some mantra-s are very difficult to draw


out. The rules about avasana in Vedic metre are also somewhat
arbitrary. There exist ample instances of the mantras being
differently marked in different works on prosody. So division,
subdivision and also other specialities are observed to be
lacking in uniformity in Vedic metres. For example, the metre
called gayatri generally comprises three feet and total number
of syllable is twenty-four. But in Vedic text, there are some
mantras, called of gayatri also, which contain five feet with
five syllables in every foot. Thereby the total number of syllables
of that gayatri becomes twenty-five. Such irregularities are
there in the Vedic metre which give a peculiar character to it.
Such irregularities in the case of Vedic metres, are accepted by
some scholars with a moderate spirit . Thus, the Vedic metres
have certain peculiarities, rather inexplicable so to say, and
hence requires a detailed discussion.

The vedic hymns were com posed long before any rules of
poetry were thought of. As a consequence, they abound in the
greatest irregularities. Some of them may be due to a difference
of pronunciation in the vedic days, but most of them are traceable
to artificial pronunciation such as is even now common with

reference to old songs and ballads. — Prosody. Preface, P.iv


55

The metres of Classical Sanskrit are broadly divided

into tw o types viz. ")


( i vrtta and (ii)y 'a f/123. That metre wherein

the number of syllables contained in each foo t or quarter (i.e .

p a d a ) alongwith their position of short and long vowels are

co u n te d , is called vrtta . On the other hand, tha t one which

is regulated by the number of syllabic instants or mora

contained in each foo t is called y'af/125. As the word 1v rtta ' in

many occasions indicates the metre (i.e . chandas') in general,

it is accepted by many scholars that the vrtta is aksaracchandas

and the ja t i is m a tracchandas126. It is interesting to note here

that Pingalanaga does not give any name for m atracchandas or

ja ti in his work. It is doubtful whether there was such a name for

this class of mefre during P ingalanaga’ s tim e , as observed by

127
A. Borooah

tacca loke dvidhaivestam vrttijatiprabhedatah I —VM.P.17


nibaddhamaksaraganaih padyam vrttarn pragiyate I
—Ibid. P.17
matraganairnibaddhantu padyam jatirihesyate I
—Ibid. P.17
Prosody ; P.9
127
Ibid. Preface, P.xiv
56

The Vfttachandas or aksaracchandas is divided into

three classes128 viz. (j)samavrtta (i.e. the even or equal

metre) , QQardhasamavrtta (i.e. the half-equal metre) and

(iii) visamavrtta (i.e. the odd or unequal metre)

When all the four quarters of a stanza show

similarity, the metre is called samavrtta13°. Here ‘ similarity’

does not indicate the affinities in respect of the number of

syllables only, but also that of the quality of syllable in each of

the four quarters. The positions of the short syllable and the

long syllable as in the first quarter of a samavrtta metre should

be same also in the remaining three quarters.

Again each quarter of a samavftta metre may vary

from one to twenty six in each syllabic strength. On the basis of

vrttantrividhamakhyatam samamarddhasamamantatha I

visamahcetyathaitesam srrtu laksanamucyate II — VM, P.18

padyam catuspadl ... I — CM, 1.4, ed. by Gurunatha


Vidyanidhi
vrttantrividhamakhyatam samamarddhasamamantatha I

visamahcetyathaitesam irnu laksanamucyate II — Ibid. P.18


57

this consideration, the samavftta metres are broadly classified


1*31
in twenty-six groups :

