Metre in Sanskrit - A Study With Special Reference To Vrttavartika of Ramapanivada by Dr. K.K. Geethakumary

Metre in Sanskrit - A Study with Special Reference to
Vrttavartika of Ramapanivada
Calicut University Sanskrit Series No. 30
Metre in Sanskrit - A Study with Special Reference to

Dr. K. K. Geethakumary
PUBLICATION DIVISION
UNIVERSITY OF CALICUT
Calicut University Sanskrit Series No. 30
Metre in Sanskrit - A Study with Special

Reference to Vrttavartika of Ramapanivada
Dr. K.K. Ceethakumary
© UNIVERSITY OF CALICUT
Published in 2008
All rights reserved. No part of this publication may be stored in a
retrieval system or transmitted in any form or by any
means, electronic, mechanical, photocopying, recording
or otherwise, without prior permission of the publisher.
Cover design : Omprakash. V.
Printed at Calicut University Press
Price : Rs. 125/- ISBN 81-7748-122-3
Published by Valsarajan P.V., Publication Officer, University of Calicut
CUP/5901/08/300
FOREWORD
I have great pleasure to introduce the present work Metre in

Sanskrit -A Study With special Reference to Vrttavartika of
Ramapanivada by Dr. K. K. Geethakumary to the world of scholars
as the thirtieth book in the Calicut University Sanskrit series. This
work substantially represents the Ph.D. thesis of Geethakumary who
is currently working as Reader in the Department. The fact that she
is one of the former students of our Department gives us a lot of
satisfaction and sense of achievement.
The work, as the title suggests deals with the contribution made
to Sanskrit prosody by Ramapanivada, one of the most prolific authors
of Kerala through his Vrttavartika. The text is divided into two sections
constituting prosodical principles and their illustration respectively.A
technique profusely used by Ramapanivada is Prastara, which stands
for the elucidation of the possible permutations and combinations
within a structured metre. As the scholar informs us the author has
designed the second part of the work as a poem entitled Rasakrida
constituting the Prastaras of the metre. The present thesis touches
upon all the aspects of the metre as exemplified by Ramapanivada.
I am sure that this work will be welcomed as an important

addition to the literature on Sanskrit prosody.
Dr.C. Rajendran
CONTENTS
Preface 9
Introduction 11
Abbreviations 12
I. Metre in Sanskrit - Nature and Function 13
II. Vedic Metres - A General Study 32
III. Classical Metres - A Critical Analysis 52
IV. Vrttavartika - A Critical Study 109
V. Conclusion 150
Bibliography 152
Index 156
PREFACE
In poetic compositions, rhythm and melody are mainly

constituted by the metre employed in them. So metre is an integral
part of poetic diction.
Metre has also much relationship with the sentiments that are
delineated in poetry. Great poets like Kalidasa and Bhavabhuti have
proved this in their works employing different metres for the depiction
of various Rasas and Bhavas.
Metre in Sanskrit has a long history from the time of Vedas

themselves. Most of the classical metres have developed from the
Vedic metres. The folk tradition of India has also influenced much
in the various stages of the development of the classical metres in
Sanskrit.
Prosodists generally accept that the classical metres are the

Prastaras (permutations) of various Vedic metres like Gayatri, Usnik,
Brhati and Tristubh. Each metre is having a number of Prastaras among
which only very few are accepted and used by poets generally. Thus
Anustubh has 256 Prastaras all of which are illustrated by the scholar
poet Ramapanivada in a short poem Rasakrida appended to his
famous work on Prosody, Vrttavartika. This is a unique feature of
Vrttavartika as a work on Prosody.
The present book is a study on the metre in Sanskrit with

special reference to Vrttavartika of Ramapanivada studying in detail
the rhythmic patterns of the Prastaras of Anustubh exemplified by
the author in Rasakrida.
The present book is divided into five chapters. The first

chapter deals with Metre in Sasnskrit and its nature and function.
Second chapter is a general study on Vedic metres. A critical
analysis of classical metres is attempted in the third chapter and the
fourth is devoted for the critical study on Vrttavartika.
9
The fifth chapter contains a few concluding remarks
conclusion.
I have great pleasure in expressing my deep gratitude to my

supervisor, Dr. K.P. Sreedevi, Reader, Department of Sanskrit Sahitya,
Sree Sankaracharya University of Sanskrit, Kalady for her expert
guidance and ready help at every stage in the preparation of this
book.
I am very much obliged to Dr. C.M. Neelakandhan, Reader,

Sree Sankaracharya University of Sanskrit, Kalady, Dr. N.V.P.
Unithiri, Professor of Sanskrit, Dr. C. Rajendran, Professor and Head
of the Department of Sanskrit, Dr. P. Narayanan Namboodiri,
Reader, Department of Sanskrit, Calicut University, Dr. Kunjunni
Raja, Director,AdayarLibrary, and Research Centre, Madras, and
Dr. K. Maheswaran Nair, Reader Department of Sanskrit University
of Kerala for the help and guidance they have given in finalising the
book.
Thanks are also due to my teachers and friends not mentioned
before, for the encouragement and help they have given throughout
my research work.
Dr. K.K.Geethakumary
10
INTRODUCTION
Ramapanivada is a prolific writer from Kerala, whose versatality

of literary creation comprises of almost all branches of Sanskrit
learning. He has written Mahakavyas, Laghukavyas, different types
of Rupakas as well as Sastra works in Vyakarana, Prosody, Dance
and Music. Among them, Vrttavarttika, a treatise on Prosody, with
the short poem Rasakrida appended, is a rare work of importance in
that field.
In this text the auther defines and illustrates only 72 metres that
are being used commonly in classical Sanskrit. He excludes certain
patterns like ‘Brhati ’ stating that they are devoid of pleasing rhythm.
In this respect this work corresponds to Suvrttatiiaka of Ksemendra
and Srutabodha, attributed to Kalidasa. Rasakrida, a small poem in
four chapters, appended to Vrttavartika is another unique feature of
this work. All the 256 Prastaras of Anustubh are illustrated in due
order through this poem by the author.
In the present work Dr. K.K.Geethakumary tries to analyse all

these specific features of Vrttavartika. She presents an indepth study
of the metres in Sanskrit from Vedic to the classical period. Through
this study she elucidates the fact that in syllabic metres also the
basic principle underlying rhythm is the unit of Matras in them, not
the unit of letters in ‘trio’(gana). So in order to understand their
aesthetic sensibility, the syllabic metres also should be analysed on
the basis of Matraganas. Based on the poem Rasakrida she has also
done a sincere attempt in the work to identify the rhythmic patterns
of all the 256 prastaras of ‘Anustubh.’
It is hoped that the scholarly world will accept

Dr. K.K.Geethakumary’s work with due enthusiasm and critical
approach.
Dr. K.P. Sreedevi
11
ABBREVIATIONS
cs - Chandassastra
IKL - Indian Kavya Literature
NS - Natyasastra
PP - Prakrtapingalasutrani
RP - Ramapanivada
RS - Rksarvanukramani
RV - Rgveda
RVP - Rgvedapratisakhya
ST - Suvrttatiiaka
VR Vrttaratnakara
W - Vrttavartika
Y - Yati
u - Laghu
- Guru
12
I. METRE IN SANSKRIT - NATURE AND
FUNCTION
An imaginative idea, devoid of emotion cannot be considered

poetry. Among the various poetic elements that contribute to this
emotive aspect, metre has a significant role. The spontaneous outpore
of emotion always happens through a suitable metre that is revealed
in the mind of the poet at the time of literary creation. Valmiki’s
grief born out of the wailing of Kraunji due to the slaughter of its
mate assumed the form of a rhythmic verse in four lines of eight
syllables each. The poet himself calls it Sloka:
Tpn ittt hfw i P

Here the two adjectives and 31^-1 ■nn: stipulate that a
Sloka should have four lines and each line should consist of equal
syllables. Over and above this, poetry should have a rhythmic
harmony which helps to communicate the emotive element. This
aspect is stressed by the word ’. The metre constitutes
all these elements of poetry. Rhythm itself is the life of the metre as
it transfuses the emotion. Varied compositions of diversified rhythms
which are innumerable, give birth to different metres in poetry.
Metres had been amply used in Rgveda which is considered to

be the oldest form of Sanskrit literature. There is an enigmatic
relationship between the metres and the hymns. The chanting of a
Sukta could start only with the mentioning of the name of the metre
in which it was composed. It is because of this mysterious connection
that Chandas or the science of metres is considered as one among
the six Vedangas:
13
Metre in Sanskrit
^fa-bib I I’
This verse is also found in Suklayajurveda - pratisakhya of

Katyayana?
Saunaka, the author of Rgvedapratisakhya (RVP) says that by

the knowledge of Chandas one can attain desirable ends of life like
heaven, fame and virtue:
V dFTTTT I I4
All these statements indicate the importance of metre in Vedic
Mantras.
Prosody - An Equipment of Poet

In classical period also, the scholarship in prosody is accepted
as an equ i pment of poet. Dandin states that the knowledge of prosody
is like a boat to those who wish to cross the ocean of poetry.
TTT fW '-fifWHuii qwftt ^WFTPRK I5
C\ -X
Almost all other early poeticians like Bhamaha6, Vamana7 and
Rudrata8 have stated that erudition in Prosody is essential for making
poetical composition. Rajasekhara also considers Chandoviciti as
an ingredient to Kavyavidya:
cblcqjsbill^ TOTT (1)
3td£<bl>td<i I9
Mahimabhatta has realised the rhythmic nature and potentiality

of metre in communicating the emotive element of poetry. So he
includes metre among the Sabdalahkara like Yamaka and Anuprasa.10
Thus poeticians accept prosodial knowledge as an equipment for
the composition of poetry.
The Term Chandas

The three terms, Chandas, Vrttam and Jati are seen profusely used
in Sanskrit prosody. Among them, Chandas and Vrtta, though they are
used as synonyms," have separate meanings in the context of prosody.
14
Metre in Sanskrit - Nature and Function
The word Chandas has various meanings such as ‘to please’, ‘to
cover’ and ‘desire’. When it means ‘to please’ it is derived from the
root By the Unadisutra T5T12, the Pratyaya ‘ST^jT’ is
added to the root and the ‘Cakara’ becomes ‘Chakara’. By the
Sutra ‘^'df gcii^:’13, a ‘Nakara’ is added, and the word Chandas
(cha + n + d + as) is derived. When it means to cover, it is derived
from the root, •Hd<u'l’.14
In Vedic texts, the word Chandas is used to mean both ‘to cover’
and ‘to please’.
A mythical account described in Chandogyopanisad says that

the Gods who were afraid of death, entered into the three - fold
knowledge, the Trayi. They got themselves covered with the metrical
hymns. Because they got themselves covered with them, the metrical
hymns are called Chandas.15
Yaska accepts this derivation when he says vsimia

Satapathabrahmana also accepts the derivation of Chandas meaning
‘to please’. The metres pleasesd (acchadayan) Prajapati and hence
they are called Chandamsi:
I17
As regards Poetry, both thsese derivations can be accepted as
the metre covers the meaning and it pleases the reader.
In Bhagavadgita, Chandas is used to denote Veda

collectively:
WI Wh ...................................| |'8
Here the world is figuratively depicted as a tree and the Vedas

are considered as its leaves. Thus, metres like Anustubh in Vedas
are called Chandas and as Chandas is a very important element in
Veda, the Vedas are collecstively denoted by this term.
Vrttam and Jati

Vrttam is a term used to denote metres in classical literature
generally. But technically, classical metres are divided into two
catagories Vrttam and Jati. Dandin says:
15
Metre in Sanskrit....
era- aa fevn I’9
Halayudha, while commenting the Sutra ‘vrttam’ says that the

classical metre is called Vjltam as it exists in the Vedic metres like
Cayatri:
411-U141 add sTH drib I20
They have definite rules in the arrangement of Gurus and Laghus:
?rctr I21
Metres like Vamsastham, Indravamsa, Totakam and

Drutavilambitam are derived from twelve syllabled Chandas named
Jagati. Thus, all the classical syllabic metres - Vrttas are originated
from Vedic Chandases.
Bharata also attests this view when he says:

wit wnf4 arfiRnfa 1122
Abhinavagupta gives a different derivation to the term Vrttam:

WWjfWTWr awWTT HTTH WH WJP-KWT I23
He says that because of the rules of Gurus and Laghus, where

exists pleasentness, they are Vrttas. Here it is implied that though
so many metres or vrttas can be derived from each Chandas, those
which are pleasing to hear by the laws of Gurus and Laghus only can
be actually considered as Vrttas. For example, by the technic called
Prastara, 2048 metres can be produced from Tristubh. But among
them about seventeen metres which are pleasing to hear are
commonly used by the poets.
The difference between Vrtta and Jati is clearly stated by

Garigadasa in Chandomanjari:
VWWWT WRT I I
3T§ft4uMI Wt wm I
w th wfarfwtw 1124
The metre which is regulated by the number of syllable is called
Vrttam and that which is regulated by the number of matras is named Jati.
16
The word Jati literally means the Genus or the true state of
anything. So the metres which are grouped as Jati must have been
the refined forms of the ballads that have naturally existed among
the common folk. As the units of syllabic Matras constitute this type
of metres, it is also named as Matravrtta. This syllabic Matra is related
to the Kalamatra, which is the measure of time in music. Because
of this reason, it is also called Musical metre.
Metre and rhythm

The two basic constituents of music, rhythm and melody are
closely related to metre also. Rhythm is a natural phenomenon found
in all movements of the universe. It is considered to be the soul of
metre also. Taking this view into account, Bernard Blackstone says:
‘Metre is the organisation of rhythms into regular and recurring

patterns.’25
Dr. S. Subrahmanyan observes:
‘fution and seperation of syllables with isocronicity make the

metre.’26
Stressing the relation of metre and rhythm, I. A. Richards states:

‘All rhythmic and metrical effects are the result of anticipation. And
this anticipation is generally unconscious sequences of syllables
which make the mind craving for further sequences rather than for
others. The unconscious preparation and the further twist which it
gives to expectancy determines the effect. This texture of expectation,
satisfaction, disappointments and surprises which the sequence of
syllables brings about is rhythm.’27
Regarding the rhythmic nature of the Vedic metres, E. Vernon

Arnold gives the following observations:
1) In all metres in the Rgveda, the quantities of the first and last
syllables of each verse are indifferent, and each verse is
independent in structure.
2) A general iambic rhythm may be noticed in almost all metres.
3) ln all metres, the rhythm of the later part of the verse is much
more rigidly defined than that of the earlier part.
17
Metre in Sanskrit
4)
ln the early part of the verse there is a general preference for
long syllables, in the later part of the verse, for short syllables.28
As regards the rhythmic nature of classical metre, it is

influenced by different traditions, folk as well as classical. The musical
metres like Giti and Arya, which are included in the moric variety,
might have inherited their rhythmic schemes from the popular folk
songs. Metres constituted by repeating one particular pattern of foot
is familiar in classical literature. Bhujangaprayata, Totaka and
Sragvirii are examples. These metres and their derivatives have a
rhythmic nature which corresponds to the formula of drumming that
is prevailing even now among the folk tribes of India. In metres like
‘Sloka’, Indravajra and Upendravajra, ultimately derived from Vedic
metres, the rhythm is based upon the relative position of the Gurus
and Laghus in a line.
Melody also has an important place in metre. But the melody in

poetry is not intended in its true technical sense in music. Here
melody means only a melodious tone. Amulyadhan Mukherji
observes: ‘Metre is ultimately derived out of melody being a simpler
form, denuded of the complexities of music’. Though verse developed
later independently of music, it must have been in the earlier stages
close to music and runs parallel to melodic types. Even later on
metrical composition retained many of the basic features of the
melody from which it was derived.29
The musical metres like Vaitaliya and Aupachandasika and the

syllabic metres like Rathoddhata and Svagata are some clear
examples of those which retained the high influences of melody.
Yati or Caesura
It is to be discussed in this connection that Yati, a familiar term
in Sanskrit Prosody, has a considerable role in maintaining the
rhythmic effect of metre. In Vedic stanzas, it is a natural pause
corresponding to the taking of breath in recitation. E. Vernon Arnold
observes that this a dominant feature that constitutes the internal
form of rhythm in metres like Tristubh and Jagati.
In classical metres also, especially in longer metres, prosodists

have suggested caesuras in certain particular positions. Halayudha
18
Metre in Sanskrit Nature and Function
gives the derivation of Yati thus:

’TAt IdlsR-efvlfd 1 c|H TJ VJ
i30
Here it is stated that Yati is a break of words in a line. Bharata
connects it with the element of meaning also when he defines:
f-Hlfa: FTRT FT fam ^fcf THTT I31
(Bharata uses the term ‘Virama’ instead of Yati) Abhinavagupta

attests the view of Bharata and says:
3TWT wrf^TT, FT^FFTT I
Thus, Yati is a pause in the sense as well as in the sound.
3TWPT TTOW
is an example for the apt usse of Yati and
is a counter example.32
Here it is to be noted that the above mentioned explanations on

Yati do not give any apparent idea about its role in the rythmic
scheme of metre. In a large number of metres, positions of Yati do
not correspond to the trisyllabic Gana grouping. For example, in
Mandakranta the first caesura comes inside the second Gana and
second comes inside the fourth Gana,
- - -/ -YU U/U UU/-Y-U/- -U/- - /
But if the verse is analysed by following the Matragana scheme

as stated in Prakrta Pingala (PP),33 the Gana division corresponds to
Yati.
U U U/U U -/-/U/-/-/U/-----34
This is true in the case of many other metres like Sragdhara and
Sardulavikridita also. According to PP the scheme of Sragdhara is:
------ U - - YUUUUUU -Y-U - - U - -35
and that of Sardulavikridita is
19
. _. UU - U - UUU - Y - - U - - U-36
So it can be concluded that Yati has more relation to the Matra

Gana scheme than the trisyllabic Gana scheme.
A close analysis of the longer metres will prove that they are
not mere assemblage of a number of trisyllabic Ganas. They are
constituted by two or three standard sequences of longs and shorts.
Sometimes Yati gives an indication of these various sequences.
Rhythm in Prose
The Sanskrit rhetoricians generally defined literary
compositions in prose as a sequence of words which do not fall into
metrical feet.
3TW? qqTRtHl nw .........I37
They were very well aware of the rhythmic nature of these

compositions especially that used in superb literary works like Campus
and prose romances.
It seems that Dandin also had this idea in his mind while he
states that the Gadya must be endowed with Ojoguna and
compounded words which naturally will not be devoid of the touch
of rhythm that is the soul of metre:
Keeping this idea in mind, Vamana more expressly states that

there is a division in prose called Vrttagandhi itself, which is equal
to verse compositions.39 He gives the example:
41 d I ci d i cjd ci d i Ut He also states that in this prose
passage the touch of Vasantatilaka metre is very clear.
The PP also attests this view by this statement:
'fU WPT I I40

The following example cited there makes this idea very clear:
20
oillfcl-W-bM THW faw 3TT^HT?J -j|J|7<iy HlHHolj|<=£<H
T?4 T§T41
It is this metrical touch that enhances the poetic beauty of the
prose romances like Kadambari and Harsacarita.
Metre in Drama
In Sanskrit, the language of drama is an admixture of prose and
verse. Bharata has stated the importance of Chandas in drama. He says:
wr 1142
He divides the metres to be employed in drama into two groups:
the metres that are mainly suitable for Abhinaya and metres that are
suitable for songs. The former types, seventyfour in number, are
defined and illustrated in the XV chapter in the context of Abhinaya.
The metres which are suitable to be sung with melody are enumerated
as one hundred and eleven in Dhruvadhyaya.
The Three Divisions of Metres

Metres in Sanskrit are generally classified into two: Matrachandas
and Aksarachandas. A scientific analysis shows that Matrametre itself
has two divisions: the first division is measured by the total number
of morae in a line and the second division is measured by the group
of morae. The metre which is measured by group of morae is called
Ganachandas or Bar metre. In this type, total quantity of each bar or
Gana is equivalent to four short syllables or four Matras, which is
called Catuskala.
The scheme of Ganas in Ganachandas is as follows:
1. -- = 4
2. - U U =4
3. U - U =4
4. U U -=4
5. U (J U U = 444
21
These Catuskalas are called Matraganas. Among these,

second, third and fourth are the same Bhagana, Jagana and Sagana
respectively of Aksaragana. While defining the bar-metres like Arya,
the prosodists use these terms Bhagana, Jagana and Sagana to denote
the respective Catuskalas.45 Arya, Giti and Upagiti are examples
for Ganachandas. A.K. Warder observes that the earliest veriety of
bar metre is Giti.46
The metre which is regulated by the total number of morae is

called Matrachandas. The metres like Vaitaliya, Aupachandasika
and Apatalika belong to this group.
These two types of metres can collectively be called musical

metres.
The metre which is measured by syllables is called syllabic

metre or Aksarachandas. Three syllables constitute a Gana or foot
and hence they are called Trikas. Thus eight Ganas can be formed
by the arrangement of Gurus and Laghus. The patterns of the eight
trisyllabic Ganas are:
Magana-
Yagana - U--
Ragana - -U-
Tagana - -- U
Bhagana -U U
Jagana - U - U
Sagana - U U-
Nagana - U U U
It is to be specially mentioned here that apart from these two

types of Ganas, ‘Catuskalas and Trikas’, Pingala was aware of
disyllabic Ganas also. His definitions and Halayudha’s illustrations
of Samani, Pramani and Vitanam can be taken as corroborative:
A metre which is constituted by repeating a pair of Guru and