(l)u/cf/?a class (having only one syllable in every

quarter) , (’2")atyuktha class(having two syllables in every

quarter) , ( 3 ~)madhya class(having three syllables in every

quarter) , ( 4 ~)pratistha class (having four syllables in every

quarter) , (5)supraf/sf/7a class(having five syllables in every

quarter) , ( 6 ")gayatrJ class (having six syllables in every

quarter) , (J ^ u s n ik class (having seven syllables in every

quarter) , ( 8 ")anustup class ( having eight syllables in every

quarter) , ( 9 ^ b rh a tl class (having nine syllables in every

q u a rte r), (1 0 ")pankti class (having ten syllables in every

q u a rte r), (11 ")tnstup class (having eleven syllables in every

quarter) , (1 2 ")}agatl class (having twelve syllables in every

q u a rte r), (1 S ')atijagatf class (having thirteen syllables in

every q u a rte r), (1 4 ) sakvarl class (having fourteen syllables

in every q u a rte r), (1 S ^atisakvari class (having fifteen

syllables in every quarter) , (1 6 )a s f/ class (having sixteen

syllables in every quarter) , (1 l^ a ty a s ti class (having

131
Ibid. VV.II.1 -1 0 .(Gha), P.24
58

seventeen syllables in every q u a rte r), (18 ^ d h rti class

(having eighteen syllables in every quarter) , (1 9 ~)atidhrti

class (having nineteen syllables in every quarter) , (20)/c/T/

class (having twenty syllables in every quarter) , (21 ^p ra k rti

class (having twenty one syllables in every quarter) ,

(22 )a /rrf/ class (having twenty two syllables in every

quarter) , ( 2 3 ) vikrti class (having twenty three syllables in

every quarter) , (2 4 ")sahkrti class (having twenty four

syllables in every quarter) , (25)af/7crf/ class (having twenty

five syllables in every quarter) , ( 2 6 ) u tk rti class (having

twenty six syllables in every quarter).

The samavrtta metres having more than twenty six

syllables in every quarter come under the domain called

dan daka.

The word ardhasamavrtta denotes a metre which is

similar in half of its quarters. While the alternate quarters of a

stanza are similar, the metre of that stanza is called

ardhasamavrtta. Obviously, in an ardhasamavrtta type of


59

metre, the first and the third quarters are similar, and also the

second and the fourth quarters are similar132.

The word v is a m a v r tta means unequal metre. That is

called v is a m a v r tta where ail the quarters of a stanza are

dissimilar133. The dissimilarity here means both quality and

quantity of syllables. In v is a m a v ftta , the number of syllables

in each quarter is unequal. Again, the qualities of syllables from

the standpoint of short and long vowel are also dissimilar.


/

On the basis of the movement underlying a metre,

the division of metre may also be made as Q Q d ru ta (i.e .

q u ic k ), Q Q m a d h y a (i.e . m e a n ), (iii) v ila m b it a (i.e .

slo w ) , ( i v ) d r u t a m a d h ya (i.e . partly quick and partly mean) ,

(y ^ d r u t a v i l a m b iia (i.e . partly quick and partly slo w ) and

( v \ )m a d h y a v ila m b it a (i.e . partly mean and partly slo w ) as

adyasyanghrestrtiyena yatra padena tulyata I


dvitiyasya caturthena tadardhasamamucyate I — Ibid. P.18
caturnamapi padanam parasparamatulyata I
yatra tadvisamamjneyarp sampurnendunibhanane I
— Ibid. P.18
60

shown by A. Borooah134. The movement underlying a metre at

the time of reading a verse may vary from one metre to another.

That difference of movement is also observed by

DhlreSvaracaryya as he declares various patterns of reading of

a verse composed in a certain metre135. For instance, the

reading of a metre called aryya is said to be sometimes slow

like the movement of a duck139, sometimes raised like the steps

of a lion , sometimes playful like the movement of the

elephants of the directions and sometimes unsteady like the

movement of a snake139.

Prosody, Preliminary, P.2

prathamam maralagativadyatim dvitlyantu simhavikramam I


dlgibhagativattrtlyamiha phanigativatpathetturyyam II
— VM, V. 13, P.205

maralagatlvat hamsagatlvat mantharam pathet I

— Ibid. com. on V.13, P.205

slmhavlkramavat uddhatampathet I — Ibid. com. on V.13, P.205


dlgibhagativat diggajagativat satham pathet I
— Ibid. com. on V.13, P.205

139
phanivaragativat cahcalam pathet I— Ibid. com. on V.13,P.205
61

The doha is a special variety of metre under the jati


class140. It is perhaps noticed by Mahamahopadhyaya
Dhlre§varacaryya for the first time.

In the context of Sanskrit prosody, both Vedic and


Classical, there is topic known as prastarau\ As stated earlier,
it is a tabular representation of short and long vowels through
which highest possible number of a particular class of metre
can be determained. Of course, some prosodists are noticed to
have remained silent on this issue.

DhlreSvaracaryya as a prosodist has discussed all

the above items related to the prosody on Classical Sanskrit in


his work entitled V rttam anjari to make it a complete treatise on
metrics. However, he has confined his discussions on the
Classical metres only, and avoided the Vedic ones, with the
apparent justification that women are debarred from the
exercise of the Vedic texts 14P and his work on prosody does not

140 Ib id . P .2 2 6

141 Ib id . P .2 7 6

142
slmantininamadhunatanlnam yacchandase chandasi nadhikarah\

tatte purastatkila laksananl sulaksane tasya na laksitani II


62

aim at prohibiting the women from studying the VM. Of course,

this justification appears to be purely poetical, not real and

hence cannot be considered convincing.

1.4 Elements of Chandas

1.4.1 Gana (Mnemonic) and Matra (Mora)

The gana is the most important element for

determining a metre in Classical Sanskrit. The word ‘ gana * is

formed from the root ‘ gan’ meaning ‘ to enumerate. The word

is formed from the said root into the addition of the suffix ac143.

The gana in prosody indicates ‘ a series’ or ‘ a class’ or ‘ a

group’ etc. The use of the word gana can be seen from the

time of Vedic literature. Even, in Sanskrit grammar, there are

ganasutra-s ascribed to Panini. Again bhvadigana, adadigana

etc. are the gana-s in the Paninian system of Sanskrit grammar.

By the bhvadigana, the group of similar dhatu-s are combined

— Ibid. V.62, P.274

gan karmani kartari va ac I — Apte.V. S. The Practical

Sanskrit English Dictionary, P.395


63

together taking the root ‘ bhu’ in the first position of that

series. Thus gana is a technical term of a mnemonic device

specially applicable in sutra style of writing.

In the history of Sanskrit prosody, the gana-s are

undoubtedly wonderful findings of Pingalanaga144. As Pinini

has used gana in the grammatical sutra-s of his A stadhyayl , so

also Pingalanaga has used gana in the sutra-s of his CS.

It is noticed that the composers or compilers of

Sanskrit Sastra- s have inclination towards the sutra style of

writings. The purpose of a sutra is to denote maximum

meanings by minimum words, of course, with accuracy148. It is

said in jest that a Sutrakara rejoices at minimising half a

cf. "Piiigala is undoubtedly the earliest prosodist who had used

this unit and was very probably the originator of it.”

—The Cultural Heritage of India, Vol.V, P.306


alpaksaramasandigdham saravadvisvato mukham I
astobhamanavadyahca sutram sutravido vlduh II
—Visnudharmottara and Parasaraupapurana as found in the PS,
P.96
64

syllable as he does at the birth of a son146. So sutra writers

always try to find out such a means of mnemonics where many

items can be combined in a group. Then, they give a

terminology to that group, where in, by that terminology the

whole items included therein, are understood.

The gana-s as enumerated in the CS runs - m a,

y a , ra , s a , fa, ja , b h a , na, la , and gaur. These ten syllables

have been symbolically taken ; and used for considering the

metres. Each of these ten syllables is known as gana-s. Again,

from ma-gana to na-gana , ail are having three syllables in each

while la-gana denotes a short syllable and the ga-gana indicates

a long syllable. Thus —

1. The ma-gana possesses all guru syllables,

2. The ya-gana possesses first laghu syllable and other

two guru syllables,

laghvarthamhi sahjhakaranam I ardhamatralaghavena putrotsava


iva manyate I — VSK, Vol.-Ill (Prlsista), P.2
147
CS, i.1-10
65

3. The ra-gana possesses middle laghu syllable and other

two guru syllables,

4. The sa-gana possesses last guru syllable and other two

laghu syllables,

5. The ta-gana possesses last laghu syllable and other

two guru syllables,

6. The ja-gana possesses middle guru syllable and other

two laghu syllables,

7. The bha-gana possesses first guru syllable and other

two laghu syllables,

8. The na-gana possesses all laghu syllables,

9. The la-gana possesses a laghu syllable,

10. The ga-gana possesses a guru syllable. It may be at

the end of a foot148.

148
CS, 1.1-10
66

The following table shows the g a n a -s alongwith


their symbolic representation :
Name of the g an a( s) Symbol149(s) Example150(s)
n
[ \=laghu ,S = g u ru ]

ma S S S d h l s rl s tr!

ya I S S va ra sa

ra S I S ka gu ha

sa I I S va su dha

ta S S I sa te kva

ja I S I ka da sa

bha S I I kim va da

na I I I na ha sa

la I 9f

ga S Ga { nte)

T a b le : 1.4

Some commentators endeavour to find out certain


justifications of selecting these ten syllables and not other

149 rjurekha laghurn vakrarekha gurutn bodhayati itl bhavah I

— VM, com on V-9, P.201


150
Examples are taken from the CS, 1.1-10
67

syllable from the whole alphabet of S anskrit language181. The


ju stifica tio n or efficacy of gana-s described in the karika -s
under reference may be shown in the follow ing way :

gana (mnemonics) devata (basing deity) Phala (effect)

ma p rth vf laksmi (w e a lth )

ya jala vrddhi (p ro s p e rity )

ra agni mrtyu (d e a th )

sa pavana paradeSa (foreign-land)

ta akasa sunya (v o id )