Laghu (- U) is called Samani. When the order of the pair changes
22
into Laghu and Guru (U -), it is Pramani. Sometimes the members of

the pair may be the same two Gurus or two Laghus. The metre which
is constituted by blending these four pairs is called Vitanam:
fWcT TTHTTT48
wrrtsfr I
<TPT gWTT fspipT I I49
fernfcT uwfro
R^PirrpTT^TRTf ■Hdl'J-ld cRT >11*1
Trrnwmw aw? i
§T>fr Hrft tPJcRf I I51
UldHd^d52
3TTRIT <1 -H141M -HI I t5^t fWT HTX I
(J^li ctfST 'fRT S||C| HT I
ftpeidPpT Tfsnr 1153
In later ages in classical literature, the concept of Disyllabic

Ganas was disappeared. While defining the metres the last two
syllables are taken in to account as separate, by the prosodists.
Other Varieties in Matragana

As regards the Matraganas, only Catuskala is accepted in
Sanskrit Prosody. But PP refers to four more Ganas: Sadkala,
Pancakala, Trikala and Dvikala consisting of 6, 5, 3 and 2 Matras
respectively
Sadkala has 13 varieties:
1. ---
2. UU--
3. U-U-
4. - U U -
5. U U U U -
23
6. U--U
7. -U-U
8. U U U - U
9. -- U U
10. UU-UU
11. U - U U U
12. -U UUU
13. U U U U U U
The Pancakala, has 8 varieties:
1. U--
2. -U-
3. U U U -
4. -UUU
5. U U - U
6. --U
7. U - U U
8. U U U U U
Trikala has 3 varieties
1. U-
2. -U
3. UUU
Dvikala has 2 varieties
1. -
2. U U54
24
Sama, Ardhasama and Visama Classification of Metres

The above mentioned classification is based on the internal
structure of a verse. Regarding the external structure of a stanza,
Sanskrit prosodists have classified metres into Samam, Ardhasamam
and Visamam
■Hee'ihPT Trf Aw THH I I55
If the four lines of a stanza are having same characteristics,

they are called Samavrttas.
TPT I I56
These type of metres seem to be more prominent in classical

literature.
Where the first quarter corresponds to the third and the

second to the fourth, that metre is known as Ardhasamavjttam:
*11<4-»i1 ■M'W <ul~l I
C
1157
This means that the even lines differ from the odd lines. The
difference may either be in syllable or in Matra. In the Vedic metres
like Tristubh and Jagati, the variations of syllables in lines are
commonly seen. The Ardhasama metres in classical period are
generally a blend of Tristubh and Jagati, having lines consisting of
eleven and twelve syllables. So it can be assumed that they might
have been influenced by these two Vedic metres. In metres like
Upacitra, Akhyataki and Viparitapurva, the first and the second
quarters are equal in syllabic quantity but differ in quantity of Matra.
Thus, an Ardhasama Vrtta may either be a Matravrtta or a Varnavrtta.
Where the characteristics of four lines are different from one

another, it is called Visamavrttam:
d<I^HlM-H II58
This division must have been influenced by strophies or Pragathas

in which the diversity of verses are seen.
25
Metre in Sanskrit ....
Metre and Sentiment

The variety of metres used in Vedic texts indicates that the Rsis
were very well aware of the relation between the content and the
form in poetry. They were very particular in selecting metres that
are most suitable to the theme. Thus in Vedas the heroic poems are
composed in strongly articulated line of eleven syllables while the
lyrical poems are written in a variety of metres like Cayatri, Anustubh
and strophic types.
In classical literature also, poets like Kalidasa and Bhavabhuti,

who have the creative genius to hit up on the most appropriate
rhythmic schemes to a particular sentiment, have proved that certain
metres are more suitable to transfuse certain particular sentiment. It
is perceived by every reader that Mandakranta with its slow opening
followed by a quick middle and wavy cadence (------- YUUUUU -Y-
U- -U - -) is much suited to portray the passion enhanced by seperation.
With its short initial syllable, followed by five longs, then by five
shorts and with a mixed cadence (U--------- YUUUUU - - YUUU -),
Sikharini is appropriate to depict the mental conflict caused by the
contrasting emotive experience.59
Katyayana states that Sragdhara is suitable for expressing Vira:

qfrw cpH tprtt frhr l60
Bharata, who has a good insight about the relation between the
rhythmic scheme of metre and sentiment, gives some remarkable
ideas on this matter when he defines and illustrates metres in the
Abhinayaprakarana. For example he states that the metre Svagata is
good to express the feelings related to love passion
Harinapluta is effective to express terrific mood. Praharsini has much
ability to attract the minds of lovers.61
But it should be specially mentioned here that poets, who have

the mastery of poetic craft, can transgress these general practices.
All metreswill be yielding to such skilled poets and they can manifest
any sentiment through any metre. The Mandakranta which is used
in Meghaduta itself is used by Kalidasa in Abhijnanasakuntala to
depict the terrible entrance of a frenzied elephant.62 Thus using
Vamsastham, a metre which has no inclination to a particular
26
emotion, Kalidasa effectively describes the severity of Parvati’s

penance and the ludicrous situations created by the entrance of
Brahmacarin. Thus, to a poet endowed with manifestive caliber,
metre is not a barrier to express any type of emotion.
Metres in Greek and Sanskrit

Parallelism between Sanskrit and Greek metres has already
been established by scholars beyond doubt. Amulyadhan Mukherji
points out that the popular verse types in Rgveda are very similar to
certain metrical types in Old Greek Poetry. Many of the metres in
Greek and Sanskrit are variants of certain older metres from which
they have developed. Thus, Dodhaka may be considered to be a
shortened form of Homer’s dactylic hexametre.
The scheme of Homer’s dactylic hexametre is:-
-UU-UU-UU-UU-UU--
Similarly the scheme of Dodhaka is: - UU - UU - UU - -
It can be said that when two Bhaganas are added to Dodhaka, it

becomes Homeric hexametre. The popular iambic trimetre in Greek
corresponds to Pancacamara in Sanskrit in its rhythmic nature.
Another common feature to be mentioned in Sanskrit and Greek

prosody is the concept of Trisyllabic foot. The eight Ganas in Sanskrit
are the same that are found in Greek.
Magana Molossus
Nagana Tribrach U U U
Yagana bacchiac U--
Ragana Cretic -U -
Tagana Antibacchiac --U
Bhagana Daetyl -U U
Jagana Amphibrach U-U
Sagana Anapaest UU-63
These similarities between Sanskrit and Greek metres cannot be

accidental. Metres in any language might have been the
modifications of the rhythmic and melodious utterings that were
27
prevalent among the common folk. As these two languages, Sanskrit

and Greek, have originated from a common predecessor, the
Indo-European, correspondence in metres are also possible like so
many linguistic similarities found between them.
References
1. Ramayana of Valmiki, Nag Publishers, Delhi, 1990, Balakanda
11,18'
2. Paniniyasiksa, Appendix to sidhanta Kaumudi of Bhattojidiksita,
Chowkhamba Samskrta Pratistan, Delhi, 1994, V. 41.
3. Pratisakhya of the white Yajurveda of Katyayana, Ed. by Pandit
Yagalkisora Pathaka, Pub. by Messrs, Braj Bdas and Co. Benaras,
1883, p. 30.
4. Rgveda Pratisakhya of Saunaka (RVP) Ed. by Director, Research
Institute, Sampurnanand Sanskrit Visvavidyaiaya, Varanasi, 1986,
ch. 16, p. 291.
5. Kavyadarsa, Chowkhamba Vidyabhavan, Varanasi, 1991, I, 12.
6. Kavyatarikara, Bhamaha, The Series Press, Tiruvadi, 1934, 1, 9.
7. Kavyalahkarasutrani, Nirmayasagar Press, Bombay, 1953, III, 1.
8. Kavyalahkara, Rudrata, Ed. by Pandit Ramadeva Sukla
Chowkhamba Vidybhavan, Varanasi, 1966, 1,18.
9. Kavyamimamsa, Chowkhamba Vidyabhavan, Varanasi, 1982, P.
109.
10. 3TfT tTcf tHcbldMl-HAllftcf SI^H^bRc^MJIdHWlfaT: I
Vyaktiviveka, Chowkhamba Sanskrit series office, Benares, 1936,
P. 191.
11. TT I
wfw fttnpb 11
Natyasastra of Bharatajrium (NS) with the commentary
Abhinavabharati, Ed. by Acarya Madhusudana Sastri, Banaras
Hindu University, Varanasi, Vol. II, 1975, XIV, 44.
12. Sidhantakaumudi, Ed. Vasudev Lakshman Sastri Panashikar,
Chowkhamba Sanskrit Pratistan, Delhi, 1994, Unadi, IV,
13. ibid., VII, I, 58.
14. Sabdakalpadruma of Rajaradhakantadeva, Nag Publishers, Delhi,
1988, Vol. II, P. 423.
28
15. firaT vri^R ?t trotr-

<4 4 Ri I.
Upanisads in Sankaras own words - Chandogya, Vol. 3, Ed. by
Vidyavacaspati. V. Panoli, Mathrubhumi, Calicut, 1993, I, 4, 2.
16. Nirukta of Yaska, Ed. Prof. Umasankar sharma, chowkhamba
Vidyabhavan, Varanasi, 1992, P. 234.
17. Satapathabrahmana, Part III, Nag publishers, Delhi, 1990, VIII,
3, 2.
18. Bhagavadgita with Bhasya of Sri Sankaracarya, Ed. Dr. A. C.
Krishnawarrier, Srikrishnamath, Madras, 1983, XV, 1.
19. Kavyadarsa of Dandin, chowkhamba Vidyabhanvan, Varanasi,
1991, 1,11.
20. Chandassastra of Pingala (cs) with the commentary of Halayudha,
Parimal Publication, Delhi, 1994, P. 71.
21. CS., P. 71.
22. NS, XIV, 81.
23. ibid. P. 1201
24. Chandomahjari, Gahgadasa, Chowkhamba Sanskrit Series office,
Varanasi, 1976, 1, 4, 6.
25. Vide Practical English Prosody, Bernard Blackstone, Longmans
Green and Co. Ltd. London, 1965, P. 4.
26. Vide The commonness in the metres of the Dravidian Languages,
Dr. S. Subrahmanyan, Dravidian linguistics Association,
Tiruvananthapuram, 1977, P. 29.
27. For details Vide Principles of Literary Criticism, I.A. Richards,
Universal Book stall, S. Ansari Road, New Delhi, 1982, P. 103.
28. Vide Vedic Metre - In its historical developments, E. Vernon
Arnold, Motilal Banarsidas, Delhi, 1967, P. 9.
29. Vide Sanskrit Prosody - Its evolution, Amulyadhan Mukherji,
Saraswat Library, Calcutta, 1976, P. 17.
30. CS, P. 100.
31. NS, XIV, 100.
32. NS, P. 1188.
33. The Prakrta Pingala Sutras, Ed. by Pandit Sivadatta and Kasinath
Pandurang Parab, Nirnayasagar Press, Bombay, 1894.
29
34. Ibid., P. 1 89
35. Ibid., 11, 26
36. Ibid., 11, 38.
37. Kavyadarsa, Dandin, Chowkhamba Vidybhavan, Varanasi,
1991, 1, 23.
38. Ibid., 1, 80.
39. to fTPif^r...... I
TO’TOTTO TOTTO I
Kavyalankarasutrani, Vamana, Nirnayasagar Press, Bombay,
1877. 1, III, 22 and 23.
40. PP, II, 346.
41. Ibid., II, 347.
42. NS, XIV, 47.
43. For a list of these metres Vide Natyasastra, text with introduction
and English translation, Dr. N.P. Unni, Nag Publishers, Delhi,
1998, Vol, IV, PP. 59, 81, 82.
44. TOT TONTO I
W^N^riQdl: WTOTTTO 3iWrTO I I
Vrttaratnakara, Kedarabhatta (VR), Pub. by Satyabhamabai
Pandurang, Bombay, 1948, 1, 8.
45. ?T?#=ET TO1TOT TOttTT TOH fWT 3P I
M'vflsP xT ddU PT TO’ffSEt [dPdPIpf<11: I I
VR, II, 23.

46. Vide Indian Kavya Literature (IKL), A.K. Warder, Motilal
Banarsidas, Delhi, 1990, Vol. 2, P. 39.
47. TOTOT I "vicfl TOTPTOToTl Mcfl I
TOTOtt 'TOTOP J|U|Rd=bl: I I
VR, 1, 7.
48. CS, V, 6.
49. Ibid., P. 72.
50. Ibid., V, 7.
51. Ibid., PP. 72, 73.
52. Ibid., V, 8.
53. Ibid., PP. 72, 73.
30
Metre In Sanskrit - Nature and Function
54. PP, 1, 11, 12, 13, 14, 15.

55. VR, 1,13.
56. Ibid., 1,14.
57. Ibid., 1,15.
58. Ibid., 1,16.
59. HTT WT cT?
------ fwW Wt HRT:
fteTHT I I
60. NS, P. 1189.
61. Ibid., XIV, 68, 84.
62.
MT4I ^'^sl d fct did 414-1 HI <d I d 41 I
[cIMWI-H Ht fiTWfWWft
tFlkw STfetfa TF5P
Abhijhanasakuntala, Kalidasa, Chowkhamba Surabharati Prakasam,
Varanasi, 1998, 1, 32.
63. For further details of comparison of Greek and Sanskrit metres
Vide Sanskrit prosody-lts evolution, P. 23.
□
31
II. VEDIC METRES - A GENERAL STUDY
The earliest available work in Sanskrit literature, the Rgveda,

has been widely accepted as the first poetic composition also. The
poetic beauty of Rgveda (RV) is of par excellence. The skill of Vedic
poets in handling the language and metre for expressing their ideas
is also equally attractive. This monumental literary composition
includes lyrics, songs, heroic poetry, ballads and dialogues. The Rsis,
who composed the hymns, must have been guided by specific canons
for metrical expressions that were current in their times. The metres
used are well suited to the types of poetry, the ideas expressed in
them and the content exposed. The heroic theme is composed in
strongly articulated line of eleven syllables. In the lyrics, where the
beautiful variety of descriptions like Ratri and Usus are found, other
metres like Gayatri, Tristubh and strophe types are found.
The scholars, who have analysed the structure and rhythmic

nature of Vedic metres, observe that they were either basically the
same or modifications of metres used in the various languages and
dialetcs of that time which were derived from the primitive Indo-
European. According to E. Vernon Arnold ‘as works of mechanical
art the metres of the /?Vstand high above those of Modern Europe in
variety of motive and in flexibility of form. They seem indeed to
bear the same relation to them as the rich harmonies of classical
music to the simple melodies of the Peasant”. Bernard Blackstone’s
opinion about metre supports the foregoing idea. He says: ‘they are
the product of whole communities not of individuals’.2
The Vedic Mantras were composed mainly in fourteen different

metres from Gayatri to Atidhrti. It must be noted that all these metres
have not come into being simultaneously and had always been in
vogue. Regarding the development ofthe art of versification in Vedic
Samhitas, E. Vernon Arnold has analised five phases.3 They are 1.
Archiac period, 2. Strophic period, 3. Normal Period, 4. Cretic period,
32
Vedic Metres - a General Study
and 5. Popular period. The Archaic period can also be called the
Bardic period or the period of Originality. In this period, the Vedic
bards were occupied in constructing fresh metrical schemes. It was
in this period that the books VI and VII of /?Vwere written. The next
phase is the strophic period in which different types of strophes were
composed. During the normal period, more importance is given to
perfection than originality. Ill, IV and IX Mandalas of RVwere written
in this period. Tristubh and Gayatri were profusely used in_these
books. In cretic period also, more or less, Tristubh and Gayatri were
used. Many hymns in the book I and a few portions in X belong to
this period. This is the period of transition. Many hymns in the book
X were written in popular period. The peculiarity of this period is
that the Tristubh hymns were contaminated by the mixing of Gayatri.
General characteristics
Generally Vedic metres are regulated by the total number of
syllables in a stanza without considering the quantity of them. But
at the same time, variation in the number of syllables is not
considered as a fault. Variation even by three syllables does not
deprive the metre of its technical feature. A stanza consisting of
twenty four syllables is known as Gayatri. If one or two syllables are
increased or even decreased, it will be considered as Gayatri itself.
This flexibility or irregularity can be considered as the general
skilfulness of the Vedic bards. E. Vernon Arnold observes: ‘that
apparent irregularity is the result of the inventive spirit, sometimes
leading to the construction of new and harmonious forms, sometimes
apparently ending in failure’.4 This flexible characteristics of Vedic
metres relating to the number of syllables are not found in classical
metres.
In Vedic prosody, a syllable is considered as a unit irrespective

of Hrasva and Dirgha. Time for uttering syllables, one Matra for
Hrasva and two Matias for Di rgha, was not regarded as a determining
element of metre. But the three sound modulations, Udatta, Anudatta
and Svarita, were accepted while chanting the stanza. So it can be
concluded that Vedic metres are based on the Svarasangita of music
and there is no important role to the time element in the production
of the metrical music.
33
Divisions of metres
The Vedic metres are regulated by the total number of syllables
in a stanza. The quantity of a syllables was not considered as in
classical metre. Beginning from twenty four syllables and adding
four each upto seventy six, fourteen metres are current in Vedas.
I I5
According to another view, there are twenty one metres in Vedic
texts beginning from twenty four syllables to one hundred and four
in the same pattern of ascending order.
These twentyone metres are grouped in to three classes:

Rsichandas, Atichandas and Krtichandas. Gayatri, Usnik, Anustubh,
Brhat i, Pankti, Tristubh and Jagati are called Rsichandas. These are
the prominent metres in the Vedas. Atijagati, Sakvari, Atisakvari,
Astih, Atyastih, Dhrtih and Atidhrtih are called Atichandas. These
are also known as Sankirna Chandas. The Krtichandas are also seven
in number. They are: Krtih, Prakrtih, Akrtih, Vikrtih, Samskrtih,
Abhikrtih and Utkrtih. Saunaka calls these seven varieties as
Atichandas.
Rsichandas
1. Gayatri
A stanza or Rk consisting of twenty four syllables is called
Gayatri. Normally there will be three lines with eight syllables
each.7 The first stanza of Rgveda is an example:
W I
Ktrflt TeHVUM-H-H I I8
Sometimes, these twentyfour syllables may be equally arranged

in four lines (6+6+6+6). This quatrain is also called Gayatri. It is to
be noted that the number of syllables in a line or pada is not rigidly
prescribed in Vedic metres. In a stanza also, variation of syllables is
common. So, all these Vedic metres have a number of varieties.
34
Thus, apart from the normal Gayatri mentioned above, it has eight
varieties also.
1. Padapahkti
2. Usnikgarbha
3. Padanicrt
4. Atinicrt
5. Yavamadhya
6. Vardhamana
7. Pratistha
8 Hrasiyasi
When the scheme of syllables are either 5+5+5+5+5 (25) or

5+5+5+5+6 (2 6)9 or 4+6+5+5+5 (25)'° it is cal led Padapahkti Gayatri.
Where the first line has six syllables, second has 7 and the third has
11, it is called Usnikgarbha (6+7+11)." When all the three lines are
equal with seven syllables, it is Padanicrt (7+7+7).12 When the middle
line has 6 syllables and both the first and third have 7, it is called
Atinicrt (7+6+7).13 When the middle line has 10, it is Yavamadhya
(7+10+7).14 When the scheme of syllables is in increasing pattern
6+7+8 it is called Vardhamana.15 Where the order is in descending
manner, 8+7+6, it is Pratistha.16 When the scheme is 6+6+7, it is
Hrasiyasi.17 Saunaka accepts Ekapada. Gayatri, which is known as
Nicrt gayatri.18 In this, one line consists of 21 syllables. Another is
Dvipada Gayatri. In this type, two Jagati lines are seen (12+12).19
II. Usnik
When the number of syllables in a stanza is 28, it is called
Usnik. Generally this is also a three lined metre like Gayatri and the
scheme of syllable is 8+8+12.
feffrnjffrw M 41 SKQFF I20
The example is:
31MIAIW Hfrtfrt’TI 4H I
+RT H7 7TW7PTT TTETT I I21
35
If the twelve syllabled line comes first, it is known as Purausnik