Ja surya roga (d ise a se )

bha candra yaia (fa m e )

na s varga sukha (ha p p in e ss)

Table : 1.5

mo bhumlh sriyamatanotl yam-jalam vrddhlm ra-vahnimrtlm

so vayuh paradesaduragamanam ta-vyoma sunyam phalam I


jah suryo rujamadadati vlpularp bhenduryaSo nlrmalam

no nakaSca sukhapradah phalamldam prahurgananam budhah II

— SV. Preface, P.ii

Prof. A.C. Sastri reads this verse slight differently, cf.


mo bhumlh Sriyamatanotl satatam toyahca yo ro'nalah

so vayuh paradesaduragamanam ta-vyoma sarvvam phalam I


jah suryo rujamadadati vlpularp bhenduryaso nlrmalam

no nakaica sukhapradah phalamldam prahurgananam budhah II

— VLCP, Preface, P.vii


68

It is noticed here that in the above table, only eight

gana-s are enumerated. The ‘ /a’ and the ‘ g a ’ are not

considered here for the apparent reason of being single syliabic

ones. It may also be noted here that some scholars162 call these

gana-s by the name trika-s ( triple ) for being some units of

three letters. Then eight trika-s are counted and not the ‘ l a ’

and the ‘ g a ’ for having single syllable each.

Akhillnanda Sarnia cites the efficacy of the eight

gana-s a bit differently153. However, irlvirajananda

Daivakarani, in his Hindi commentary on Akhilananda Sarma

expresses that this has no purport at all154. But many scholars

are found to have put due importance to the efficacy of these

gana-s in association with their deities. Eventually, their

interpretations appear to be acceptable for no other reason than

the fact that Pihgalanaga could have singled out other letters

also from the entire alphabet of Sanskrit literature in lieu of

The Cultural Heritage of India, Vol.V, P.306

manau mitre, bhayau bhrtyau, jaravudasinau tasau nicau I

— Chandahsutrabhasya of Akhilananda Sarmrna on the CS P.239


154
Ibid. P.235
69

those ma, ya, ra etc. ; because he had not got them from any
divine authority like the mahesvarasutra-s of Panini .

Even Mailinatha, in his commentary called


Sanjlvani on the RaghuvamSa (R G ) of kalidasa elaborates
the justification of using ma-gana at the first position of the first
versei*ifl that ma-gana indicates something auspicious157 .

The Mahesvarasutra-s are said to have been attained by sage


Panini in his meditation from the sound of the drum of Lord £iva
and so called them as Mahedvarasutra-s. cf.

nrtyavasane natarajarajo nanada dhakkam navapancavaram I

uddhartukama sanakadisiddhanetadvlmarse sivasutrajalam II


— Laghusiddhantakaumudlcandrika, § a s tri Vijayakrsna, P.6,

Reprint, 2003

vagarthaviva samprktau vagarthapatipattaye I

jagatah pitarau vande parvatlparameivarau II — RG. 1.1

prathamam bhudevatakasya sarvaguromarganasya prayogat

subhalabhah sucyate I taduktam-" iubhado mo bhumimayah" itl l

— M allinatha's com.on RG, 1.1


70

it may be cited here that Kavlkarnapura168, the

author of the VML enumerates other two gana-s namely 1va ’

and ‘ k a ’ apart from the established ten gana-s.

For determining a laghu or a guru syllable, the

vowels concerned are counted. This means the vowel that is

associated with a particular consonant is taken for

consideration. No consonant without vowel is counted169 here as

syllable as has been already discussed earlier. Vowels are of

three types160 - viz. (i)ftrasva, Q Q d irg h a and (iii ")pluta.

This division of vowels is based on the syllabic instant (i.e.

matra') they possess. Thus a hrasva vowel possesses single

syllabic instant161. A dlrgha vowel possesses double syllabic

guruvarno gasanjnah syat laghuvarno iasanjhakah I.

yatlvantau dfrghahrasvau vakau vyacaksate budhah II


— VML, V.13

acah sarvatra sahkheyah padyesu na punarhalah I

— VM, V.3 (1st line), P.17

ukalo’hrasvadfrgbaplutah I — AD, 1.2.27

ekamatra bhavedhrasva I — As quoted by Gurunatha

Vldyanidhi in his com. on the CM, 1.4, P.3


71

instant162. A pluta vowel possesses triple syllabic instant163 but it


does not carry so much relevance in metre. The pluta vowel is
regarded as dlrgha only164 however its application is rarely
noticed. On the other hand, a consonant possesses half
syllabic instant and for this reason also it is not counted in
prosody165. Thus syllabic instant or matra determines a vowel.
The word matra grammatically stands for kata i.e. time for
pronunciation. Regarding the knowledge of that time i.e. matra,
the PNS166 says that the sound of a blue jay (i.e. casa')
denotes one matra and that of a crow (i.e. vayasa) two matra-
s. The peacock (i.e. sik h i'), s sound indicates three matra-s
and that of a mongoose (i.e. nakula') half a matra.

dvimatrastu dlrgha ucyate I — Ibid. P.3

trimatrastu pluto jneyo I — Ibid. P.3

gurudirgham plutascalva I — NS. XV.87

ato halo'rddhamatratvasvfkare natra yujyate I

— VM, V.3{2nd line), P.17

casastu vadate matraip dvtmatram caiva vayasah I

slkhl rauti trlmatram tu nakulastvardhamatrakam II


— PNS. V.49
72

Generally, a hrasvasvara makes a laghu syllable167

while a dirghasvara makes a guru syllable108. Regarding the

formation of a guru syllable, there are certain other special

rules put forward by the prosodists apart from the above eight

dlrgha syllables. DhIregvaraclryya also in his first chapter of

the VM has discussed those rules very clearly .

It is evident that a gana is generally the combination

of laghu or guru syllables. Again, a laghu is nothing but a

hrasvasvara. while a guru is a dirghasvara. A svara or vowel is

determined from matra. So all these elements form the core part

of the metrics.

DhlreSvaracaryya has not resorted to the gana

scheme for defining the metres in his V M , and therefore avoids

the discussion on the formation of any gana. However, in the

sixth chapter of his book, he has elaborated the gana as

required for determining a jati class of metre170, viz. -

167 hrasvam laghu l — AD, 1.4.10

168 samyoge guru I dlrgham ca t — Ibid. 1.4.11-12


169
VM, V.6-9, P.14-15
170
gana ekakalo nirupyate dvfkalasca trikalascatuskalah I
73

('\)ekakaiagana , ( iQdvikalagana , (iii) trikalagana ,

Qv^catuskalagana , ( v ) pancakalagana and ( vQsatkalagana .

How these gana-s are formed by DhireSvaracaryya in his VM

is proposed to discuss later in another context,

1.4.2 Yati (Pause or Caesura or Haitus)

The pause (i.e. yaf/) is the divisional mark in a

metrical verse. There are several synonymous words for yaf/'171

viz, Q^chinna, (ii)avasana, (iii) visrama , (iv ) virama,

(y^virati (v'^cheda and (vii)as/as/'f/172 as found in the VM.

The Natyasastra of Bharatamuni takes the words

yati and virama differently. He states, whenever there comes a

apt pancakalo'tha satkalah sadime jatyupayogineh priye

— Ibid. V.1, P.199

chinrtavasanavisramavirama viratistatha I

chedascetyadibhiSSabdaihsa vacya svecchaya tvaya II

— Ibid. V. 12, P.19


172
Ibid. V.19, P.230
74

spontaneous break of the flow of words, is called yati 173.


Again, where the meaning comes to an end is called wrama174.
Pingala’ s definition of pause is “yativicchedah” n5 , i.e. pause
is separation. Halayudha, explains the word ‘ viccheda of

the aforesaid sutra as 1viSramasthalam, n 6 , i.e. the point of


break. Here, he is clear in pointing out the fact that the place
(i.e.sf/?a/a) of taking rest in reading the words of a verse is
termed yati. Otherwise, it is rather difficult to extract from the
definition of Pirigalanaga as to what was his intention to denote
by viccheda. Garigadasa, in the like manner, defines pause as
the place where the tongue of a reader likes to have a break177.
Dhire§varacaryya in his VM defines thus - sa yati

padapathastu yatra vicchidyatem. This definition follows the

view of Halayudha. Another important issue is noticed in the

173
niyatah padavicchedo yatirityabhidh!yate\ — NS, XV.86 (2nd
line)
174
yatharthasya samaptih syat sa virama it! smrtah I

— NS, XV.90 (2nd line)


175
CS, VI.1
176
vicchidyate vibhajyate padapatho'sminniti vicchedah

viSramasthanam, sa ca yatlrityucyate I — MS on CS, VI. 1


177
yatlrjihvestavidramasthanam kavibhirucyate I CM, 1.18
178 VM, V.11(2nd line), P.19
75