(12+8+8),22 if it is in the middle, that variety is Kakubh (8+12+8).23
When the first line has 11 syllables, middle line has 12 and last has
4, it is called Kakupnyahkusira (11 +12+4).24 This is also a Nicrt as
the total number of syllables is twentyseven. When the scheme is
11 +6+11 ,'it is called Pipilikamadhya.25 When the scheme changes
into 11 +11 +6 it is Tanusira.26 Like Gayatri, in Usnik also, the syllable
may be arranged in four lines. Sometimes, they are equally arranged
as 7+7+7+7.27 When this arrangement turns in to 5+8+8+8, this is
called Anustubhgarbha.28
III. Anustubh
This is generally defined as a four lined metre. Each line consists
of 8 syllables and then the total number of syllables in a stanza will
be thirty two.
^T^WTTTS^T TFRTT I29
The example is:

344ll4*Pilfedil RPTT W I
W RTRT 3R fgRT WT I I30
This metre has six other varieties and most of them are three
lined. Only one Mahapadapankti has six lines. The scheme is
5+5+5+5+5+6.31 All other divisions have three lines. When the
scheme goes 12+12+8, it is Krti.32 When it is 12+8+12, it is
Pipilikamadhya.33 When the first two lines has 9 syllables and the
third has 12, it is Kavirat (9+9+12).34 When the first line has 9 syllables
and the second has 10 and the third has 13, it is Nastarupa (9+10+13).35
When the scheme is 1 0+1 0+1 036 or 11+11+11, it is called
Anustubhvirat.37
IV. Brhati
This is also a four lined metre and has 36 syllables. The
syllables are arranged generally as 8+8+12+8.
4 <3^41 3 wr? qfeRTTW I
9r4P4dWl I I38
The example:
36
iRifW 44? Ufa's nfa I

s asfat HMcjviRd fafass sfatfa # s+n 1139
If the twelve syllabled line comes first, it is Purastadbrhati
(12+8+8+8)40 and if it comes at the end, it is Uparistadbrhati
(8+8+8+12).41 When it comes as second, then the metre is called
Nyankusarini (8+12+8+8).42 This is also known as Skandogrivi or
Urobrhati. Sometimes, the syllables may be arranged as 9+8+11 +8,
then it is called Visamapada.43 When the scheme of syllable is
8+10+10+8, it is Vistarabrhati ,44 Sometimes this metre may be three
lined, then the scheme is 12+12+12 and it is Urdhvabrhati.45 When
it becomes 13+8+13, then it is Pipilikamadhyama.46 Sometimes,
the scheme may be 9+9+9+9 also.47
V. Pankti
This is a five lined metre, each line consisting of eight syllables.
Thus the total number of syllables in a stanza will be 40.
+ Ml Sib : Mo-'UMÎ I48

Saunaka defines Pankti as follows:
Mte+MWTTTT I49
The example is:
h' fa ferwTw 'fa fa»fafa ffaqfa fas 4 3tw fasfa 1150

This metre has seven other varieties. When the division of Parikti
contains four lines with ten syllables each, it is called Viratpankti
(10+10+10+10).5’
If the first and third lines contain twelve syllables each and
second and fourth lines consist of eight syllables (12+8+12+8), it is
called Satobrhati Panktih.52 If the first and third line consist of eight
syllables and second and fourth lines contain twelve syllables each
(8+12+8+12), it is called Viparitapariktih.53 When the first two lines
consist of eight syllables and last two lines contain twelve syllables
(8+8+12+12), this metre is known as Astarapanktih.54 Instead of the
above division, if the first two lines contain twelve syllables and the
37
last two lines consist of eight syllables (12+12+8+8), it is called

Prastarapanktih.55 Where the firstand last lines have twelve syllables
and second and third lines have eight syllables (12+8+8+12), it is
known as Samstara panktih.56 Instead of the above, when the first
and last lines consist of eight syllables and second and third lines
contain twelve syllables each (8+12+12+8), this metres is known as
Vistara panktih.57
VI. Tristubh
The Tristubh has 44 syllables and 4 lines. Each line consists of
11 syllables.
The example is:

tt+tt ftnppr I
WOT qfhff I I59
The Tristubh has eight divisions regarding the variation of the

quantity of syllables in each verse of a stanza. When there are two
lines with eleven syllables and other two lines with twelve syllables,
it is called Upajagati tristubh.60 The scheme may come as
11+11+12+12; 12+12+11+11; 11+12+11+12;12+11+12+11;
11 +12+12+11 or 12+11+11+12. If in the first two lines there are ten
syllables and the other two lines contain twelve syllables each
(10+10+12+12), it is known as Abhisarinitristubh.61 In the four lines,
if one line only contains eleven syllables and the other lines contain
nine or ten, this type of Tristubh is known as Viratsthana.62 When
the first two lines contain ten syllables and the other three lines
contain eight syllables each (10+10+8+8+8), it is known as
Panktyuttara tristubh.63 This metre is also known as Viratpurvatristubh.
If in the first three lines occur eleven syllables and the last line
contains eight syllables (11+11+11 +8), it is known as Viratrupa.64 If
there are twelve syllables in the three lines and one line contains
eight syllables, it is known as Jyotismati. The names of metre will
change in accordance with the change in the position of eight
syllabled line.
If the first line has eight syllables, and the second, third and
38
fourth lines consist of twelve syllables each, it is known as

Purastatjyoti (8+12+1 2+12).65 If the eight syllabled line comes in
the middle position, this metre is known as Madhyejyoti
(12+12+8+12).66 If the last line contains eight syllables, then this
metre is known as Uparistatjyoti (12+12+12+8)67. If the first four
lines eight syllables and the last line contains twelve syllables, it is
known as Mahab.rhati(8+8+8+8+12)68 In the live lined stanza, if the
twelve syllabled line comes in the middle position, it is known as
Yavamadhya Tristubh (8+8+12+8+8)69.
VII. Jagati
The Jagati metre has 48 syllables and four lines. Each line
consists of twelve syllables.
The Example:
TWT qq-dH d^g
3+=T; 3TT m H "(IvIT

It has only three divisions regarding the variation of the quantity
of syllables in each verse of a stanza. If there are six lines with eight
syllables, itis known as Mahapaniktijagati.lf the first two lines contain
eight syllables, the third line seven syllables,fourth line six syllables,
fifth line ten syllables and sixth line nine syllables (8+8+7+6+10+9),
the metres is also known as Mahapaniktijagati.72 In the above
mentioned eight syllables and twelve syllabled metres, if there is
Vyuha also, that type of metres are known as Mahasatobrhati.
Atichandas
Metres beginning from fifty two syllables up to seventy six are
called Atichandas.The Atijagati Chandas has fifty two syllables and
from Atijagati each metre is formed by adding four syllables
respectively in ascending order.
1. Atijagati has fifty two syllables. The scheme is: 12+12+12+8+8.
2. sakvari has fifty six syllables. The scheme is:8+8+8+8+ 8+8+8.
3. Atisakvari has sixty syllables. The scheme is: 16+16+12+8+8.
39
Metre in Sanskrit. ..
4. Asti has sixty four syllables. The scheme is: 16+16+16+8+8.
5. Atyasti has sixty eight syllables. The scheme is : 16+16+8+

8+8+12.
6. Dhrti has seventy two syllables. The scheme is : 16+16+8+8+

8+16.
7. Atidhrti has seventy six syllables. The scheme is: 12+12+8+8+

8+12+8+8.
Saunaka in /?KPmentions other seven metres having more than

seventy six syllables. These are also considered as Atichandas but
not seen employed in Rgvedic Samhitas. These metres can be found
in other Vedic texts like Taitiriyaranyaka and Vajasaneyisamhita.
They are: Krtih, Prakrtih, Akrtih, Vikrtih, Sarikrtih, Abhikrtih and
Utkrtih.
1. Krtih has eighty syllables (trisugdharmo vibhatu me ../

Taitiriyaranyakam 4/21 /1)
2. Prakrtih has eightyfour syllables (bhago anuprayukta ../

Taitiriyaranyakam 4/35/32)
3. Akrtih has eightyeight syllables (taccaksurdevahitam .. /

Vajasaneyisamhita 34/24).
4. Vikrtih has ninety two syllables (ime somah suramanah .. /

Vajasaneyisamhita, 21/42).
5_.Sankrtih has ninty six syllables (devoagnih svistakrt .. /

Taitiriyaranyakam, 3/4/9/1).
6. Abhikrtih has hundred syllables (devoagnih

svistakrddevanyaksat ..../ Vajasaneyisamhita, 21/58)
7. Utkrtih has one hundred and four syllables (chagasya havisa

attamadya...... / Vajasaneyisamhita, 21/43)74
The metres prior to Gayatri

Saunaka has also discussed five metres prior to Gayatri and
their Virats.
They are: Ma, Prama, Pratima, Upama and Samma.
40
1 .Ma has four syllables. The Virat of Ma is Harsika which has

two syllables.
2. Prama has eight syllables. The Virat of Prama is Sarsika which

has six syllables.
3. Pratima has twelve syllables. The Virat of Pratima is Marsika.

It has ten syllables.
4. Upama has sixteen syllables. The Virat of Uapama is

Sarvamatra which has fourteen syllables.
5.Samma has twenty syllables. Viratkama is the Virat of Samma.

The Viratkama has eighteen syllables.
HT SPTT mTcI-hImJdl TTW V WTW I
Ftfan mfar hmUi I

I I75
Bhurik and Nicrt; Virat and Svarat
Though the Vedic metres are determined by the number of
syllables in a stanza, it is seen that it varies in different cases. Thus
all the twenty one metres from Gayatri to Utkrti have four varieties
called Nicrt, Bhurik, Svarat and Virat. If the number of syllables is
less than the required number by one, it is known as Nicrt. If the
number is increased by one it is called Bhurik.76 If the number of
syllables became less in quantity by two, it is called Virat. If it
increases by two in number, that variety is known as Svarat, Thus, a
stanza having 26 syllables may either be a Svarat Gayatri or a Virat
Usnik. In this context, RVPsays that the metre of the stanza will be
determined by considering the metre that predominates in the Sukta
in which that stanza is included. If the predominating metre of the
Sukta is Gayatri, the twenty six syllabled stanza will be Svarat Gayatri
and if it is Usnik, the stanza will be Virat Usnik.
*TT fWt fetHT I
TZRnr w wr 1177
CS says that taking into account the nature of the first line, the
41
metre of the stanza can be determined. If the first line is Gayatri, it

is Svarat Gayatri. If the first line is Usnik, it is yirat Usnik.78
The deity and colour of vedic metres

Metres in the Vedic hymns are said to be presided over by
pedicular Gods. It is also believed that metres have pedicular colours.
The names of Gods and the colours, related to the Vedic metre are
given below:
1. Gayatri: Agni is the deity of Gayatri. The colour is Sveta (white).
2. Usnik: Savita is the deity of Usnik. The colour is Sarahgam (the

variegated colour)
3. Anustubh: Soma is the deity of Anustubh and the colour is

Pisangam (reddish brown)
4. Brhati: Brhaspati is the deity of Brhati and the colour is Krsnam

(black)
5. Virat: Mitravaruna is the deity of virat and the colour is Nila

(dark blue or black)
6. Tristubh: Indra is the deity of Tristubh and the colour is Lohita

(red)
7. Jagati: Visvadevas are the deity of Jagati and Suvarna (golden)

is the colour.
8. Panktih: Vasus are the deity of Pankti Aruna (reddish brown) is

the colour.
9. Atichandas: Prajapati is the deity of Atichandas and Syama

(black) is the colour.
10. Vichandas: Vayu is the deity of Vichandas and the colour is

Gaura (while)
11. Dvipada: Purusa is the deity of Dvipada and the colour is Babru
(deep brown)
12. Ekapada: Brahma is the deity of Ekapada chandas and colour is

Nakulam.
The colour of the Virats of Anustbh, Tristubh and Pankti is Prsni
42
(white). Syava (the combination of black and yellow) is the colour

of Nicrt. Bhurik has the colour Prsad (dot). The Kapila (reddish) is the
colourof Brahma’s chandas and the chandases of sama, Rk and Yajus.79
The Svaras and Gotras of Vedic metres

At the end of the third chapter of Chandssastra of Pingala, it is
mentioned that the metres in the vedic hymns are attributed to have
particular Svaras. It is also said there that the metres have relation to
particular Gotras.
The names of the Svaras and the Gotras related to the Vedic
metres are given below:
1. Gayatri: Sadja is the sound of Gayatri, The Agnivesa is the tribe.
2. Usnik: Rsabha is the sound of Usnik and the Kasyapa is the tribe.
3. Anustubh: Gandhara is the sound of Anustabh and Gautama is

the tribe.
4. Brhati: Madhyama is the sound of Brhati. Ahgirasa is the tribe.
5. Virat: Pancama is the sound of virat and Bhargava is the tribe.
6. Tristubh: Dhaivata is the sound of Tristubh. Kausika is the tribe.
7. Jagati: Nisada is the sound of Jagati and the Vasista is the tribe.
Vyuha in Vedic metres

It is to be specially mentioned here that the prosodists have
interpreted Vyuha while discussing the syllabic rules. If a doubt arises
while locating metres by Pada, Vrtta and Aksara, the Aksara
supercedes others. In RVP, it is mentioned as follows:
3T§TTT^r str W stodfRH I
PiditeyfcN’dui 1181
If there is shortage of syllables in a line, it may be compensated
by uttering the vowels seperately which are like Ekaksara in
combination.
In RS Katyayana defines Vyuha as follows:
3 I82
43
Metre in Sanskrit
Saunaka also attests this view:

'"iR wt I83
In Vedic metres this separation of vowels is called Vyuha.

WR MW? RttWT cJT I84
By adding the suitable vowel in between the combinations of

‘ya’, ‘ra’, ‘la’ and ‘va’, two syllables can be formed.
For example: Varsam —> Varisam

Varenyam —» Vareniyam
Tryambakam —> Triyambakam
Tanve —» Tanuve
In this way, Vyuha occupies an important role in the Vedic

metres which are made up of prescribed number of syllables, splitting
them if necessary.
Pragatha
Pragatha, otherwise known as strophe, consists of the
combination of a Kakubh or Brhati stanza with a Satobrhati stanza.
If the first stanza is Brhati, it is called Barhata Pragatha. If it is
Kakubh it is named Kakubhapragatha.
dl^d'l ^6dl\|4: I
TTT -Hdld^dWI 5PW Wit I I85

RWT SRlftRTt HRT I
H spftfa # W I I
*11A ■< 1^ iftt d Id I I
faWR WT wfa ^HfbrW 3TT I86
This is an example for Barhata Pragatha
Example for Kakubhapragatha is:
t i
WTR I I
faRrHlfd F-M Tvi Al -H I
44
Vedic Metres - a Genera! Study
STPTF^WT -hImI-UI ^WPJ C\ -X

I I87
Where there are one Anustubh and two Gayatri, it is Anustubh

pragatha.88 Generally, the Pragathas are named by the Chandas of
the first Mantra. But sometimes, both the Chandas may be mentioned
in the name. For example, a Pragatha with Gayatri and Brhati is
called Gayatrabarhatah. Thus Gayatrakakubha, Pariktakakubha etc.
are also seen.
1 .Usnik with Satobrhati is called Ausnikah
2. Kakubh with Pankti is called Panktakakubhah
3. Mahab.rhati with Mahasatobrhati is called Mahabarhatah
4. Brhati with Jagati is called Barhatah
5. Brhati with Atijagati is called Barhatah
6. Brhati with yavamadhya is called Barhatah
7. Brhati with viparita is called viparitanta
8. Anustubh with Jagati is called Anustubhjagati
9. Dvipada with brhati is called Dvipadabrhati
10. Kakubh with Brhati is called Kakubhabarhatah
11. Anustubh with Usnik is called Anustubausnikah
12. Brhati with Anustubh is called Barhatanustubhah
13. Anustubh with Pankti is called Anustubhapanktah
14. Kakubh with Tristubh is called Kakubhatraistubhah
15. Anustubh with Tristubh is called Anustubhatraistubhah
16. Jagati with Tristubh is called Jagatah.89
The term Vrttam in Vedic metres

If a line has eight syllables, that line is generally known as
Gayatram. Ten syllabled line is called Vairajam90 and eleven
syllabled line and twelve syllabled line are called Traistubham and
Jagatam respectively.9' It is also said that in Gayatram and Jagatam,
the syllable preceeding the last one in the line should be a ‘Laghu.’
45
Saunaka says that in Vedic Mantras, this rule is called Vrttam. Vrttas
of each Chandas in the hymns are framed in the above mentioned
pattern of Guru and Laghu. Similarly in Vairaja and Traistubha, the
syllable preceeding the last one should be a Guru.
cTWfctHHWT I
<T^ qrf I I92
The above idea indicates that the concept of Vrtta depends upon
the pattern of Guru and Laghu. In classical Sanskrit, the metres are
fully determined by the pattern of Guru and Laghu and they are
called Vrttam.
Method of deciding the lines of Rks

Saunaka has pointed out certain rules for deciding the lines in
the Rks. From the three lined Rks, the rules begin as follows:
In the three lined Rk, there should be an ending at the end of

both the second line and third line. But sometimes, instead of the
above, the ending is suggested at the conclusion of the first line and
the remaining two lines.
fqqqqq q^hr I
TKH ^^TTcT I I93

In the four lined Rk, the ending should be at the end of second
and fourth lines respectively.
HWWTT'T 3 tRJSISRR I94
Otherwise, after the third and fourth lines, the stop shall come.
The ending may come at the end of first line and fourth line.
tW TWr I95
In the five lined Rk, the ending shall be at the end of the
second, fourth and fifth lines. The ending may also be after third and
second or second and third lines respectively.
feft cTT d?T qW fWld^dd P
In the six lined Rk, the endings can come at the end of second,
fourth and sixth lines or at the end of third and sixth or second and
sixth lines also.
46
cJT FTH qdMdHHcl’HH^drT T
In the seven lined Rk, endings usually come at the end of third,
fifth and seventh lines respectively or at the end of the third and
seventh lines. The ending may come after the second and seventh
lines also in the seven lined Rk.
frfwr q4 an aat Tata fenfWt ar m aaapr I

ST«rf Ir
In the eight lined Rk, the general rule regarding the endings is
that it can come at the end of second, fifth and eighth lines
respectively.
grw a faw I"

Internal metrical form
The above mentioned divisions and subdivisions of Vedic metres
are solely based on the external structure of the stanzas. The earlier
writers on Vedic prosody like Katyayana and Saunaka have defined
and illustrated the different varieties of metres mainly taking into
account the number of syllables. Katyayana states that the Chandas
is determined by the number of syllables only:
I'00
The quantitative nature of the syllables like Hrasva and Dirgha
(short and long respectively) and caesura or ‘Yati’ inside the line
was not accepted by them as determining aspects of metres.
E. Vernon Arnold, who has done an indepth study on the

metrical characteristics of Vedic stanzas, upholds that the Vedic
Rsis, who composed the Mantras, were well aware of the internal
form or the rhythmic nature of them also. He states: ‘There are a
few parts of the verse in which the poet do not consider themselves
free at times to depart from the usual rhythms, so that it may perhaps
be said that there are no rules of rhythm in He also points
out that the arrangement of ‘Gurus’ and ‘Laghus’ in the metric lines
and the positioning of caesura, which are the dominant features of
the metres likeTristubh andjagati, have a considerable role in constituting
the internal form of rhythm of the Vedic metres, though that were not
47
expressly discussed in the works on prosody of Vedic texts.102

References
1. Vedic Metre - tn its Historical development, E. Vernon Arnold,
Mothilal Banarsidas, Varanasi, 1967, P. 21.
2. Practical English Prosody, Bernard Blackstone, first Impression,
Longmans Green and Co.Ltd. London, 1965, P. 113.
3. Vide Vedic Metres, pp. 164, 256-259.
4. Ibid., P. 21
5. Rgvedasarvanukramani, (RS) Edited by Pt. Sri Padadam
odarasatavalekar, Svadhyayamandal, Paradi, Balsadjilla,
Gujarat, IVth Ed. (Year of Pub. not given) III, 2.
6. RS, III. 3
7. nrait xRjfewn I
gj ’'WTT I I RVP, XVI, 1,16.
8. RV, 1, 1, 1, 1.
9. Ibid., IV, 10, 4.
10. Ibid., IV, 10, 1.
11. Ibid., VIII, 25, 23.
12. Ibid., VIII, 46, 1.
13. Ibid., VI, 45, 29.
14. Ibid., IX 108, 13.
15. Ibid., X, 9, 5.
16. Ibid., X, 9, 7.
17. Ibid., VIII, 103, 10.
18. Ibid., 1, 17, 4.
19. Ibid., VIII, 46, 13.
20. RS, 1, 5, 1.
21. RV, 1, 91, 17.
22. Ibid., VIII, 18, 9.
23. Ibid., V, 53, 11
24. Ibid., VIII, 46, 15.
25. Ibid., X, 105, 2.
26. Ibid., 1, 120, 5.
27. Ibid., X, 16, 4.
48
28. Ibid., 1, 187, 1.