VM, that in one occasion the author states the pause of a


metre to be at any place which gives pleasure to the ear of a
reader179. This aspect supports the definition of pause given by
Garigadlsa where the word *istavirama* is found. Anyway, in

the definition of pause given by DhfreSvaracaryya the word


‘yatra1 suggests ‘ a place’ only. In the gloss also
Dhlre§varacaryya elaborates - “yatra sthane padapathah
vicchidyate vibhajyate sa yatirucyate ” 180. The word
‘padapatha1 is generally used in the Vedic context of reading.
In the Veda-s, the padapatha is one type of reading out of
several readings like - samhitapatha , jatapatha , ghanapatha
etc. But DhTre&varacaryya ’ s implication by using the word
‘padapatha1 may be taken in the sense of slokapatha (i.e.
‘ reading of the verse ’ ) . Again , the word *vicchidyate 1 refers

to ‘ vibhajyate1 as mentioned in the commentary. Therefore,


that is called pause where reading of words in a verse is
bifurcated. Thus it can be derived that mere separation is not a

179 viratih sravye I — Ibid. V.1, P.220


Again,

Sravye sravanasukhasampadakasthane I — Ibid. com. on

V.1, P.220
180 Ibid. com. on V.11, P.19
76

pause, nor the process of such separation is known as pause ;


but the place of separation is regarded as pause. It is very
much clear from the definition of pause given by
DhfreSvaracaryya. The famous rhetorician Vamana also spends
a considerable space on the discussion on the topic of yatim.

— -JQO

Dr. Brahmananda Trlpath I , in his Preface to the

CM, speaks of two groups of prosodists earlier to Pingalanaga


from the standpoint of acceptance or non-acceptance of pause.
One group does not accept pause. Bhara, Kohala, Mandavya,
Aivatara and Saitava belong to this group. Gangadasa also
quotes his teacher Purusottamabhatta who in his prosody
called Chandogovinda enumerates §veta, Mandavya etc. in
this group183.The other group accepts pause. This group
!

includes the prosodists namely Vasistha, Kaundinya,


Kapila, Kambaiamuni and Pingalanaga.

virasaviramam yatlbhrastam I — Kavyalankarasutra, ll.il.3

CM, ed. by TripathI, Brahmananda, Preface, P.10

gvetamandavyamukhyasu necchanti munaye yatim I

ityaha bhattah svagranthe gururme purusottamah II


— CM, ed. by Gurunatha Vidyanidhi, C hap.-I, V.20
77

It may be noted that the prosodians are found to


have kept mum on the issue of prescription of a fixed duration
for yati. The matra-s denoted by the sounds of various birds like
casa (i.e. a blue jay) vayasa (i.e. a crow) etc. as in the case
with consideration of hrasva, dirgha and pluta in the PNS184
cannot be said to be applicable in respect of the yati. Nothing
specific is found to be mentioned by any prosodist regarding
the duration of pause.

The pause is mainly divided into two types viz.


(j^padanta yati (i.e. foot pause) and QQpadamadhya yati
(i.e. section pause). The metrical pause existing at the end of
a pada is called padanta yati. The metrical pause introduced in
a specific place of a pada is called padamadhya yati..
Halayudha refers to some couplets collected from his
predecessors wherein certain rules are there for proper
application of pause . Dhire§varacaryya too, in his second
chapter of the VM, has elaborately discussed some of those
rules186.

PNS, V.49
MS on the CS-VI.1
VM, Chap.- II {Ga) yatibhedakusumam, V.1-4
78

It is rather difficult to work out rules for application


of pause, as an accepted phenomenon, since poets of high
repute also can never maintain such hard and fast rules of
prosody in composing their verses ail the time. Even instances
are there, where prosodians are found to have violated such
rules, while composing verses as rightly pointed out by A.
Borooah187. DhlreSvaracaryya also, is found to have tendered
unconditional apology from the learned readers for not being
■jOO

able to maintain pause properly in certain places . But mere


violation of any rule of pause in composing a verse due to some
difficulties even by great poets or prosodists does not
necessarily lead to declare that there is no pause at all in the
domain of poetry, like the anti group of prosodians on pause
headed by Sveta, Mandavya etc. as has been referred to
earlier. Most of the prosodists who accept pause in poetry,
have also noted the position or place of that pause at the time

A.R. Borooah shows that Halayudha too has violated certain rules

of yatl In some illustrations on the metres of the CS . — Prosody,

P.153

ksantavyo yatidoso'tra dhlrairduskaralaksane I — VM, V.15

{1st line), P.20


79

of defining a metre in all possible cases. The best poets are


always expected to observe those rules regarding the position
of pause in their compositions. However, violations of such
rules in maintaining a pause are also not rare. Even for the
same metre, the position of pause is stated differently by
different prosodists. For example, there is metre called
vatormm! in the tristup class (i.e. having eleven syllables in
each quarter). Pingaianaga is quite silent about the pause of
this metre . But Dhire§varacaryya notes that there should
have pause in vatormm! at the fourth and then at the seventh
syllable in each quarter which are indicated by the words
‘ vec/a’ and ‘ asva’ respectively190. Similarly, the different
views on the employment of pause of the metre kumaralalita
under the usnik class of samavrtta metre are clearly shown by
the Acaryya191. A comparative study of the characteristic
feature of various metres of two or more works on prosody is
expected to bring out such irregularities in some other cases.