29. RVP., XVI, 1, 37.
30. RV, 1, 50, 13.
31. RV, IV, 105.
32. Ibid., 1, 20, 8.
33. Ibid., IX, 10, 1.
34. Ibid., 1, 120, 3.
35. Ibid., 1, 120, 4.
36. Ibid., VII, 1, 3.
37. Ibid., VII, 1,1.
38. RVP, XVI, 1, 45.
39. RV, 1, 13, 11.
40. Ibid., X, 22, 3.
41. Ibid., VII, 46, 18.
42. Ibid, X, 132, 1.
43. Ibid., VIII, 46, 20.
44. Ibid, 1,120, 7.
45. Ibid., IX, 10, 9.
46. Ibid., VIII, 46, 14.
47. Ibid., 1, 187, 11.
48. RS, 1, 8, 1.
49. RVP, XVI, 1, 54.
50. RV, 1, 15, 12, 1.
51. Ibid., VI, 20, 7.
52. Ibid., V, 53, 6.
53. Ibid., VIII, 46, 12.
54. /6zc/., X, 21, 1.
55. Ibid., 1, 164, 42.
56. Ibid., VIII, 46, 22.
57. Ibid., V, 53, 14.
58. RVP, XVI, 1, 64.
59. RV, 1, 15, 2, 2.
60. Ibid., X, 23, 4.
49
Metre In Sanskrit ..
61. Ibid., X, 23, 5.

62. Ibid., 11,1,1.
63. Ibid., V, 86, 6.
64. Ibid., \J, 19, 5.
65. Ibid., VII, 35, 1.
66. Ibid., VIII, 10, 2.
67. Ibid., VIII, 35, 1.
68. Ibid., VIII, 35, 23.
69. Ibid., VI, 48, 7.
70. RVP, XVI, 1, 74.
71. RV, 1,10, 33.
72. Ibid., VIII, 37, 2.
73. Ibid., VI, 48, 8.
74. Appendix given in the Rgvedasamhita, after RS.
75. RVP, XVII, 2, 19, 20.
76. wr I rvp, xvii, 2, 2.
77. Ibid., XVII, 2, 3.
78. CS, 111, 61.
79. RVP, II, 6.18.
80. CS, III, 63-66.
81. RVP, XVII, 2, 21.
82. RS, 1, 3, 6.
83. RVP, XVII, 2, 22.
84. Ibid., P. 275.
85. RVP, XVill, 3, 1.
86. RV, 1, 84, 19, 20.
87. Ibid., VIII, 19, 1, 2.
88. WT I RVP, XVII, 3, 3-1,2.
89. Ibid., XVII, 3, 4-29.
90. WR I Ibid., XVII, 2, 37.
91. W^ftgR^Rt I Ibid., XVII, 2, 38.
92. Ibid., XVII 3, 39.
93. Ibid., XVIII, 3, 46.
50
94. Ibid., XVIII, 3, 47.

95. Ibid., XVIII, 3, 48.
96. Ibid., XVIII, 3, 49.
97. Ibid., XVIII, 3, 50.
98. Ibid., XVIII, 3, 51.
99. Ibid., XVIII, 3, 52.
100. RS, II, 6.
101. Vedic Metres, P. 9.
102. For a detailed discussion on these topics vide Ibid., PP. 9-15
and 175-186.
51
III. CLASSICAL METRES - A CRITICAL ANALYSIS
The development of metrical language was one of the

remarkable features of the epic and post-epic period in Sanskrit
literature. In the Vedic texts different metres were profusely used
that are well suited to the types of poetry. In later Vedic age, in
Yajurveda, Brahmanas and Upanisads, prose also was employed,
which finally attained a certain degree of development. But in Sutra
period, the language of presentation completely changed and the
method of using ‘Sutras’ became predominant. It is for this reason
that this period became famous as ‘Sutra period' in Sanskrit literature.
With the advent of the great epics Ramayana and Mahabharata,

the metrical language again got prominance in the whole Sanskrit
literature. The Sastra works also began to adopt this method because
verse is easier to memorise than prose. In texts like Arthasastra,
stanzas are seen intermixed with the Sutras. In later times, almost
all treatises in all branches of scientific literature were composed
completely in verse.
Metres in Epic and Post-Epic Period

The epic period received its prosodic tradition mainly from the
Vedic prosody. Most of the metres employed in epics had their
growth from the three flexible Vedic metres, Anustubh, Tristubh and
Jagati. Amulyadhan Mukherji observes: ‘The most striking
development in the history of Sanskrit prosody occured during the
epical and post-epical periods comprising the centuries thereafter
which were prior to the classical period. Roughly it was between
400 B.C. and 100A.D.’’
The Epic Vaktra and Classical Sloka

The evolution of the octosyllabic quatrain metre, Sloka, is a
remarkable feature in the epic and post-epic period. This is a standard
metre in Sanskrit and it developed out of the Vedic Anustubh which
52
Classical Metres - A Critical Analysis
had no rigidity in the sequence of longs and shorts in lines. In the

former stage of its development, this Anustubh quatrain was called
‘Vaktra’ and it is the exclusive narrative metre in Ramayana and
Mahabharata. In the Pali canonical collections like Dhammapada
and Samyutta Nikaya also this Anustubh Vaktra is a usual metre.2
The classical Sloka is only a typical Vaktra with a few special

features. In Sloka, rigid regulations were insisted on the quantity of
syllables in particular positions, in the line. Thus the rule that the
fifth syllable of each line and the seventh syllable of second and
fourth lines should be Laghu, and the sixth syllable of all lines should
be Guru, became established for the technical Sloka metre:
rTP PWT feWW? I
Though the regulations governing the syllabic quantity of these

two metres are the same, difference in their internal structure is very
clear. In epic Anustubh or Vaktra, two quarter verses constitute a
line and this line itself is an effective unit. But at the same time,
these lines are not independent in sense or grammatical construction.
In epics and Puranas, such narrative lines with two quarter verses
are profusely seen.4 But in classical period the quatrain was determined
as an effective unit (Padyam catuspadi). Detached from earlier and
later stanzas in grammatical and semantic unity, it gets separate
identity. Taking into account these characteristics, the two line unit
in the epic Vaktra was transformed as a quatrain metre, the classical
Sloka.
Longer metres in Ramayana and Mahabharata
Apart from this Anustubh Vaktra, a few longer metres, which
are considered to be the rigidified forms of Vedic Tristubh and Jagati,
are also seen in Ramayana and Mahabharata. In Ramayana, these
longer metres are generally employed at the end of the Sarga,
Upajati5and Vamsastham6 are seen profusely used as concluding
metres of the Sarga. Metres like Malini and Praharsini are also
common in Ramayana at the closing of the Sargas. The fourth canto
of Ayodhyakanda ends with Malini and the 107th canto with three
Praharsini stanzas. The Ardhasama metres like Viyogini7and
53
Puspitagra8also can be seen at the end of certain Sargas.
As regards Mahabharata plenty of long metres are found

sporadically throughout the text. But many of them cannot be strictly
catagorised as per the rules of classical metres. A remarkable
development that took place is that these longer metres which were
used in Ramayana occassionally to close cantos are seen employed
as narrative metres for entire chapter in Mahabharata? Instead of
quatrain, six lined metres are seen rarely.'0 Certain metres like
Salini," Indravamsa,12 Drutavilambita'3 and Vaitaliya'4that are not
commonly seen in Ramayana, came in to vogue in this epic.
Metres in post epic period

In the fully developed Kavya literature, the manner of story
telling is very different from the naive narration of events that are
seen in epics. Here the poet concentrates on depicting a series of
chosen movements with all subtleties and complexities of emotions
that his inspiration can evoke. More sophisticated metres, by the
modification of the older one’s, were invented and they began to
encroach on the field of poetry. The nature of metres was also changed
in this period. The two quarter verses of narrative Vaktra, that were
considered to be an effective unit, began to be neglected and the
quatrain became the standard metre. Another remarkable
development in the epic metres is the exclusion of the older
organisation based on the number of syllables only. A hybrid
organisation came into vogue where the number of syllables and the
quantity of Matras based on the number of syllables were fixed in a
line. This took place by the impactof prosodic system in non-Aryan
languages where the quantity is significant as it constitutes the
rhythmic nature of metres.
It seems that the reverse has also happened. The moric metres,
which were measured by morae only, were influenced by the syllabic
metres. Metres like Rathoddhata were formed from the Vaitaliya and
Aupachandasika, the early musical metres. Thus, an array of new
metres was developed and some of them became more popular in
classical literature.
Processes in the evolution of classical metres

The emergence of these new varieties of metres in later ages
54
was effected by alterations, combinations and reductions of either

syllables or longs and shorts of the older types. Sanskrit prosodists
have explained the process called ‘Prastara’ or permutation in various
metrical schemes (Chandasses) which has ample possibility in the
formation of new metres with varied rhythmic dimensions. But, this process
is confined to a particular metrical scheme only. Apart from this, other
processes were also experimented and practised by poets, which have not
come under the purview of Sanskrit prosodists. These processes
sometimes extend or elaborate a particular metrical scheme by adding
one or more syllables or reducing them by omitting syllables in a line.
Codifying all these, Amulyadhan Mukherji enumerates ten processes
that evolved in the development of classical metres in Sanskrit.'5
1. Extention
This is the enlargement of a ‘line’ by the addition of one
syllable or even more at the end or at the commencement. For
instance, the twelve syllabled Vaisvadevi is supposed to be evolved
from eleven syllabled Salini:
- - - / - -U / --U / -
/ /
... / ... / U-- / U --
/ xR'tvT / /
2. Compounding
When a new metre is derived from an older one by the
insertion of a group of syllables, it is called compounding.
/ U U U / -
/ u u u / u - -/
WI WT3K /?FT£ / ’J I
Here a Guru and a Laghu are inserted within Hamsarutam.
in the same manner Dodhaka is derived from ‘Citrapada’ by

internal compounding:
55
Metre in Sanskrit
- U U/- U U / - -
TT^T I HTH1J /
-UU/-UU/-UU/ --
: TFFRT / TW / I W
It is clear from the example that a Bhagana itself is inserted, to
develop Dodhaka from Citrapada.
In Manjubhasini, a Guru is inserted in the scheme of

Pramitaksara and as a result, the last Tagana is changed into Jagana
followed by a Guru.
U U -/ U-U/UU-/ UU-
WFTRHT T3Rf / JW3J /I
U U -/ U-U/UU-/ U-U /-
; sPW / I yfeA / ?r^<T / tt
3. Anaclasis
The process in which a short element in a line changes its place
with adjacent long element is called Anaclasis.
UU - / U U - / UU-/UU-
fltep : / fcT fTT / I wt?
UU- / U-U/UU-/UU-
ufnWTT : / WU /
Here it is clear that the Pramitaksara is developed from Totaka,

by the process of anaclasis.
4. Substitution
Sometimes, in order to give a new rhythmic effect, a foot with
the same number of syllables may be substituted by another. Thus,
the metre Lalita is derived from Vamsastham.
U-U/- - U / U-U/-U-
56
--U/-UU / U-U / - u -
TrfcOTI / ?£ cF? / H TOT I 3rfw
In Lalita, a spondee (- -) is substituted by an iambus (U-) in the

commencement of Vamsastham.
5. Resolution
This is the substitution of two short syllables by one longum.
Tamarasa is derived from Dodhaka by this process.
u u / - u u / - u U / - ■
OT H H / Ttt ftOT / HOTT /
U U U/ U - U / U - U / U --
TTTHOT: fbjn / OTOT / TT TJTOT / TOTtOT

The opening longum of the Dodhaka is resolved into two shorts
in Tamarasa.
6. Acephaly
This is the omission of a syllable at the begining of a verse.
-UU/-UU / - U U/ - -
: OTH H / <1 TOT / HOTT / HOTT
UU-/UU-/ U U - / -
: OTTFT / OT / FrfOTt / et
Here it is clear that Meghavitana is derived from Dodhaka by

omitting the first Guru.
7. Anacrusis
The process of developing a new metre by prefixing one or two
syllables to the line of another metre is called Anacrusis.
UU-/U-U/UU-/ U U -
srfWW : OTOT I HOTOT I OTHT / OTSTSft
UUU/ U-U / -UU / U-U/U-
OTOT : HOT / tWt / HOT H / OTT 5T / HOT
57
Metre tn Sanskrit....
Here two short syllables are prefixed to Pramitaksara and thus

the fourteen syllabled Pramada is originated.
8. Syncopation
This is the omission of a short syllable in a foot.
u u - / u u - I u u - / u u -
HTTP : PT pfa / fa fafa / / T *fa
U U - ,/ u u - / u u - / U -
{dfal'cjdl : cNH. / htt / fan fa / ffaTH
Here the metre Harinapluta is derived from Totaka by

dropping a short syllable from the last foot.
9. Catalexis
This is the supression of a syllable at the end of a line. It is also
one type of syncopation. The seven syllabled Samani enumarated
in PP16 is an example for this. It is derived from the eight syllabled
Samanika.
- U - / u - u / - U
/ / d 1 IM
-U - / U - U / -
PHlfa / ■Ud <T / fa1-
10. Doubling
This is the doubling of a metrical sequence or a number of
syllables inorder to develop a new metre.
- - - /-U U/UUU/-- U/--U/- -

■H-stlcbl-dl : WTT fa / H / fafafa /fa cTTH/aPTT /
... /------ /._ u/uuu/u u u

Tp^lfa^fWr : TFHfa/ fa? rfafafa / / W /
UUU/-U-/U u - / u-
fafar / cT TT / / Tffaf
58
Here by doubling of the 1st nine syllables of Mandakranta,

twenty six syllabled Bhujangavijrmbhitam is derived.
All the examples cited to illustrate the above ten processes show
that when a new metre is formed from the older one by any of these
processes the difference affect either the number of Matras or the
number of syllables.
Moric metres - an analysis

_The moric metres in Sanskrit can mainly be classified into two-
the Arya group and the Matrasama group. These are all of non-Aryan
origin. In earlier days these metres had been current as parallel
metrical types in Pali and Prakrt. Later on during the post epical
period, they infiltrated into Sanskrit prosody. Prosodists right from
the time of Pingala have defined and illustrated these metres including
them in the Jati group.
In Arya group, the components that constitute the metre are

Ganas, called ‘Catuskalas.’ So, metres in this group are also called
Ganacchandas or Bar metre. In Matrasama group, as the name
implies, the number of Matra in each line is fixed as sixteen,
irrespective of Guru or Laghu. The metres like Vaitaliya and
Aupachandasika are hybrid types as they are partly regulated by
syllabic quantity. But they are also included by prosodists in the
moric variety.
Arya group
Arya group includes two types of moric metres: Giti and Arya.
Giti, as the name suggests, is a fully musical metre in which the
musical organisation is carried as far as possible. Regarding the
musical principles of this metre, A. K. Warder says: ‘It corresponds
rhythmically to an eight bar musical phrase (more rarely to a twelve
bar phrase) in which within quite broad limits any rhythmic pattern
may be used provided the total quantity of each ‘bar’ Gana is
equivalent to four short syllables and the bar lines are not infringed
by a long syllable crossing them.’18 So, the metres in Giti group are
called Ganacchandas or Bar metre. The Ganas in these metres are
known as ‘Catuskalas’ which are five in number.19
Sanskrit prosodists are of opinion that Giti is the modified form
59
of Arya. Almost all of them define Arya first and then Giti as it is a
derivative metre. Kedarabhatta states:
^wfrTSTW T iftfcT ’ftWT I I20
If the first and second halves of a stanza have the same metrical
scheme of the first half of Arya, it is called Giti. A caesura is suggested
to enhance the rhythmic beauty. With a historical perspective, A.K.
Warder states that the earliest variety of bar metre is Giti and Arya
has derived from it.2'
The first half of Arya has seven Ganas (in Arya, Gana is
Catuskala) and a Guru. In Giti, the second half also has the same
scheme. For example.
jmildHH $^|^<snu|MldfadSTFT’T I
srfawsOT fwj Trwrm an swa 11

This is a common metre in Buddhist canonical works written in
Pali.22
_ It is to be noted here that though these two metres, Arya and

Giti, are generally considered to be quatrain, while defining them,
Kedarabhatta considers the first two lines as a unit and the third and
fourth as another unit.
This musjcal metre has several varieties such as Upagiti,

Udgiti and Aryagiti. In Upagiti, both the Purvardha and
Uttarardha of the stanza have the same scheme of Uttarardha of
Arya. When the both halves of Arya come in reverse order, it is
Udgiti. When the first half of Arya is modified by adding one
Guru, it is known as Aryagiti.23
Arya
This is a very popular metre in Prakrt as well as in Sanskrit. As
discussed above this might have derived from the fully musical metre
Giti. The antiquity of this metre goes back to Pali Kavya literature
where it is used as a narrative metre. In Prakrt also, especially in
Maharastri, this is a usual narrative metre. Paumacarita, an epic
consisting of 118 cantos, in Maharastri Prakrt is written in Arya metre.
60
As regards Sanskrit Kavya literature, this metre is mainly used for

songs. Like Giti, Arya is also based on the musical structure of bars,
which is technically known as ‘Caturasratala’. Kedarabhatta gives
a much detailed definition of this metre:
w w rnftn frftr yt? I

Wstf V HrTq dT wftsaf ftdd^Htlftl: II
ftaft cne-uY bi q^ftw 1

qYFY dd-Hlft^ 'WT Wt cTT I I24
In Arya, the first half has seven Ganas followed by a Guru, among
which the first, third, fifth and seventh should not be Jagana. The sixth
must be a Nagana with one Guru or a Jagana. If the scheme of sixth
Gana is UUU + U (Nalaghu), there should be Yati after the second
Laghu. In the second half also, if the fifth Gana is Nalaghu, there
should be a Yati after the fourth Gana. The following is an example:
YRft sldft'd mft I I
It may be remarked in this connection that this Arya and the

above mentioned Aryagiti are actually the same metres named
‘Gatha’ and ‘Skandhaka’ respectively in Prakrt. The definitions of
these two given in /V’will prove this idea clearly. Gatha is defined as:
VRft ^K^THTTr? fefft WT '■YTR THJxtil: I
• WIWT rP-TT ddftq ^TMo-xlft^dl TTYT I I25
This is the same definition given to Arya by classical prosodists:

w usft wf gdftsfa I
3T'€^lfefft TfJY HT YTW I I26
The definiton of Skandhaka in PP is:

xid/i{ft<*i 3t^j|j|u|: Wft yptw i
h <riiftft.................................................... 1127
As per this definition, the Purvardha as well as the Uttarardha of

this metre has thirty two Matras each. (8x4 = 32). The scheme of
Aryagiti is also the same.
61
The observation made by M.P. Sankunni Nair in this

connection is worthy to be mentioned here. He says that actually
these two metres are non-Aryan in origin. But, when they infiltered
in to Sanskrit Kavya literature, the Sistas changed their names in
order to give them nobility.28 Later on, Arya became a standard metre
even in many Sastra works like Satikhyakarika and Kavyalaiikara of
Rudrata.
The Varieties of Arya

Six varieties of Arya, Pathya, Vipula, Capala, Mukhacapala,
Jakhanacapala and Mahacapala are defined and illustrated in CS
and VR. While discussing the metres to be employed in drama,
Bharata elaborately discusses and exemplifies five varieties excluding
Mahacapala.
wr few fe ww nwitsw I
■dfe ■MMcII xfcf 3Traf: W M^fcldl: I I29
He also states that these varieties are formed by altering the
schemes of ‘Catuskalas’ and inserting Yati in certain particular
positions. Halayudha30 also comments on the role of Yati in
constituting these varieties.
Bharata also states that a large number of varieties of Arya can

be developed by the permutation of ‘Catuskalas’:
■^:Mo.-c|M*Ululi tR^MT fefe: I

MwiffewTiKi siiftwi fewfe 1132
Commenting on this verse Abhinavagupta says:

3Jt£K4|MJ|dMj WhWW’Tdl:
few? '■HWfW-feldl MWIWII^Wi fwfe I”
The Catuskalas are five in number. The odd lines should be

constituted by any four of these Canas. In even lines all the five can
be used. The last variety can be formed by Laghu syllables only.
For example:
62
f^Tf^TTcR I fa>Tu IM fa I fa dT<$x| fa i

WH^d^fafafad y-Rlfaw^d 3PT fapT I I
Thus a number of varities can be developed based on Arya.34
Regarding the possibility of Arya as a musical metre, A.K. Warder

states: ‘In the variable rhythmic patterns which the musical metres
could superimpose on the Caturasratala, it was possible to
reflect emotive or descriptive association appropriate to the subject
matter.’35 He also says that the lyrical poem, Satavahanasaptasati
beautifully illustrates the development of such a technique of using
rhythms suggesting particular types of event, object or feelings.35
Thus it can be assumed that the metres used in Satavahanasaptasati
are the different Prastaras of Arya.
Matrasama group
The second group of moric metre is Matrasama group. In this
group, as the name indicates, all metres contain sixteen Matras in
each line. Sometimes, all the syllables in a stanza may be Laghus.
55 snfaryrfa <^dfa<Mdfai I
URR^Tfait ’ifaQTTHHfar WT ÎcH^fadqfajdq^d, 11 ,l*
This variety is known as Acaladhrti. In CS, it is named as

Cityarya.38 If the nineth syllable in the Matrasama stanza is a Laghu
and the last is Guru, it is known as Matrasamaka. When the fourth
Matra in the stanza is followed by either Jagana or Nagana with
Laghu (Nalgahu) and the last syllable is a Guru, it is Visloka. If this
syllable order come after the eighth Matra it is Vanavasika. When
Laghu comes in fifth, eighth and nineth Matras it is Citra. If the
stanza is regulated with Bhagana after the eighth Matra and the last
syllable is Guru, it is known as Upacitra. Sometimes the Matrasama
stanza will be a blending of any of these five types. Then it is called
Padakulakam.39Thus, this group is also rich with its different types
within the limitation of sixteen Matras in each line.
The Early Musical Metres

Vaitaliya and Aupachandasika are two early musical metres
which are based on the rhythm of indigenous folk songs. Though
63
these two metres are included in Jati group (Matravrtta), they are
actually hybrid types as the cadence being regulated with number
and quantity of syllables. It is clear from the definition given in VR:
xx fxx^sxff xx xxttt xx x xXxjxf fXxxxr I
X XXX XXTVXT XXT iSldlelW^ XXt qXf II40
In Vaitaliya the openings of odd lines and even lines contain

six Matras and eight Matras respectively. The cadence of both odd
and even lines has Ragana followed by a Laghu and a Guru. Here
the first part of the line is regulated by the number of Matras and the
second part by syllabic quantity. It will be clear from the example:
Six Matra
U U - U U / - U - U -
xvx? xtx / fx^xx ax
Eight Matra
U U - -UU/-U- U -
Mte-rtX I Xt PlHUI XX I
XXTX XXXTXfXr XXXXtsfx TXtfXXt^XT? II
In Aupacchandasika, the number of Matras in the opening is

the same as that of in Vaitaliya. In the cadence there must be a
Ragana41 and Yagana as in the following verse:
Six Matra
u u- u u / - U - U - -
XTXTPXft I X? xxrxxxr?
Eight Matra
U U - - U U I - U - U - -
cMHdlX'ijfcJ I ^XSXXTXxf
xxxtfxx XTfxnpr XX7

fxxxwxx^xxTx snixrx 11
These are two metres commonly found in Pali literature especially
64
in Jataka stories, Teragathas and Terigathas.42 The Jaina canonical

text Suyagatha, contains a section on the Vaitaliya metre.43 In
Ramayana, these two metres are seen rarely.
Certain other metres which may be considered as the varieties

of Vaitaliya are also defined by Kedarabhatta. If the cadence of
Vaitaliya is changed as Bhagana and two Gurus, it is called
Apatalika. When the opening part of the line also is determined by
Gurus and Laghus in various positions, varieties like Udicyavrtti,
Pracyavrtti and Aparantika are formed.44
Anustubh Group
The term Anustubh is used to denote the metre that is
regulated with eight syllables per line. So, this class should properly
be included in syllabic metres and not in moric group. But, a structural
analysis will show that two types of metres are current in Anustubh
class. In the first type, all the eight syllables in a line are not strictly
regulated with fixed Ganas, Guru or Laghu. They have comparatively
a flexible structure and hence metres like Vaktra and Vipula are
included by Kedarabhatta in moric group.
Vaktram
The definition of Vaktram is:
■ttt HRrarft 1145

This clearly shows that there is no fixity in the arrangement of
Guru and Laghu or Gana in the first four syllables as well as the last
syllable. The only strict regulation is that from the fifth syllable there
should be a Yagana.
Example:
U--
u - -
OTRT/
u --
65
U - -
viW 11
This Vaktra, which is considered to be a derivative of Vedic
Anustubh, is a standard narrative metre in epics and Puranas. Some
of its varieties like Pathyavaktram are popular in classical literature
also.
If the Yagana in the even lines of Vaktra is substituted by the

Jagana it becomes Pathyavaktram:
U-U
U- U
This is the most popular metre in the Anustubh group. If the

same substitution is made in the odd lines, it is known as
Viparitapathyavaktram. If the Yagana of Vaktra is substituted by
Nagana in odd lines, it is called Capalavaktram. Bharata calls this
metre Anustupcapala.
Vipula
Kedarabhatta enumerates five varieties of Vipula. The first
among them is Yugmavipula. In true sense this is a variant of Vaktra
itself. The definition given by Kedarabhatta is:
TOT FF TTWft TTT TTT I I46
If the second Guru of the Yagana (U - - ) in the even lines of

Vaktra is substituted by Laghu, it becomes Yugmavipula. Then the
scheme after the fourth syllable will be as follows:
_______ /U--/-
________/U-U/-
_______ /U--/-
_______ / U - U / -
66
Actually this is the same classical ‘Sloka’ metre which is

defined as:
M <4 '<i -h
cT?WT I I47
If Bhagana, Ragana, Nagana, or Tagana come after the fourth
syllable of a line, they are named Bhavipula, Ravipula, Navipula
and Tavipula respectively.
Apart from these few divisions noted above, a large number of

other varieties of this three Anustubh types can be formed by altering
the Gurus and Laghus in different ways. Many of such varieties
might have been in use from very early days itself. This has been
ascertained by Halayudha thus:
tw I48
It is to be noted that this partly irregular or flexible Anustubh is
more prominent in Sanskrit literature than the fixed type. The two
great epics, the bulk of Puranic literature and many other poetic
compositions are written in this moric type of Anustubh. The partly
flexible structure of this metre is quite capable of depicting all kinds
of poetic fancies as well as emotive aspects. That may be the reason
why the moric Anustubh has got more prominence than the fixed types.
Dvipat
Certain other metres such as Sikha, Khaja, Anangakrida (Jyoti
according to Pingalacarya) and Atirucira are also discussed by
Kedarabhatta in the Matravrttaprakarana under the name Dvipat. In
Sikha, Khaja and Atirucira (Pingalacarya also mentions these metres)
all the syllables except the last one in the line should be Laghus.
Anangakrida is formed by sixteen Gurus. Actually, it is the duplication
of Vidyunmala. Halayudha says that these metres do not have the
four-fold Pada regulation which is seen in the common syllabic metre:
3rdfl£ulld 3TT qiqoMdWT HTTM I50
Thus the moric type of metres with its vast and varied
varieties, get prominent place in Indian Kavya literature,both in Prakrt
and Sanskrit. Almost all these metres especially the Ganachandas
67
Metre In Sanskrit....
varieties are based on the musical structure prevailed in the folk

songs. In earlier ages, they had been current as parallel metrical
types in Pali and Prakrt. By the attractive musical structure, they
influenced Sanskrit prosody also and , most likely, during the Post-
epical period they infiltrated into classical Sanskrit literature,
especially in lyrics and dramas. Influence of these metres in Sanskrit
prosody resulted in the formation of syllabic metres like Rathoddhata
in which the rhythmic pattern seems to be very much explicit.
Aksarachandas or Syllabic metre

Aksarachandas is the technical term used to denote the metres
that have both the number and the quantity of their syllables fixed.
In Vedic metres only the total number of syllables in a stanza is
fixed ,the quantity of the syllable not being considered. In musical
metres, which had their development from the folk tradition, the
total quantity is fixed, irrespective of the number of syllables.
Combining the characteristics of both these older types, a new type,
better to say the wholly fixed type, was developed and it became
prominent and most acceptable in classical Sanskrit literature.
Taking into account the number of syllables, starting from one

upto to twenty six per line, that means four to one hundred and four
in a stanza, Sanskrit prosodists have enumerated twenty six metrical
scales from Ukta to Utkrti. Metres having more than twenty six
syllables per line are named Dandakas. Bharata calls them
Malavrttam.5' Each of these group includes a number of metres which
are formed by altering the regulations of longs and shorts, sometimes
even by adding Yatis in certain particular positions. This process is
called Prastara. Thus, by Prastara, thousands and thousands of metres
can be produced out of these metrical scales. Among them, only a
limited number is seen actually in use and of these again about 50
or 60 only got popularity. Some such metres in each metrical scale
that are profusely used in Sanskrit literature are discussed here .
Metres Prior to Anustubh:

As regards classical Sanskrit poetry, metres starting from
Anustubh groups, are seen widely current in practice. Among the
other seven metrical groups Gayatri and Usnik are familiar in Vedic
literature. Pingalacarya deals with them in the discussion of classical
68
metres also. Bharata enumerates the five groups prior to Gayatri,

but defines and illustrates only the metrical scales starting from six
letters per line up to twenty six:
tifaW I52
Commenting on this, Abhinavagupta observes that the

intention of Bharata in defining the metres beginning with Gayatri is
that they only have the merit to be used in poetry.53
Prosodial works like PPand VR deal with the varieties of all the
five metrical scales from Ukta itself. The commentaries of these
works supplement them with examples also. So, it can be assumed
that they might have been current in use in earlier period and lost
their popularity later.
The Ukta consists of only one metre named, ‘Sri’. It is a metre

consisting of four syllables, that means one guru in each line.
I
TTT
w?r 1154
is an example
In Atyukta, PP enumerates four metres:
1. Kama (- -)
2. Madhu (UU)
3. Mahi (U-)
4. Saru (-U)55
But VR mentions only one metre in this group under the name
‘Stri’. It is the Kama itself referred in PP.
In Madhya group, eight varieties are given in PP:
They are
Tali
I.
69
2.Priya -U-
3.Sari U --
4.Ramana uu-
5.Pancala -- u
6.M[gendrah u-u
7.Mandaram -u u
8.Kamalam u u u56
The schemes of the metres given above are actually the same
as those of trisyllabic Ganas. So the eight different trisyllabic Ganas
form the eight varieties of metres in the Madhya group. VR defines
only three -Nari, Mrgi and Kesa, which are the same above
mentioned Tali, Priya and Sari respectively.
In Pratistha group, six metres are defined by Kedarabhatta which

are: Kanya, Vrida, Lasini, Sumukhi, Sumati and Samrddhi. These
are formed by adding a Guru to Magana, Yagana, Jagana, Bhagana,
Sagana and Ragana respectively.
1 .Kanya ---/-
2. Vrida U--/-
3.Lasini U-U/-
4.Sumukhi -UU/-
5.Sumati U U-/-
6.Samrddhi - U -/-57
PPdefines only three metres in this group- Tirna, Naganikaand

Dhari. The Tirna is Kedarabhatta’s Kanya itself. Naganika is Lasini
and Dhari isSamrddhi.
Four metres, Pankti, Priti, Sati and Manda, are seen

mentioned in Supratistha group in VR. One Bhagana and two Gurus
constitute Pankti. One Ragana and two Gurus constitute Priti. Jagana
followed by two Gurus is Sati. Tagana followed by a Laghu and a
Guru is Manda. /’/’enumerates and defines three other metres - Hari,
Hamsam and Yamakam in this group:
70
Classical Metres A Critical Analysis
Hari --U--
Hamsam -UU--
Yamakam U U U U U58
In Gayatri group eight metres are discussed by Kedarabhatta.

The scheme is given below:
1 .Tanumadhya --UU--
2.Sassivadana u u u u --
3.Savitri
4.Nadi ----U-
5. Mukulam —U U -
6. Malini -U--------
7. Ramani U U-U U -
8. Vasumati --U U U-5’
Pirigala accepts Tanumadhya only in this metrical scale. PP

enumerates eight varieties such as Sesa, Tilaka, Vimoha, Caturamsa,
Manthanam, Sankhanari, Malati and Damanakam.60
Only four metres are defined in Usnik group by Kedarabhatta.
They are:
1. Madalekha ---U U--
2. Kumaralalita U-UUU--
3. Madhumati uuu-uu-
4. Hamsamala U U- U -61
In this group also Pirigala has mentioned only one - Kumaralalita.
/’/’discusses four other metres in the metrical scheme of Usnik which
are Samanika, Suvasakam, Karahanci and Sirsa.62
Thus a variety of metres had been discussed by Prosodists in

various metrical scale prior to Anustubh. But as regards classical
literature, they are not current in practice. Many of them have a rote
rhythm which corresponds to the mouthing of rhythmic sequences.
71
The examples cited by the prosidists also indicate that they might
have been current in earlier literature. So it can be assumed that
they might have much relation to the rhythmic sequences prevalent
in folk tradition especially ballads and folk songs.
It is to be noted here that though these metres were not current

in classical literature as such, they might have served as components
in various longer metres prevalent in it. Lasini (U-U-) is a component
in the eight syllabled Pramanika (U-U-U-U-). Vidyunmala is formed
by the duplication of Kanya (- - - The Pankti (-UU - -) might
have formed as a component to Campakamala (-UU/----- /UU-/-).
Thus it can be concluded that, later the longer metres got much
prominence in classical Sanskrit literature and many of the metres
prior to Anustubh served as the components to them.
It is also to be observed in this connection that the Greek Prosody,

which has much similarity to Sanskrit prosody has Ganas or feet
from mono-syllabic to hepta-syllabic. Sanskrit prosodists, though
they have not accepted such Ganas, have considered them as
different metres. The various schemes starting from monosyllabic to
heptasyllabic were considered by them as metres themselves.
Anustubh Class
It has already been discussed that Anustubh class has two
categories, the one that has a flexible structure and the other strictly
regulated with fixed Ganas, Gurus and Laghus. The former type is
included in the moric category of metres. The latter, in which both
number and quantity of all syllables are fixed, is discussed in the
context of Aksarachandas.
Pingalacarya discusses four metres in this class.The scheme and

examples are given below:
1 .Manavakakriditam :63 - U U / - - u / U -
/ sfrn / HcPJ
2.Citrapada :64 - U U / - u u / -
/ /
72
3. Vidyunmala:65
----- / . . . / . .
PKJ ■4 n I cTT WTT /
4. Hamsarutam:66
- - - / U U U /- -
WTFTH / «T I
Kedarabhatta adds five more
1. Nagarakam (-UU/-U-/U-)
2. Naracika (- - U/-U-/U-)
3.Samanika (-U-/U-U/-U)
4. Pramanika (U-U/-U-/U-)
5. Vitanam (U-U/- -U/- -)67
Some other metres like Kamala are also seen included in this
group in pp.68
Here Kedarabhatta analyses all these metres as an assemblage

of two trisyllabic Ganas followed by two syllables which may be
either Guru or Laghu. But it seems to be inadequate to understand
the rhythmic feature of these metres, especially that of Pramanika,
Samanika and Vitana. Pirigalacarya does not treat these three as
metres constituted by trisyllabic Ganas. According to him they are
formed by varieties of pairs of Guru and Laghu. It is to be noted also
that he has not included them in the Anustubh group. From the
discussion on these metres, it can be assumed that Pirigalacarya had
an idea of various types of disyllabic Ganas such as Iambus (-U),
Trochee (U-), Sponde (- -) and Pyrrich (UU). The Samani is formed
by four iambus feet and Pramani by four trochees. Vitanam is a
blending of the above mentioned four disyllabic Ganas.
Structural analysis of many other syllabic metres also will prove

that they are not formed by the trisyllabic Ganas. Pancacamara,
which is a duplication of Samani, is constituted by eight disyllabic
Ganas. Three tetrasyllabic feet and two Gurus constitute Induvadana.
73
Metre in Sanskrit..
Mallika is formed by pentasyllable Ganas. Sragdhara and Matta are

examples for metres formed by heptasyllabic Ganas.
It is also worthy to be mentioned here that syllabic metres

deserve analysis on the basis of the Matra ganas also, in order to
realise their rhythmical feature. Metre, in true sense, is a rhythmic
arrangement of poetic words and the basic component of rhythm is
Matras. Thus in Varnavrttas also, Matras have a special interference
to constitute their rhythmic nature. So an analysis of the syllabic
metres using the Matra ganas will make their rhythmic pattern
explicit. Many of the popular metres like Sal in i, Vasantatilaka and
Mandakranta are defined in PP in that way. Such an analysis will
help to realise the possibility of the rhythmic pattern of a vast number
of metres in Sanskrit literature.
Brhati Class
Though 512 varieties of metres can be produced in the
metrical scale of Brhati by the process of Prastara, only two,
Halamukhi and Bhujagasisubhrta, are defined by Pingala69 and
Kedarabhatta.70 If each line contains Ragana, Nagana and Sagana
in that order it is Halamukhi.
The example is:
- U -/yUUU/-- Uy
H fefe WW I I
Halayudha suggests caesura after the third syllable and at the

end.71
If the order is Nagana, Nagana and Magana it becomes

Bhujagasisubhrta.
The example is:
UU U/U U U / - y - -y
3■Me / ffelxT / T TWT
74
^TPT
^PT^RpjcIT HRT I I
Here also a caesura is suggested in seventh and last syllables.72

These two metres seem to be not much popular in classical Sanskrit
literature, FFand Chandakaustubha introduce some other metres
also in this group.
Pahkti Class
Kedarabhatta defines ten metres in this group. They are Suddha,
Panava, Mayura, Rukmavati, Matta, Manorama, Medhavitanam,
Maniraga, Campakamalaand Tvaritagati. Among them Rukmavati,
Matta, Maniraga, Campakamala and Tvaritagati are more attractive
by their rhythmic nature.Their schemes are given below:
Rukmavati: -UU/---/U U-/-
Matta : - - -/- u u/u u -/-
Maniraga : - u -/u u -/u u -/-
Campakamala : - U U/- - -/U u -/-
Tvaritagati : U U U/U -U/U u u/-73
/V5defines Campakamala and Tvaritagati (Amrtagati is the name

given there) as metres regulated by Matras as follows:
Campakamala : - U U/- -/-/U U -/-74
Amrtagati : U U U U/-/U U U/-75
Other three metres named Samyuta, Saravati and Susama are

also described there.76
Tristubh Class
Many of the popular metres in classical Sanskrit literature like
Upajati, Indravajra, Upendravajra, Dodhaka, Salini, Rathoddhata
and Svagata come under this metrical group.
Upajati77 Indravajra-Upendravajra
The term Upajati is used to denote the blending of two
75
different metres in a verse. Though the combination of Indravamsa

and Vamsastha are also called Upajat', here it is meant for the
admixture of Indravajra and Upendravajra.
This metre seems to be a direct derivative of ancient flexible

Tristubh and both Indravajra and Upendravajra had developed later
from this fixed metre. From the ages of great epics themselves poets
had an inclination to choose the blended types than mere Indravajra
and Upendravajra. In Mahabharata and Ramayana comparatively
Upajati is more prominent than the other two.78 This case is true with
regard to classical literature also. From this it can be assumed that,
when the fixed syllabic even metres became prominent the two
different component lines of Upajati also got separate form and two
different metres Indravajra and Upendravajra are developed.
Though simple in structure, this is a hard metre which can be

used as a canto metre without producing monotony. In Ramayana
this is seen employed occassionally to close the canto. In
Jambavatijaya which is ascribed to great grammarian Panini, this
metre is used as a narrative metre for the entire canto. Panini had
the reputations of being excellent in Upajati.
I79
Kalidasa and Asvaghosa knew the possibility of this metre, and

many of the cantos in their Mahakavya are composed in it.
According to Ksemendra in Upajati the first syllable of each line of a
stanza must be_a Laghu. Further he says that this metre is suitable for
describing the Alambanavibhava and Uddipanavibhava of Srrigara.81
Indravajra (- - U/- - U/U - U/- -) and Upendravajra (U - U/- - U/U

- U/- -) are two popular metres in classical Sanskrit. Prosodists right
from the times of Pingala consider Upajati as developed by blending
of Indravajra and Upendravajra. While commenting on Pingala,
Halayudha states that fourteen varieties of Upajati can be produced
by the process of permutation.82
All these fourteen varieties are given separate names in PP.
They are: Kirti, Vani, Mala, Sala, Hamsi, Maya, Jaya, Vala,
76
Ardra, Bhadra, Prema, Rama, Rddhi and Buddhi.
Dodhaka
Three Bhaganas and two Gurus in that order constitute Dodhaka
(- U U/- U U/- U U/ - -). Technically this may be called a foot metre
in which one particular pattern of foot is repeated a number of times.
Here the Bhagana is repeated three times. Though this is classified
as a fixed syllabic metre, the metrical structure clearly prove that this
is developed from non Aryan tradition, probably folk rhythms. The
derivation of the term given by Abhinavagupta strengthens this idea:
I84
Dodhaka means one who milks a cow. Abhinavagupta also states

that this metre is more beautiful because it has the musical charm.
According to Ksemendra there is caesura in Dodhaka after every

three syllables which enhance the rhythmic feature of this metre.85
Salini and Vatormi