189 vatormf mbhau tgau g I — CS-VI.26

190 satinya§cedaguruh pancamah syanmlstalape dhrtabhusakalape I

vedaira§vairvtratt§vapt yasyam vatormm! sa manasalocanfya II


— VM. V.7, P.56
191
VM, com. under V.4, P.37
80

Not in Classical Sanskrit but in Vedic metres as well, many


irregular pauses are noticed. Generally, if a verse is imperfect
due to the succession of syllables not being harmonious then
the metre concerned is said to be non-metrlcal192 (i.e.
bhagnachandas"). Again, if a verse is imperfect due to the

selection of words not being conformable to metrical pauses


called discordant193 (i.e. yatibhrasta') .Another important issue
for realisation of pause in a verse lies in proper reading of that
verse. Because, the reading of a verse is sometimes fixed by
the pause. Akhillnanda Sarma, a commentator on the CS
shows how a single verse can be served for being the example
of the three metres namely - candravartta, manigunanikara

and mala under the atiSakkarl class. If a reader reads a verse


maintaining different pauses in every time of readings, the
metre of that verse may attain different names in every phase of
such readings.In Chandahsastra-s, there are certain words to
indicate the position of pause in a verse. Those words have
been conventionally treated as equivalents to certain numerals.
Not only in prosody, but also in some other Sanskrit treatises
like Mathematics, Astronomy etc., this practice is found to be
HQO
Prosody, Preliminary, Para-8(a), P.3
193 ibid. P.3
81

followed. Dhlre§varacaryya also has adopted this technique


and the words used by him in this context may be listed below:

Num eral (s) W ord (s)

2 dos

3 guna

4 veda, yuga, druhinavadana , S ru ti, vidhimukha ,

sagara J a la d h l, abdhi

5 kha, va n a , is u , in d riy a , Sara, visikh a , b h u ta ,

Sivavaktra

6 svada , rasa , rtu , tarka , grahamukha , Sakhivahanasya

vadana, kumaravaktra

7 haya, aSva, m uni, tu ra g a , sva ra , r s i, v a ji, vara,

loka , vahnibhuja , turanga , am bud hi, dvlpa

8 ibha , vasu , stamberamah , naga , naga , gaja , diggaja ,

d ig d a n ti, dihmatanga

9 grab a , amka , randhra

10 dig , daSamukhamukha , harit

11 rudra , mahesvara , mahesa , Siva

12 masa , aditya , mihira , tapana , ina

14 manu

15 tith i

Table : 1.6
82

It may be noted that the use of the above listed


words with their indicated numerals, is purely conventional. It is
seen that the word ‘ ambudhi’ 194refers to ‘ seven’ in the above
table; on the other hand, the words ‘ sagara ’ 195, ‘jaladhi ’ 196
and ‘ abdhi’ m indicate ‘four’ in the above table. But, the
meanings of all these words are similar. Again, the word ‘ kha ’
generally stands for ‘ zero’ indicating ‘the sky’ . But the author
of the VM is found to have used this word to indicate the
numeral' ‘ five’ meaning to ‘five sense organs’ 198. Similarly,
sometimes the word ‘rasa’ is used to denote the numeral
‘ six’ 199, on the other hand, in certain occasion it is employed
to hint the numeral ‘ nine’ 200 aiso. In such cases, it is difficult
for a reader to understand the motive of the author to what he
wishes to mean. Of course, the practice of using such words
instead of numerals, bears a background of various pauranika
facts and fictions.