These two metres which also seem to be originated from Vedic
Tristubh, sporadically occur in Mahabharata. The schemes of these
two metres show how the alteration in the quantity of only one syllable
will affect the rhythmic structure of metres.
Salini : —/--U/--U/--
Vatormi: —/- U U/- - U/ - -
In Salini, the fifth syllable is Guru, but in Vatormi it is Laghu.

f-’T’defines Salini as a metre constituted by Matraganas as follows:86
-- / -- / - / U / - - / U / - -
Salini is extensively current in Sanskrit literature. The close

affinity between Salini and Mandakranta is also a notable aspect.
Salini : ------- /- U--U--
Mandakranta : ------- / U U/U U U -/- U- - U- -
Here in Mandakranta an extra colon87 is inserted. Taking in to

account this affinity, it can be assumed that Mandakranta is an
enlargement of Salini.
77
ST defines Salini as a naturally lucid structural metre.88
Rathoddhata and Svagata

These two metres are very popular in classical literature. They
are much attractive with their melodious tone. Kalidasa has employed
Rathoddhata as a canto metre in eleventh and nineteenth Sargas in
Raghuvamsa.
If a line contains Ragana, Nagana and Ragana followed by one

Laghu and one Guru in that order, it is Rathoddhata.89
The example is:
- U - /UUU/- U -/U -
qxwldl'fl’ dffid'ld^TTf'dRR I
I I
When a line contains Ragana, Nagana, Bhagana and two Gurus
in that order it is Svagata.90
The example is:
- U -/ UUU/-UU/- -
d -*■! <[T/ HH mD/dl<id/d4'T
H dTR f^V-TR-
fiJeil’UIH I I
It is interesting to note here that in both these metres the total

quantity of syllables and Matras of each line is same. Only the
alteration of the position of Guru and Laghu in the last part makes it
two distinct metres.
A.K. Warder observes that Rathoddhata is a derivative from early

musical metres, Vaitaliya and Aupachandasika and it is the first in
the series of metres which are both syllabic and strictly musical.
The antiquity of this metre goes back to Pali literature as the Kunala
78
jataka and Terigatha have same stanzas composed in this metre.91

As Rathoddhata is probably anterior to Svagata, it can be concluded
that the latter might have developed from the former. Ksemendra
says that Rathoddhata shines with a Visarga in the last syllable of
each Pada92 and in Svagata there should be an ‘Akara’ and a Visarga
in the first and the last syllables respectively in each line.93 He further
says that this is suitable for describing the moonrise and matters
relating to justice.94
In this group some other metres like Bhramaravilasitam

(—/- U U/U U U/U -). Vrtta which is known as Prthvi in VR (U U U/
U U U/U U -/- -) and Syeni, known as Vaitika in VR(- U -/U - U/- U
-/U ) are defined by Pingalacarya.95
Kedarabhatta includes Upasthita (- - U/ U - U/U - U/- -/).

Ekarupam ( /U U -/- -). Sumukhi ( U U U/U - U/U - U/U -).
Subhadrika (U U U/U U U/- U -/U Mauktikamala (- U U/- - U/U U
U/- -) and Upastitam (U - U/U U -/- - U/- -)also in this group.96
Jagati Class
Like Tristubh, this metrical scale also includes a variety of popular
metres like Vamsastham, Indravamsa, Totakam, Drutavilambitam,
Bhujarigaprayatam and Pramitaksara.
Vamsastham and Indravamsa

Amulydhan Mukherji observes that the earliest of the new
emergent metres was probably Vamsastham. This is a simpler metre
constituted by Jagana, Tagana, Jagana and Ragana in that order.
The example is as follows:97
U-U/--U/U-U/-U-
HPT?
TTTflTnd festn
The two epics, Mahabharata and Ramayana, contain a

considerable number of stanzas in this metre. This is widely accepted
79
in classical Sanskrit literature also. Right from the times of Kalidasa

this has been accepted as canto metre in Mahakavyas.98 PP gives
the name Vamsasthavila for this metre Vamsastham. Ksemendra
praises Vamsastham used by Bharavi.
He also opines that this metre is more beautiful with non

compound words and the Visarga, which occur in the last syllable in
each Pada."
Altering the first Laghu into Guru, Indravamsa is formed from

Vamsastham. So it can be considered as a variant of Vamsastham.
Here is an example:
/- - U--U U-U - U -/
TTW cpcPT I I
Pingala has not discussed the mixed type of Vamsastham and
Indravamsa, but later prosodists accept it and the commentary on
CS gives examples for such fourteen types.'00 They might have
developed these Upajati types from the analogy of the mixed type
of Indravajra and Upendravajra.
Totakam, Bhujahgaprayatam and Sragvini

Though these three metres are classified as fixed syllabic metres
they are actually included in the category of foot metres. Totaka is
formed by the repetition of Sagana:
(U U -/U U -/ U U -/U U -)
In Bhujarigaprayata Yagana is repeated
(U - -/U - -/U - -/U - -)
and Sragvini is repetition of Ragana
(- U -/- U -/- U -/- U -).
All the schemes cited here show that the rhythm of these metres
80
corresponds to the formula of drumming. And this indicates the

non-Vedic influence also in the development of these metres.
PP lists some other metres also in this category. Repetition of

Tagana constitutes Saranga (- - U/- - U/- - U/- - U)101
Mauktikadama is the repetition of Jagana (U - U/U -U/U - U/U

- U)'02
Repetition of Bhagana constitutes Modaka (- U U/- U U/- U U/

- U U).10? Taralanayani is consituted by four Naganas'04 which means
that it is a metre with twelve Laghus. Vidyadhara is constituted by
twelve Gurus.’05 IN PP, the Ganas in these foot metres are some
times grouped in Catuskalas or in Pancakalas.
Pramitaksara and Drutavilambita

These are two popular classical metres considered to be
derived from Totaka, a foot metre. Pramitaksara is derived from
Totaka by anaclasis between the fifth and sixth syllables.
Totaka : UU-UU-UU-UU-
Pramitaksara :UU-U-UUU-UU-
This shifting is very much capable of giving a new dynamism to

the metre. Another notable aspect is that the trisyllabic foot analysis
of this metre corresponds to the moric foot system ‘Catuskala’. The
Pramitaksara itself gives the implication that the metrical structure
of this metre is based on the measurement of moric values of syllables.
Magha who is reputed for his skill in using musical metres, has
employed Pramitaksara as a canto metre in nineth canto of his
Sisupalavadha.
Drutavilmbita is formed from Totaka by dropping a short
syllable from the last foot and prefixing the same in the
commencement:
Totaka : UU-UU-UU-UU-
Drutavilambita : UUU-UU-UU-U-
As a result, the rhythm of the metre changes into ‘a rapid and

dilatory’ nature as the name of this metre itself implies.
81
Metre in Sanskrit
The example given below makes it clear:
U U U/-UU/-U U/-U-
'IPTT
W TTT Tiw fMt

T^<+><l sl^'Tl■Hariri I I
Kalidasa has accepted this musical metre also as a canto metre

in nineth canto of Raghuvamsa.
Certain other metres like Puta, Jaloddhatagati, Manimala,

Kusumavicitra, Cancalika, Kantotpida, Vaisvadevi, Vahini and
Navamalini are defined by Pingalacarya. Candravartma,
Pramuditavadana, Mahitojjvala, Jaladharamala, Prabha, Malati,
Tamarasam, Priyamvada, Lalita and several other metres in this
metrical scale are enumerated in /’/’and VR. But they seem to be
not so popular in classical Sanskrit literature. Though varieties of
metres were devised in course of time, they might have lost their
popularity.
Atijagati Class
Pingala defines four metres in this group which are Praharsini,
Rucira, Mattamayuram and Gauri. Kedarabhatta defines some other
metres like Ksama, Cancarikavali, Manjubhasini and Candrika.
Among them Praharsini, Rucira and Manjubhasini are more popular
and commonly used by poets.
Praharsini
Amulyadhan Mucherji states that the basic rhythmic motif and the
principle of structure of Praharsini have not been so far clearly
defined. He also says that it might have evolved from Vedic Tristubh by
the process of compounding. But A.K. Warder is of opinion that it is a
derivative of Aupachandasika,l06an early musical metre which has only
the cadence fixed. The cadence of both these metres is the same:
Aupachandasika : Six Matras /- U - U --
Eight Matras / - U - U - -
82
Praharsini : ---UUUU/-U-U--
This is a fairly popular metre from the age of epics to the

classical period. Poets and dramatists have extensively used it in
their works. Asvaghosa and Kalidasa occassionally use this at the
end of the cantos. Bharavi has used this as a canto metre in the sixth
canto of Kiratarjuniya. Bharata accepts this as a metre to be employed
in drama.107
Rucira
Jagana, Bhagana, Sagana, Jagana and a Guru in due order
constitute Rucira.108
U - U/-U U/U U-/U-U/-
grpiiTTrsd<ftqq iftqIq?r I
ww wra 11
Amulyadhan Mukherji observes that this metre might have been
derived directly from Vedic Jagati by the process of substitution.
Taking into account the structural affinities, some scholars suppose
that this might have had its development from Vamsastham by
resolution. The fifth syllable which is a Guru in Vamsastham is
substituted by two short syllables in Rucira. Amulyadhan Mukherji
says that this view seems difficult to be accepted as in Ramayana
like Vamsastham Rucira also is seen employed.109 In the seventeenth
canto of Sisupalavadha Magha has accepted this as canto metre.
Manjubhasini
If in a line, there are Sagana, Jagana, Sagana, Jagana and a
Guru in that order it is Manjubhasini.110 This is a beautiful metre
with an attractive melodic tone. In the nineth Sarga of Raghuvamsa
in which Kalidasa makes a great display of metrical variety,
Manjubhasini stanza is also used:
83
M ft <^4-1 PH
’jw wm cbifMt 1I'"
This metre has a close rhythmic affinity to Pramitaksara as the

first three component feet of the two are the same.
Pramitaksara : U U -/U - U/U U -/U U -
Manjubhasini : U U-/U- U/U U -/U - U/-
Like Pramitaksara, Magha uses Manjubhasini also as a canto

metre.
Sakvari Class
Metres in the Sakvari class seems to be not so popular in
classical Sanskrit poetry. In various prosodial texts, about twenty
metres are defined in this metrical class.1'2 Pingala discusses six
metres of this group such as Asambadha, Praharanakalika,
Vasantatilaka, Simhonnata, Aparajita and Uddharsini. Kedarabhatta
does not mention Uddharsini but adds two other metres, Induvadana
and Alola.
Vasantatilaka
In the Sakvari group, Vasantatilaka is most important. This metre
is abundantly used in Ramayana and Mahabharata. A.K. warder
states that the metres Vasantatilaka and Praharsini are not found in
the Pali canons."3 But in classical period, this metre was very
popular. Asvaghosa’s some verses in praise of the Enlightenment of
the Buddha are written in this metre. In the later phase of the
development of Mahakavyas, this got acceptance as a narrative
metre. In Sisupalavadha, Magha used this metre to compose the
fifth canto. In later ages poets like Abhinanda and Ratnakara also
accepted this metre. The structural affinity between Indravajra and
Vasantatilaka shows that the latter is derived from Indravajra by
inserting a Nagana after the fourth syllable.
Indravajra : - - U/- -U/U - U/- -
Vasantatilaka : --U/-U U/U-U/U-U/--
Generally, Prosodists do not recognise any caesura in
84
Vasantatilaka. But the author of Srutabodah suggests caesura in eighth

and last syllables:1'4
According to Ksemendra Vasantatilaka is apt for depicting Vira

and Raudra.1'5 He points out that this is Ratnakara’s favourite metre."6
More than half of the poem Haravijaya, written by him is in
Vasantatilaka. This metre is also known as Simhonnata or Uddharsini.
Among the other varieties Praharanakalika has more

importance. In traditional method of analysis, this is a metre constituted
by Nagana, Nagana, Bhagana, Nagana, Laghu and Guru in that order.
Atisakvari Class
In the Atisakvari group, Pingala defines four metres which are
Candravartma, Mala, Manigunanikarah and Malini. Kedarabhatta
describes seven: Sasikala, Srag, Maniganakirana, Malini,
Prabhadrakam, Atirekha and Candralekha. It is to be noted here that
Kedarabhatta does not analyse the first three metres as trisyllabic
Gana. They have the same syllabic scheme Fourteen Laghus
followed by a Guru constitute them. Position of Yati is the only
differentiating factor.
Candravartma : U U U/U U U/LFU U/U U U/U U-y
Mala : UU U/U U Uy/U U U/U U U/U U-y
Manigunanikarah : U U U/U U U/U UyU/U U U/U U -”7
From the above, it is clear that caesura has a considerable role

in differentiating the metres. Kedarabhatta defines the same metres
in the name of Sasikala, Srag and Manigunanikarah respectively.
He defines three more metres namely Prabhadrakam, Atirekha and
Candralekha in this group."8
Malini
Malini is the most popular metre in the Atisakvari group. In
Ramayana and Mahabharata, this metre has been employed
occassionaly. In the classical period, this metre is very much popular.
In this metre, each line comprises two Naganas, one Magana and
two Yaganas in due order. The caesura comes on the eighth and
seventh syllables."9 It can be assumed that Malini has derived from
85
Metre in Sanskrit
Vaisvadevi by adding two Laghus in the place of one Guru. Thus

the first three Gurus in the opening of Vaisvadevi is resolved into
Laghu. This trend may have the influence of the rhythmic structure
of Puspitagra which has six Laghus in the opening.
Bharata has mentioned this metre under the name Nandimukhi.

He accepts this as a metre suitable to be employed in drama.120
Kalidasa has used this as a closing metre of the cantos. Magha, who
has a special fondness for using longer metres, has accepted this as
canto metre in nineth Sarga of Sisupalavadha.
PP gives the scheme of Malini as a combination of different

Matraganas.
UU,U U,U U, ---, U, u, --
According to Ksemendra in the first half of Malini there should

be no compounded words. In the second half compound words are
recommended.12’ Further he says that this metre is also suitable for
closing a canto.122
Asti Class
Metres, included in this class also, are very rare in classical
literature. So, Pingala gives only one named Rsabhavilasita in this
group. Kedarabhatta defines one more, named Banini./’/’gives a
longer list containing eleven metres. Most of these metres are the
duplication of the Anustubh class. Among them, Bahyarupakam, with
sixteen Gurus, is a duplication of Vidyunmala.
Composite Metres
Based on the nature of components, the syllabic metres can be
divided into two main classes, simple and composite. Metres that
are constituted with periods consisting of the number of feet
(sometimes disyllabic or trisyllabic) are called simple metres. Popular
metres like Upajati, Vamsastham, Vasantatilakam and Malini are
considered as simple metres.
In course of the development of Kavya literature, poets with

high Calibre, on search of new rhythmic patterns that are capable of
manifesting their imaginative ideas and various emotive aspects,
began to design new metres on new principles. They are formed by
86
a harmonious arrangement of periods, two or three standard

sequences with varying rhythmic structure. This process is called
composition. It is entirely different from compounding or extention,
that have been mentioned above.'23 Metres constituted by the process
of composition are called composite metres. Varieties of metres
starting from Atyasti class come under this group.
Some Popular Metres in Atyasti Class

Sikharini
Sikharini is one of the most popular metre in Atyasti group.
Each line of this metre is constituted with three standard sequences
that are commonly used as components in longer metres. The scheme
of Sikharini is :
U y/U U U/U U -/-y U U /-
The first sequence has six syllables with only one laghu in the
commencement. The second is a five syllabled sequence with Laghus
only. A sequence of syllables mixed with Guru and Laghu constitute
the third. The caesuras suggested after sixth and eleventh syllables
itself indicate the component metrical schemes.124
Thus the rythmic pattern, constituted with a single Laghu

followed by five Gurus, five Laghus and then with a mixed cadence
is very effective to express the mental conflicts caused by two
contrasting emotions. The following example will make it clear:
TTT 'JkTT ci-lPI

WrT eTTRT f? -bfadH I I'25
Here the conflictof Vira and Vipialambha is poetically depicted

through the rhythmic pattern of Sikharini.
This metre is very popular in Sanskrit dramas and lyrics. The

devotional lyrics like Saundaryalahari and Gangalahari are written
in this metre. Ksemendra has presented some notable ideas on the
structures and application of Sikharini in poetry. He states that the
87
Metre in Sanskrit
ascending or mounting nature of Sikharini is very suitable for

Ojoguna. He also comments that when the rhythmic flow of this
metres is cut off by words it loses its charm. Such example is also
given by him:
MR WTT fWHX
fasilrj ciiqfttd: I I
It can be assumed that this metre came into vogue from

Asvaghosa’s time itself. In later ages Amaruka has used this in his
famous Sataka. Ksemendra praises Bhavabhuti’s skill in using
Sikharini as river with free flow.126
Mandakranta
Mandakranta, which is traditionally accepted as a Sandesakavya
metre, is considered to be a derivative of Sal in i. In orderto form this
new composite metre, a standard sequence with six syllables
(UUUUU-) is inserted between the opening and the cadence of Salini.
Thus the scheme becomes------/UUUUU-/- U --U Ksemendra states
that Mandakranta gets its rhythmic charm with its four long syllables in
the commencement joining with the six syllables in the middle:
'■1’dlsbl’dlfcltMA I I127
This metre with a slow opening followed by a quick middle and

a wavy cadence, is much capable of expressing the passion enhanced
by seperation. Ksemendra says:
CA H’dlsbl’dl PlTNd II128
He praises Kalidasa’s skill in handling the metre:

gERTT qqfcTTTWT H'dlsbl’dl MclHJlIrl: I
qsWM^-HII^HI II129
It is to be noted in this connecton that this metre does not

appear to have been used either by Asvaghosa or by Bhasa. So it can
88
be assumed that Mandakranta had not at all been invented or got

not popularity at the time when Asvaghosa and Bhasa wrote.
Prthvi
This is also a composite metre quite common in lyrics and
dramas. The Yati suggested after the eighth syllable'30 indicates that
it might have been evolved from Anustubh by composition. The
abundance of Laghus in the opening and the multiplicity of Gurus in
the cadence, give an attractive rhythmic effect to this metre.
Ksemendra says that when a Prthvi stanza is constituted by
uncompounded independent words, it appears to be much prolix.
When it is formed with long compounds, it seems to be shortened:
3RTITT^7 q
The common practice of poets shows that this metre is

adaptable to almost all sorts of sentiments.
The following stanza from Gitagovinda is an example for the

first type (uncompounded):
iTKT fcfSJEj■4'1-cicl i qdRl TRt JId I I I
M-q|{5fdI
WTT II132
It is to be also noted here that this metre is adaptable to depict
the marvellous sentiment in the first example as well as the sentiment
of wrath and terror in the second. The rhythmic pattern of this metre
is adaptable to all sorts of sentiments and so poets naturally have an
^nfvT I I'3'
89
inclination to choose this metre and thus it became one of the most
popular metre in the later classical metre.
Harini
In traditional mode of analysis Harini is considered to be an
assemblage of Nagana, Sagana, Magana, Ragana, Sagana, Laghu
and Guru in due order.133 But actually this is composite metre
constituted by three sequences. The first is a six syllabled sequence
and the third is seven syllabled. A four syllabled sequence (which is
termed as metre Kanya by Kedarabhatta and Tirna in PP) is inserted
in the middle of these two sequences. Thus the scheme becomes as
follows:
UUUUU-/----/U-UU-U-
It is to be noted here that usually the longer composite metres

with these metrical sequences start with a slow rhythm and then has
a quicker rhythm. But in Harini a reverse order is seen maintained.
It starts with a quicker rhythm and the second sequence has a slow
rhythm. For example:
3RT 3T faqiloUH-dlcHI wfTfer

wttow I
c|I<1 i ^041 cl <11 TFg
ft II134
Starting with five Laghus followed with five Gurus and then
with a mixed cadence the rhythmic pattern of Harini is suitable for
expressing surprise or alarm. Ksemendra states that this metre is
very appropriate to expound excellence and magnanimity.
FTTK CRT I135

Dhrti and Atidhrti Class
Though prosodists have catalogued a number of metres in Dhrti
and Atidhrti group most of them are not regularly used by poets.
Kedarabhatta lists Kusumalatavellita, Haranarttakam and
Simhavikriditam136 in Dhrti class and Meghavisphurjitam and
Sardulavikriditam137 in Atidhrti class. The only popular metre in this
group is Sardulavikriditam.
90
Sardulavikridita
This is one of the most earliest composite metre that might have
been in vogue from first century A.D. itself, but hardly to be expected
in the period of Ramayana. In medieval period this became a most
popular metre in Sanskrit lyrical poetry. The celebrated erotic lyric
Amarukasataka is composed mainly in Sardulavikridita metre.
Amulyadhan Mukharji observes that Sardulavikridita is evolved

from Anustubh by ‘composition’.'38 He says that structurally this
metre has two sections and the first section has three component
members of four syllables each.
- - - U, U - U U U U -U--U-
A.K. Warder points out that the opening rhythm of

Sardulavikridita has a close affinity to that of Upasthitapracupita, (-
--UU-U-U), the most remarkable metre of the Pali canon. So
the probable influence of rhythmic principle in Prakrt prosody in the
development of Sardulavikridita cannot be neglected.'39 PP studies
this metre as constituted with various types of Matraganas:
-- U U, U, U U U, - - U, U, -140
Two metres called Sardula'4' and Sardulalalita,'42 which are not

so popular, are mentioned in Dhrti class by certain prosodists. The
prior section of these two metres is the same as that of Sardulavikridita.
The scheme of Sardula is as follows:
---UU-U-UUU-/-U----
The scheme of Sardulalalita is:
------- UU-U-UUU-/--UUU-
In the case of posterior section the scheme is very different and

Sardulavikridita has one more syllable. Probably these two metres
may be the later derivatives of Sardulavikridita.
The beautiful rhythm of these metres is flexible and adaptable

to a great variety of emotions. It is highly suitable to solemn
compositions like prayers and mystical meditations. According to
Ksemendra this metre is very much effective in depicting heroism.
91
HrTH I143
Asvaghosa has used kusumalatavellita in Saundarartanda.'™ In
Raghuvamsa there is one stanza in Simhavikriditam.145
Metres in Krti Class

Metres having syllables from twenty to twentysix per line are
included in this class. Most of them have their development either
from the composite metres or by duplications of the simple metres
discussed earlier.
If the Guru in the commencement of Sardulavikridita
( — U U - U - U U U -y- - U - -U -)'46 is resolved, it becomes

Mattebhavikridita (UU--UU-U-UUU-y--U--U -)'47
Meghavisphurjita (U---------- y U U U U U -y - U - - U - -)'48 is

derived from Sikharini (U-------- y U U U U U--yU U U -)’49 only by
changing the metrical scheme of cadence. The metres called Vaitika
(_ U - U - U - U - U -),5° and Vrtta (- U - U - U - U - U - U - U - U -
U - U)151 are only extended forms of Samani ( - U - U - U - U).152 Thus
most of them can be considered as variants or derivations of the
simple or composite metres discussed earlier. Though poets
experimented many such metres they did not get much popularity.
The reason may be the difficulties encountered in creating and
maintaining the rhythmic effect through such an elaborate sequence.
With its peculiar rhythmic nature, Sragdhara survived and got much
popularity among these metres.
Sragdhara
This composite metre might have come into existence in an
earlier age and became popular when Asvaghosa wrote his plays.
Bharata has accepted Sragdhara as a metre suitable to be employed
in drama.153 In medieval age it was accepted as one of the foremost
among the longer metres. Many devotional lyrics like Candisataka
of Bana and Suryasataka of Mayura are written in Sragdhara metre.
Sanskrit prosodists have defined these metres as an

assemblage of Magana, Ragana, Bhagana, Nagana and three
Yaganas in due order. But the Yati suggested after every seventh
syllable154 itself makes it clear that this is composed by three different
92
metrical sequences with same number of syllables.
-.. 1 U - -y/U U U U U U-y/- U - - U - -
The first sequence heavy with six Gurus has a slow rhythm. The
second has a quicker rhythm as it is formed with a series of Laghus
and only one Guru. The third differs from the first only in respect of
the quantity of the second syllable. It is quite effective to synthetise
the rhythmic motif of the first and second. Like Sardulavikridita and
Mandakranta, PP has studied Sragdhara also as formed by various
Matraganas: U,-,-, U U U U,U U -,-,U,- - ,U -,-155
Katyayana one of the earliest author on prosody has stated that

this metre is much appropriate to depict Vira.
TPW HTT I156
Like Sardulavikridita and Prthvi, this is also adaptable for
almost all sorts of emotions.
Ksemendra is of opinion that Sragdhara will be more attractive

if it is not inserted with Yati, though suggested by prosodists.157
Uneven Metres
The syllablic metres discussed above are strictly composed with
four lines of uniform length and structure. Apart from these types
another group of metres which deviated from this symmetrical
structure were also current in practice in classical Sanskrit literature.
They fall into two types, Ardhasama and Visama. When the odd
lines of a stanza have the same pattern and even lines have a closely
similar pattern it is called Ardhasama metre. Metres in which all the
four lines have widely different patterns are called Visamavrttas.
Ardhasama Metres
These metres are essentially lyrical in character. Amulyadhan
Mukherji opines that they might have derived from the Vedic lyrical
metres. Taking into account the iambic features of these metres, he
argues that the prototype of them may be Jagati.158
Another view is also prevalent among scholars. According to

this these metres had their development from the early musical
metres, Vaitaliya and Aupachandasika.159 Halayudha’s comment
93
X
on this matter deserves special mention in this context. Illustrating

the three metres Bhadravirat, Puspitagra and Aparavaktram he clearly
states about their relation to Aupachandasika and Vaitaliya. He says
that Bhadravirat and Puspitagra are included in Aupachandasika160
and Aparavaktra in Vaitaliya.’61
According to the structural characteristics these Ardhasama

metrescan be grouped into three. The first group includes Bhadravirat,
Malabharini and Puspitagra. As stated above these metres have a
close relation to Aupachandasika. In Aupachandasika cadence only
is regulated with Gana, Guru and Laghu. The opening is irregular. If
the opening also is regulated, it becomes either Bhadravirat or
Malabharini or Puspitagra. The scheme of Aupachandasika is:
Odd line: 6 Matras/ - U -/ U - -
Even line: 8 Matras/- U -/ U - -
If the cadence of odd line is regulated by syllables as UUUUUU

(Six Matra) and that of even line as UUUU- UU (8 Matra) it becomes
Puspitagra. The definition is:
qfwrw I162
Then the scheme is:
Odd line:U U U/ U U U/ - U -/U - - Nagana, Nagana, Ragana

and Yagana
Even line:U U U/U - U/U - U/-U-/- Nagana, two Jaganas,

Yagana and a Guru.
If it is regulated in the following way:
Odd line : (6)
- - U U/ - U- U- -(10 syllables)
Even line : 8
— U U/- U - U - - (11 syllables)
it will become Bhadravirat.163
94
If it is regulated as:
6
Odd time : U U - U U/-U - U--(11 syllables)
Even line : U U - - U U/- U - U - - (12 syllables)
it becomes Malabharini.'64
In second group there are two metres. Viyogini (Sundari or Lalita)

and Aparavaktram. These are much related to Vaitaliya. As stated
above, here also if the cadence of Vaitaliya is regulated with Gurus
and Laghus, these two metres are formed.
Scheme of Vaitaliya is as follows:
Odd line : 6 Matra/- U - U -
Even line : 8 Matra/- U - U -
If the cadence of both odd and even lines are regulated as:
Oddline: U U - U U/- U - U -
Even line : U U - - U U/- U - U -
It becomes Viyogini.165
If the regulation changes into
Odd line : U U U U U U/- U - U -
Even line : U U U U - U U/- U - U -
it becomes Aparavaktram.
The third group includes Vegavati, Ketumati, Upacitraka,

Drutamadhya, Harinapluta, Yavamati, Akhyataki and
95
Viparitakhyataki. Some of these metres are derived from the popular

metres Dodhaka and Drutavilambita.
Vegavati166 is formed from Dodhaka by dropping the first Guru

from the odd line.
Odd line : - U U -/U U -/U U -/- (10 syllables)
Even line : -UU-UU-UU--(11 syllables)
In the same manner Harinapluta167 is developed from

Drutavilambita:
Odd line : U U U-U U - U U - U - (11 syllables)
Even line : UUU-UU-UU-U-(12 Syllables)
Here, in the commencement of Drutavilambita, the first laghu

is dropped from odd line.
In Upacitraka168 the number of syllables in odd and even lines

are the same. They differ in the number of morae and arrangement
of Laghus and Gurus, that means in Ganas:
Odd line : U U -/U U -/U U -/U - (15 Matras)
Even line : - U U/- U U/- U U/- - (16 Matras)
Akhyataki and Viparitakhyataki are actually Upajati itself.

When the odd lines are Indravajra and even lines are Upendravajra
it is called Akhyataki. If the order is in vice-versa it is
Viparitakhyataki. Here also number of syllables in odd and even
lines are the same. The number of Matras only differs.
Thus in one way or other all the Ardhasama metres are some
modified forms of the popular simple metres. Among them Puspitagra,
Viyogini and Aparavaktram are very familier in classical literature.
Puspitagra is usually used as a tag metre at the end of the cantos.
Kalidasa and Bharavi has accepted Viyogini as Canto metres.
Bharata accepts these metres in drama also.169
Visamavrtta
In this type the four lines of the stanza have different metrical
patterns. This also can be classified into three groups;
96
1. Udgata group
2. Upasthitapracupita group,
3. Padacatururdhva group.
Udgata Group
Udgata group includes two other metres, Saurabha and Lalitha.
Actually they are two variants of Udgata. The first line of Udgata is
constituted by Sagana, Jagana, Sagana and Laghu. The second line
is formed by Nagana, Sagana, Jagana and a Guru. The third line has
Bhagana, Nagana, Jagana, Laghu and Guru. The fourth line contains
Sagana, Jagana, Sagana, Jagana and Guru in due order.170 Saurabha
is formed when the pattern of third line only is changed in to the
order of Ragana, Nagana, Bhagana, and Guru.171 If it is changed in
to two Naganas and two Saganas, it becomes Lalita.173
These variations themselves show that structurally Udgata is

Matravrtta. It has close similarity to the Prakrt metre, Dvipatha as
mentioned in PP.'7A But when its flexible nature is rigidified by
regulating syllabic quantity it loses its possibility.
Udgata and its two variants Saurabha and Lalita might have
pre-vailed in Sanskrit literature in early periods. Poets like Asvaghosa
has employed this metre in his Kavya. Fortyone stanzas in the
commencement of third canto of Saundarananda are in Udgata
chandas. Bharata accepts Udgata and its variety Lalita as metres to
be employed for drama.175
Upasthitapracupita Group
Including two variants, Vardhamanam and Sudhaviradrsabha,
three metres are mentioned in Upasthitapracupita group. As in
Udgata, here also the differences between the variant types are only
due to the variation in the structure of the third line.
The first line of Upasthitapracupita contains Magana, Sagana,

Jagana, Bhagana and two Gurus. The second line is formed by
Sagana, Nagana, Jagana, Ragana and one Guru. The third line has
two Naganas and a Sagana and the fourth line consists of three
Naganas, Jagana and Yagana. When the third line is formed by
Nagana, Nagana, Sagana, Nagana, Nagana and Sagana, which is
97
the duplication of the third line of Upasthitapracupita, this metre is

known as Vardhamanam.176 When the third line is changed asTagana,
Jagana and Ragana this metre is known as Suddhaviradrsabham.177
Amulyadhan Mukherji observes that structurally these metres have
something in common with metres like Sardulavikridita.
Padacatururdhva Group
The third group of Visamavrtta is Padacatururdhva group. In
this metre, the constituent verses are progressively longer by four
syllables as eight, twelve, sixteen or twenty. In this metre the first
line contains Yagana, Ragana and two Gurus. The second line has
Yagana, Sagana, Tagana and Magana. The third line is formed by
Sagana, Bhagana, two Maganas, Yagana and a Guru and the fourth
by two Nagana, Sagana, Bhagana, Sagana, Ragana and two Gurus.
CSdefines five metres in this group. They are Apidah, Pratyapidah,
Manjari, Lavali and Amrtadhara.178 In Apida the number of syllables
is same as that of in Padacatururdhvam. The only difference is that
all syllables except the last two syllables of each line must be
Laghu.179 The Pratyapida has two types. In the first variety the
two Gurus occur in the commencement of each line. In the second
division the two Gurus come both in the opening and cadence.
The other three divisions Manjari, Lavali and Amrtadhara are
depending up on the replacement of the eight syllabled first line.
If that occur in the second line that metre is known as Manjari. If
that is in the third line, that is Lavali. If that is in the fourth line,
that metre is known as Amrtadhara.180
Kedarabhatta also deals with all these varieties in

Padacatururdhva group.181
Dandakas
Metres with more than twentysix syllables per line are
collectively known as Dandakas. These types of metres are also
included in the Samavrtta group. The names of Dandakas are
determined on the basis of the number of Ragana coming after two
Naganas. The names of Dandakas are as follows:
1) Candavrstiprayatam. two Naganas and seven Raganas.
2) Arnnam: two Naganas and eight Raganas.
98
3) Arnavam: two Naganas and ten Raganas.

4) Vyalah : two Naganas and ten Raganas.
5) Jimutah: two Naganas and eleven Raganas.
6) Lilakarah : two Naganas and twelve Raganas.
7) Uddamah : two Naganas and Thirteen Raganas.
8) Sankhah : two Naganas and fourteen Raganas.'82
In addition to the above varieties there are other Dandakas where

Ragana is replaced by Yagana or Tagana.183
Dandakas are current in classical literature especially in

devotional lyrics and dramas. In such metres the upper limit of the number
of syllables has not been prescribed. The rhythmic beauty of these metres
can be seen in Syamata dandaka which is attributed to Kalidasa.
In Kuvalayamala Dandakas are employed profusely to

describe battle.
Gatha
After enumerating and defining a large number of varieties in
moric as well as syllabic group prosodists like Pirigala and
Kedarabhatta evaluates the possibility of still another group of metres
termed as Gatha. Pingala refers to this as: STTTRtFT WIT I184
Kedarabhatta defines Gatha as :

TTWWyWHWWT I185
He also states that
WT.A4 wjtt w ntwr I186
These statements show that many metres that are not included
or cannot be included in the traditional definitions given by famous
prosodists, are also found used by Poets. This points out to the
important fact that Poets used to employ new metres according to
their poetic genious which are sometimes above the limits of
definition. This itself is the vast possibility, variety and richness of
metres in Sanskrit.
Thus the classical literature is highly rich with the variety of
99
varied metres, both moric and syllabic. It represents a stage of fruitful

fusion of the Vedic and non-Vedic traditions. The influence of Prakrt
prosodial tradition is apparent in it. For example, Arya and Aryagiti
are the same Gatha and Skandhaka in Prakrt. Many metres like
Vidyunmala, Totaka and Drutavilambita, which can be termed as
foot metres, are actually based on the metrical motives that infiltrated
into Sanskrit from indigenous folk rhythms. So it can be concluded
that as every realm of Indian Culture, Sanskirt prosody also has been
influenced by the different traditions in India.
It has been already stated that from the age of great epics itself,
a large number of metres were experimented in respective periods.
But only a handful of them survived the test of time and became
popular and acceptable through out in literature. The others, on the
otherhand, never struck root in later poetic compositions. They
remained confined in the prosodial works only with the definitions
and rare illustrations given there.
In earlier times, the poets with indigenous caliber invented and

practised new metres with high insight on the basic principles of the
rhythmic structure. They knew that in poetry, language, emotion
and metre are highly interrelated. But in course of time, poets began
to use traditional metres without any new innovative ideas in this
field. Thus the growth and development of Sanskrit prosody, to an
extent became stagnant. In this regard most of the prosodists also
while illustrating metres, did not give special attention either to
their principles, rhythmic and poetical aspects or their relation to
emotive aspect of poetry. Instead they simply define and illustrate
metres in tradtional way which was inaugurated by Pingala. Thus
there was no any advancement in Sanskrit prosody and no genuine
creative activity in the field of prosody was carried out either by
prosodists or by poets. It is in this context that Vrttavartika (VV) has
presented some innovative ideas on prosody.
References
1. Sanskrit Prosody, p. 46.
2. For details vid IKL, vol. 11, pp. 47, 58.
3. Suvrttatiiaka (ST), Ksemendra, Kavyamala series, Chowkhamba
Bharati Academi, Varanasi, 1988, 1,14.
100
4. An Anustabh vaktra with two quarter lines is seen throughout in

Itihasas and Puranas. For example vide Ramayana, Ed. Pant.
Sivaramasarma Vasistah, Chowkhamba Vidyabhavan, Varanasi,
1977. Balakanda, XVIII, 54, 59, XX, 8, 20, 24.
5. Ramayana, Ayodyakanda, Cantos II, III and XXII.
6. Ibid., Cantos, 1, VIII, IX and XI.
7. Ibid., Kiskindakanda, LXIII.
8. Ibid., Balakanda, XX
9. Mahabharata, Editor, Khanasyamadasa, Gita Press, Gorakhpur,
1966.
10. ^rr qwwm
SBj fgMdl idg'di I I
xT cT^T Wt
fa^TT 461441:
wfin 11
Ibid., Virataparva, LXVII, 15.
Here the Ist four lines have eleven syllables and last two have 12
syllables so it is an admixture of the varieties of Tristubha and
Jagati
11. Ibid., Bhismaparva, canto, CXXI, 53, 56.
12. Ibid., Virataparva, canto XXXVII, 1-5.
13. Ibid., Drona Parva, CLXXXIV, 47, 48.
14. Ibid., Udyogaparva, X, 23, 24.
15. For a detailed discussion on this topic and the ten processes vide
Sanskrit Prosody, pp. 50-56.
16. PP, 11, 59.
17. Amulyadhan Mukherji calls samani by the name samanika. Vide
Sanskrit Prosody, p. 56.
18. IKL, Vol. 11, p. 39.
19. For details vide supra, p. 19.
20. VR, 11, 30.
21. IKL, Vol. 11, P. 53.
101
22. A.K. Warder has discussed this point in the context of explaining
the poetic techniques in Buddhist works in Pali. For details vide
IKL, pp. 39-41.
23. For details vide VR, 11, 33.
24. Ibid., 11, 23, 24.
25. PP, 1, 49.
26. Srutabodha, Kalidasa, Chawkhamba Amarabharati Prakasan,
Varanasi, 1983, V, 4.
27. PP, 11, 63.
28. Chattravum Camaravum, Mathrubhumi, Kozhikode, 1988, P. 309.
29. NS, XV, 196.
30. Ibid., XV, 197.
31. Vide commentary on sutra IV/22 of CS.
32. NS, XV, 222.
33. NS, Vol.11, Abhinavabharati, P. 1245.
34. Halayudha in the commentary of CS States that eighty Varieties,
Vide CS, with the commentary of Halayudha. p. 51.
35. IKL., Vol.11, p.189.
36. Ibid., Vol.11, p. 189.
37. quoted in Vrttaratnakara Pahjika, vide VR, p.25.
38. CS, IV, 48.
39. For a detailed account of Varieties of Matrasama vide VR, 11,
51-57.
40. VR, 11, 34.
41. Ibid, 11, 35.
42. /AT., Vol.11, pp. 30, 53, 75.
43. Ibid, p. 47.
44. Vide for details VR, 11, 36-42.
45. VR, 11, 43.
46. Ibid, 11, 47
47. ST, 1, 14
48. CS, P. 82.
49. VR, 11, 59, 60, 61.
50. CS, P. 69.
102
51. dfcuicl I
NS, XIV, 54.
52. Ibid., XIV, 56.
53. qîfrr ?rt w«i •y^fd <M>i41Hwra<4<did I
Ibid., Vol. 11, Abhinavabharati, P. 1150
54. VR, P. 34.
55. PP, 11, 4, 6, 8, 10.
56. Ibid., 11, 12, 14, 16, 18, 20, 22, 24, 26.
57. VR, III, 4, 6-11.
58. PP, 11, 36, 38, 40.
59. VR, III, 6, 1-8.
60. PP, 11, 42, 44, 46, 48, 51, 53, 55, 57.
61. VR, III, 7, 1-4.
62. PP, 11, 59, 61, 63, 65.
63. CS, VI, 4.
64. Ibid., VI, 5.
65. Ibid., VI, 6.
66. Ibid., VI, 7.
67. VR, III, 5, 6, 7, 8, 9.
68. PP, II, 75.
69. CS, VI, 7, 8.
70. VR, III, 9, 12.
71. CS, P. 112.
72. Ibid., P. 112.
73. VR, III, 10, 4, 5, 6, 9, 10.
74. PP, II, 93.
75. Ibid., II, 99.
76. Ibid., 11, 92, 95, 97.
77. There is also used for mixed stanzas of Indravamsa and Vamsastha.
ST, 111, 30, P. 53.
78. Mahabharata, virataparva, LXV, 1 to 18.
Ramayana, Ayodhyakanda, 11, 57 and III 49.
79. ST, III, 30-1, 2.
103
80. wi FTJ I
Ibid., 11,17.
81. I
’st ^jRnjrsnWn 11
sr, 11,17.
82. PP, 11, 122.
83. CS, P. 119.
84. NS. Vol. 11, P. 190.
85. 57, 11, 9.
86. PP, 11, 107.
87. A colon is a shorter entity than the line.
88. SIlfeieTl pTHTW I
57, 11, 10.