VM, V.5, P.149


Ibid. V.12, P.127
Ibid. V.5, P.130
Ibid. V.3, P.74
Ibid. V.15, P.53
Ibid. V.34, P.85
Ibid. V.1, P.159
83

' The necessity of the knowledge of pause can be


called a requisite for both Vedic and Classical verses. Even the
pause in metrical lines has helped the formation of many
different metrico-musical units of different length . In Veda-s,
meaning of a mantra is most important in determining a pause.
When the meaning stands complete, there only pause can fall.
The RgvedanukramanI of Veiikatamadhava and the
Nidanasutra clearly state that there should not be pause in the
middle of a word . So, in a Vedic hymn, the pause helps to
know the nature of a mantra. In Classical Sanskrit, the pause
plays a vital role. Even some metres are differentiated only with
the help of pause. For instance in VM, the metres called
avitatha (or narkataka or narkutaka") , narddataka, kokilaka

(two varieties) under the atyasti class (i.e. having seventeen


syllables in each foot) possess similar syllables from the

standpoint of short and long. All they have fifth, seventh,


tenth, eleventh, fourteenth, and seventeenth long syllables
and the remaining ones are short . For this, they bear no
difference at all. But, the difference lies in the positions of

201 The Cultural Heritage of India, Vol.-V, P.306


202 VP, P.144
203
VM, V .11-12, P.126
84

pause. The metre called avitatha has pause at the end of the
foot ; the metre narddataka has at the seventh syllable first
and the tenth syllable next ; the metre kokilaka (the first
variety) has at the eighth, then at the fifth and thereafter at
the fourth syllables and kokilaka (the second variety) has at
the seventh, sixth and fourth syllables respectively. Thus from
the employment of pause these metres are different and so they
are named differently. Similarly the metres yamuna and varatanu
under the jagatl class are called by two different names due to
the caesuras. They do not have any difference in consideration
of short and long syllables. Same is the case of the metre called
kutila and madhyaksama under the sakkarl class which are

named differently considering the pauses they possess. Again,


the author of the VM has shown several names like sarabha,
sasikaia, manigunanikara and srag having similar syllables in

respect of short and long with different pauses under the


atisakkarl class. There are some other metres like amrtagati,

tvaritagati etc. in the VM which are named considering the

difference of pause only. As such the essence of the pause can


easily be realized.
85

1.4.3 Other elements of metre - Devata, Varna,

Svara and Gotra

Some other elements are there associated with

different metres specially in Vedic hymns. They deserve also to

be taken note of. Among them, devata (i.e. d e ity), varna

(i.e. colour) , svara (i.e. accents or tune) and gotra (i.e.

race or clan) are worth mentioning. For the first time, the RV204

names the seven deities of seven metres, it is generally seen

that, the hymns invoking Fire God (i.e. Agni) are composed

in the metre gayatri, the hymns invoking Indra are in the metre

tristup etc. This may be one of the reasons for associating a

particular deity to a particular metre. Again Saunaka mentions

that the Prajapati is the deity of the aticchandas and Vayu is the

deity of the vicchandas. Again, Brahma and Purusa are the

deities of ekapada and dvipada respectively. However,

Pingalanaga does not say anything about the deities of the


aticchandas and the vicchandas.

204
RV-X.130.4-5
86

A colour is assigned to a particular metre. In the

Rkpratisakhya of §aunaka, the colours pisariga, krsna, nila,

lohita and suvarna are associated with anustup, brhatl,

pankti, tristup and jagati respectively. Pingalanaga also, holds

the same view excepting the jagati. According to him, the

colour of jagati is gaura. In the Pratisakhya, the colour of the

aMcchandas is said to be syama while the colour of the

vicchandas is gaura. Similarly, ekapada is of nakulavarna and

dvipada is of babhruvarna.

The svara and gotra of the metres are also

discussed in prosody. However, the Pratisakhya has not said

anything about it. It is Pingalanaga only who states that the

seven svara-s are in fact, the influence of the SS viz.

(j'ysadaja, QQ fsabha, (\Y\)gandhara, Qv^madhyama,

(v)pancam a, (vi)d/?a/Vafa and (vii)n/'sac/a. Again, the gotra

of those seven principal metres are (i)agm/Vesa,

( ii")kasyapa, QlQgautama, ( iv^angirasa , (y^bhargava ,

(y ‘\)kausika and (v ii) vasistha.


87

In this context, the observations of Bharatamuni on

the elements of metres may be taken note of.The Natyasastra205

speaks of nine varieties of components of metres. These are -

(i)sampada (ii)Wrama, (iii)p a d a , (iv)da/Vafa, (v )s fM n a ,

(vi)a/rsara, (vii)vam a, (viii)svara and ( adhikavrtta.

All these elements mentioned above, statutorily are

not connected with the Classical Sanskrit metres, but their

importance lies in identification of the metre of a Vedic hymn.

As the Vedic prosody undoubtedly is the first stage of Classical

metres also, a discussion on these issues deems proper in our

present study.

sampadviramapadasca daivatasthanamaksaram I

varnah svaro'dhikam vrttamiti chandogato vldhih II

—NS. XV.88

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