89. VR, 111, 11, 11.
90. Ibid., 111,11,12.
91. IKL, Vol. 11, PP. 47-15.
92. I
57, 11, 13- 1, 2.
93. ............ I
57, 11, 15.
94. Ibid., 111,18.
95. CS, VI, 21, 24 25.
96. VR, 111, 11, 2, 5, 14, 16, 17, and 111, 12, 2.
97. Ibid., 111, 12, 2.
98. Kumarasambhava, Canto. V.
99. I
«4Ml4Pl’HJli’rl4>R?i II
57, 11, 1 7.
1 00. 3TT WTR ^F=J?3TUT T-U-ilflu’l
CS, P. 125.
101. PP. 11, 137.
102. Ibid. 11, 139.
104
103. Ibid., II, 127.

104. Ibid., II, 143.
105. Ibid., II, 11, 128.
106. IKL, Vol. 11, P. 228.
107. NS, XIV, 83, 84.
108. VR, 111, 13, 3.
109. For details vide Sanskrit Prosody, PP. 50-56.
110. VR, 111, 13, 6.
111. Raghuvamsa, IX, 14.
112. Vide for a list of this metres CS, PP. 148, 149.
113. IKL, Vol. 11, P. 114.
114. Srutabodha, Kalidasa, Chowkhamba Amarabharati Prakasan
varanasi, 1983, V. 36.
115. ci-H'riPici* farrtspih I
57, 111, 19-1, 2.
116. Ibid., 111, 15, 4.
117. CS, Vlll,11, 12, 13.
118. VR, 111, 15, 5, 6, 7.
119. Ibid., 111,15,4.
120. NS, XV 93.
121. fefWl 418-WI'Hjf WSR 81^41 47T I
ww ww wtw srarr h?tt 11
57, 11, 23.
122. spw trrfcf HlfMf ww 11
57, 111, 19-3, 4.
123. For details vide supra pp. 68-70.
124. VR, 111, 1 7, 1.
125. Uttararamacarita, Bhavabhuti.
126. WffP fal-WW Pwfcil I
57, 111, 33-1, 2.
127. Ibid., 11, 34.
128. //)/</., 111, 21-3, 4.
1 29. Ibid., 111, 34.
105
130. W?, 111, 17, 2.

131. ST, 11, 27.
132. Venisamhara, Banabhatta, Chowkhamba Sanskrit Series Office
Varanasi, 1979, 111, 4.
133. VR, 111, 17, 4, P. 76.
134. Raghuvamsa, 111, 66.
135. 57, 111, 20-34.
136. VR, 111, 18, 1, 2, 3.
137. Ibid., 111, 19, 1, 2.
138. Sanskrit Prosody, P. 75.
139. iKL, Vol. 11, p. 55.
140. PP, 11, 238.
141. CS, definition is quoted in the commentary, P. 160.
142. PP.U, 237.
143. 57, 111, 22-1, 2.
144. Saundaranandam, Chawkhamba Surabharati Prakasan Varanasi,
1991, VII, 52.
145. Raghuvamsa, /XII, 104.
146. VR, 111, 20, 1.
147. Ibid., 111,19,1.
148. Ibid., 111, 17, 1.
149. Ibid., 111, 20, 3.
150. Ibid., 111,11,15.
151. Ibid., 111, 20, 3.
152. Ibid., 111, 8, 7.
153. NS, XV, 128, 129.
154. VR, 111, 21, 1.
155. PP, 11, 261.
156. Vide supra, p. 28.
157. 57, 11, 41.
158. Sanskrit Prosody, P. 105.
159. Vrttasilpam, Kuttikrsnamarar, Mathrubhumi, Printing and
Publishing company Ltd. Kozhikode, 1979, pp. 21, 22.
106
1 60. 3d<41 M’CrS'df4cM'Tl: Mpldsfa f^T^lMMi^lIl4d4<4d Mid: I

CS, P. 93.
161. 3TW 5dlJ)iJI’ri4d^sf9 fattlWfWW I
Ibid., P. 97.
162. VR, IV, 11.
163. siU trrrt 3m3*fr n 'HsiPhi^ ^ddl4 I
VR, IV, 4.
164. This uneven metre is not much popular like Puspitagra. The
VIIth act of Abhijnanasakuntala includes a Malabharini stanza.
<r>4 'W’TTt cRTHT
faWJTTH Tj/Tjft fJd^JWT I
1 65. re RrcmSTsft TFf 45cTU re Tt PJ4T pR-d<: I

T TTHTT MredT 5dlcl)<)s4t <<dl M<-: I I
VR, 11, 34.
166. zn re
wre ^Nd'l Tfet wrr 11
Ibid., IV, 3.
167. WRT lirej famr 4w ret 6ftul^dl I Ibid., IV, 9.
1 68. I4m4 TTt TJcPTT TcT
TJTjT 'ATT I
Ibid., IV, 1.
169. NS, XV, 186, 190.
170. reFnfret d^^fedyldjldl I
VR, V, 1.
171. VR, V, Udgata prakaranam, 1.
172. Ibid., V, 2.
173. Ibid., V, 3.
174. Dvipatha has a number of varieties and they are listed in the
commentary of PP. 1, 67, P. 38.
175. NS, XV, 190.
1 76. Vide for example sutra’s commentary of Halayudha, CS, V, 28,
29.
107
177. VR, V, 1, 2, 3, PP. 104-106.

178. CS, V, 20, 21, 22, 23, 24.
1 79. WT I
CS, V, 21.
180. Ibid., V, 24.
181. VR, V, 1, 2, 3, 4, 5.
182. Ibid., 111, 27, 1, 2.
183. Ibid., I, 4,
184. CS, VIII, 1.
185. VR, V, 1-1, 2.
186. Ibid., V, 1-3, 4.
□
IV. VRTTAVARTIKA - A CRITICAL STUDY
The knowledge of prosody or science of metrics is considered to

be necessary for the proper understanding of the hymns in Vedas. So
Chandas is accepted as a Vedanga. Principles of versification and
the nature of various metres are dealt with in the Vedic texts like
Rgveda Pratisakhya, Chandonukramani and Nidanastitra of
Samaveda. Classical prosody, which mainly inherited its tradition
from Vedic, also started its development from an earlier age itself.
In CS Pingalacarya refers to the names of some earliest writers on
classical prosody like Saitava, Kasyapa, Rata and Mandavya.1
Abhinavagupta has referred to and quoted passages from the works
of early prosodists like Katyayana and Bhattasankara, but texts written
by them are not available.2 The oldest and most authoritative text
that has come down to us is Pingala’s CS, the date of which is fixed
to be third century B.C.
Accepting the authority of Pingalacarya many works in the

same pattern were produced in later ages.3 Chandassastra of Jayadeva
(early centuries of Christian era) Chandoviciti of Janasraya f6,h
century A.D.) Vrttaratnakara of Kedarabhatta (15th century A.D.)
and Chandomanjari of Gahgadasa (15th or 16lh A.D.) are important
among them.
There are some other treatises on Prosody that treat the

subject in a different way. Apart from listing and defining a number
of metres, these works present some innovative ideas and discuss
the rules of metrical science with a practical point of view.
Srutabodha, attributed to Kalidasa has several excellences as it
studies the metres giving more importance to their rhythmic
succession. ST of Ksemendra deals with some popular metres, their
flaws and merits and their proper application. PP(14th century A.D.)
109
which analyses metres of Prakrt as well as Sanskrit on the basis of

Matraganas, is also included in this class. VV, a Keraliate Prosodial
work of 18th century A.D., deserves special mention in this context
taking into account its applied nature as mentioned above.
Vrttavartika - The Author and the Text

VV, a distinguished work in Sanskrit prosody, is written by
Ramapanivada (RP), the famous scholar poet of Kerala. He is the
author of more than 30 works in Sanskrit and Prakrt which comprises
all branches of learning like Kavya, Nataka, Sandesakavya, Campu,
Stotra, commentary, art and music.4 Apart from being a talented
poet he was also proficient in instrumental music as well as in musical
science. He belonged to the Nambiar community whose profession
was to play Milavu for Kuttu and Kutiyattam. So he was much
acquianted with the Talas and music. He has written a separate
treatise on Tala called Talaprastara. Works like Sivagiti and
Gitarama, reveal his knowledge is music also. Above all, he
was a good poet who has a keen understanding of the propriety
and applicability of metres. All these special features can be
seen reflected in the treatment of subject in his work on prosody,
VV. So, this work deserves special attention among the various
prosodial works in Sanskrit.
The text is divided into two sections. The first section that
contains Karika, Vrtti and examples is fully a prosodial treatise. The
second section is a small poem in Sanskrit, containing 271 verses in
which the first 256 are designed as the Prastaras of Anustubh. In the
very beginning, the author states that his work is meant for children
I cl I "11 ■m'I j 11 ^TT fdl I

TTT WT II5
Sixtyseven syllabic metres6 and five moric metres7 that are

abundantly prevalent in classical Sanskrit literature are defined and
illustrated in this work. The author deals the subject with a practical
point of view. He says that by the law of permutation a large number
of metres can be produced; but all these metres are not named and
all the metres which are named are not current in poetry. So the
definitions are given here only of those metres that are currently in use.
110
Vrttavartika - A Critical Study
uwiRdiPi Trf^r % I
TEjTT H ’li'TT srqtrrsfa H ^4^ I I
tWHTT Xi TTW WT mfW I
3i?n wnt 1i8
Some New Observations of the Author

In certain cases the author deviates from the traditional
methods followed by prosodists like Pingala and Kedarabhatta.
Pingala has studied syllabic metres starting from Gayatri to Utkrti.
Kedarabhatta starts from monosyllabic Ukta itself. But RP has definded
and illustrated metres starting from Anustubh to Prakrti group. Here,
his argument is that metres prior to Anustubh class do not come
under the purview of classical type and those after Prakrti class are
not seen commonly used
afftsqWdldHdlfWdcvi -
TOT H sPHT I I9
Another point to be noted in this context is that RP defines
Pathyavaktram as a fully regulated syllabic metre. The definition is:
otm nhr hM îrafal

i I10
if the odd lines have one Magana, one Ragana, and two Gurus
and even lines have one Magana, one Ragana one Laghu and one
Guru that stanza is named as Pathyavaktram.
This definition is entirely different from those of Pingalacarya "

and Kedarabhatta.'2 The only regulation insisted by them is that
after the fourth syllable there must be a Yagana in the odd lines and
a Jagana in the even lines.
Odd line : 4 syllables / U-----
Even line: 4 syllables / U - U -
ill
Taking into account the irregular nature of the first four

syllables Kedarabhatta includes Pathyavaktram in Jati or Matravrtta
group. But according to RP’s definition the schemes in the odd lines
and even lines are fixed as :Odd line : — / - U - / - -
Even line :----- / - U - / U -
Here it is a fully syllabic metre which is included in the

Ardhasama type .
Brhati and Asti Classes Excluded

While discussing Brhati chandas, RP presents his observation
with much practical sense. In various prosodial texts, about twelve
metres are totally named and defined in this class. But RP skips over
Brhati with a statement that there is no any metre that deserves
applicability in this class.
^TT H ............... 13
He also says that the metres are considered to be undeserving
as they seem to be unpleasant to the hearer:
I14
Due to the same reason the metrical class Asti is also excluded
by RP.
New Names Introduced

In certain cases, RP alters the traditionally accepted names of
metres and gives new names to them. For example the metre ‘Stri’
enumerated in VR is treated by RP under the name ‘Srivrttam’ with
the same scheme of definition.
Stri : TTf ^dd'l'l: W?T I15
Srivrttam : WFTRrt ■TTZFsF’T I
TTP I I16
In the same way RP’s Katakam is Kedarabhatta’s Kutakam17or

Narkutakam. But RP does not suggest any Yati in Katakam. The
Simhavikriditam given by Kedarabhatta is Kaumudi,18 according to
RP. But here he suggests Yati in 10th and last syllables.
112
There is one example in VVwhere RP has accepted the name

of a metre same as given by earlier prosodists, but providing definition
and scheme in a different way. The metre Mauktikamala (-UU--
U U U U - -) is defined in a VR as follows:
HlFfb^hledl HcRTîft19
The scheme of RP’s Mauktikamala is different. He defines it as

1120
The scheme is: UUUU — UU--
It is to be noted here that in both of these metres the number of

syllables and Matras is the same but the position of Gurus and Laghus
alters affecting a slight change in Rhythmic pattern.
Vrttabhedam - A New Metre

The last metre defined and illustrated in the Samavrttaprakarana
deserves special mention in this context. RP states that a metre with
Ragana and Nagana repeating three times alternatively followed by
another Ragana is seen current in practice. But it is not named by
earlier prosodists. RP also gives no particular name for the metre and
includes it under the title Vrttabheda2' (variety of metre). He gives
an illustration for this as follows:
Htfxdd fJFTH
$HT>TT*lfa wfcf TOFT ! TFT ! TFT TW? I I
In Mandaramaranda this metre is studies and named as

Suranartaki.22 This is also known as Kusumamanjari. This metre is
very beautiful and highly rhythmic. Great poets from Kerala like
Melputtur Narayanabhatta and Manaveda (the author of Krsnagiti}
have used this metre in their works. The Rasakddadasaka, in
Melpputtur’s masterpiece Narayaniya, is an unparalleled piece of
poetic composition using Kusumamanjari metre with all its poetic
excellences.
113
Metre tn Sanskrit..
New Approach in Defining Matravrttas

RP’s observative skill and practical sense are very clear in
dealing with the Matravrttaprakarana. He deals with five Matravrttas
such as Arya, Giti, Upagiti, Udgiti and Aryagiti. Prosodists like
Kedarabhatta studies these Matravrttas, regulated by moric Gana
‘Catuskala.’ But RP says that this rule is not seen practiced by
poets. Due to this reason, he defines Matravrttas only on the basis of
Matras. Another observation is also presented by him in this
connection. He states that in all Matravrttas, to be defined here, the
odd lines have twelve Matras. Only in the second and fourth lines
the number of Matras differs. So, definition is given only for the
even lines.
iTGT TjmpWJTW I
^rft TTcm 1I23
Thus in selecting and listing the metres RP shows his practical
view point.
The most remarkable feature of Vrttavartika is that it is appended

with a short lyric poem, ‘Rasakrida'. Which can be termed a
Sastrakavya. Generally, the prosodial works deal only with definitions
and examples of different metres. Sastrakavyas like Dhatukavya and
Gajendramoksa only illustrate the rules of particular Sastras through
poetic descriptions. The combination of both Kavya and Sastra is a
rare phenomenon and hence W has a unique place among the
works on Prosody in Sanskrit.
Sastrakavyas and Metrical Science

The Sastrakavya type of composition is famous in Sanskrit, which
accomplishes the purpose of Kavya as well as Sastra at the same
time. Bhoja calls such works as ‘Kavyasastra’ and defines thus
WJ Sir-WIUHH wft I
ctth i I24
Ravanavadha of Bhatti, popularly known as Bhattikavya, which
describes the story of Ramayana and illustrates the rules of grammer
and rhetoric, is the first and foremost among this category.
114
Ravanarjuniya of Bhauma, Dvayasrayakavya of Hemacandra,

Sdbhadraharana of Brahmadatta Narayana, Vasudevavijaya of
Vasudevakavi, and Dhatukavya of Melpputtur are also included in
Sastra kavya type, strictly to say Vyakarana kavya type.25
This Sastrakavya method is seen applied to metrical science

also. Gajendramoksa,a poem with five cantos, written by a Keralite
poet Vasudeva, is an important work in this type. While describing
the famous episode, ‘Gajendramoksa’ of Bhagavata, this poem
illustrates the metres enumerated in VR ofKedarabhatta in due order:
9^^ l<1 I
wrqvH 1127
The lyric poem Rasakrida, appended to VV is the unique

contribution of RP to this branch of poetic genre. While describing
the love sports of Gopis with Krsna, it aims at illustrating the 256
Prastaras of Anustubh and hence this can be termed as a Sastrakavya.
Rasakrida - The Text

The poem totally contains 271 verses. The first 256 stanzas which
illustrate the Prastaras of Anustubh are divided in to four Paricchedas.
The last fifteen stanzas deal with the general rules of Prastaras and
the probable number of Vrttas in each metrical scale.
According to the text edited by Sambasivasastri, the first two

Paricchedas consist of sixty four verses each. The third has sixty five
verses and the last sixty three. The editor gives a foot note stating
that in the original copy the third Pariccheda ends with sixty fourth
stanza which seems to be inappropriate.
WTtT I28
As the stanzas semantically conclude only with the sixty fifth

one, the editor has included that also in the third Pariccheda.
It is to be noted here that as this work is intended to illustrate

the Prastaras of Anustubh, the division of Paricchedas consisting of
sixty four stanzas each is also agreeable. Because, in every sixty
four stanzas, the order of Prastara of Anustubh reaches to a
conclusion.29 But at the same time it would be improper to conclude
115
a Pariccheda without having a proper ending for the meaning aspect,

which any poet will not do normally. So the design of the text without
the division of Paricchedas seems to be more proper. P.V. Kunjamma
Points out that there are manuscripts of Rasakrida'm which no division
of Pariccheda is given at all, all the 256 stanzas being numbered
serially.30 If it is so the division of the text in to Paricchedas seen in
some manuscripts as stated by the editor K. Sambasivasastri, seems
to be irrelevant.
The Content
The poem_starts with Krsna playing the flute melodiously to
attract the Gopis. All the animals in the forest are also moved with
the sweetness of the music. Forgetting the innate enimity they stand
around Krsna immersed in the divine melody. The Gopis leaving
their house and kins rushed towards Krsna. The latter first advises the
Gopis to return to their houses. But they refuse his words and request
him to fulfill their desires. Krsna invites them to the banks of Yamuna
which is much temptating with moonlight and gentle breeze. He
assumes as many forms as the Gopis were there and enters into love
sports. All the Gopis except Radha became proud and egotic with
Krsna’s love towards them. In order to subside their egotism Krsna
disappears with the untainted Radha. But after some time, he leaves
her also among the gopis who are weeping with the pangs of
separation. They along with Radha set out in search to Krsna in the
Vrndavana asking trees and birds about him.
At last they request a Cakori and after that a female of a parrot

to go to Krsna and convey their message to him. Finally Krsna blesses
the Gopis appearing before them. He tells them that his intention
was only to put out their pride and egotism.
Poetic Merits
In Sastrakavyas, the poetic aspect naturally becomes
subordinated to the Sastra aspect. But RP. being a gifted poet, has
been able to infuse his imaginative power and descriptive skill in
the poem besides giving it the value of a Sastrakavya.
The poem is endowed with beautiful descriptions which are

examples for the keen poetic imagination of RP. The description of
116
moon rise in the beginning of second Pariccheda (Vs 5 to 11) and the
Dasavataravarnana in the fourth Pariccheda (Vs 33 to 43) are some
examples. The beautiful portrait of Krsna presented in the first
Pariccheda also (Vs 46 to 53) proves RP’s ingenuity in descriptions.
The most attractive feature of the poem is the beautiful

alliterations that are seen knitted throughout the descriptions. A few
examples are cited to illustrate their beauty.
iriwtawffr I
■h'IMHI'O II31
TTWpT act TPT3PT TfET M I
HPRT H: I I32
ôddddltt'tfci I I33
Thus the poem Rasakrida is the best example for RP’s

mastery over excellent poetic diction.
As the theme of the poem is the Rasakrida dance of Gop i s with

Krsna, the principal sentiment is ‘Premabhakti’.
Apart fromthat, in different contexts other sentiments like

Vipralambha, Vira and Adbhuta are also delineated. When Krsna
disappears from the scene, the Gopis lament with deep sorrow of
separation. In this context, Vipralambha rises to its maximum. The
sentiment Vira is enhanced in the description of the Dasavataras of
Visnu as eulogized by the Gopis. Hearing the melodious flute music
played by Krsna, the animals in the Vrndavana, forgetting their innate
enmity, get immersed in it. Here Adbhutarasa is depicted. Thus the
poetic imagination and scholarship in Sastra goes hand in hand in
this Sastrakavya.
Prastara in Prosody
The word Prastara means stiewing or spreading out:
7WPT fad-MH 34
In music and musical instruments, the Prastaras are used in the
elucidation of rhythm. In Prosody, this is a mathematical calculation
117
Metre In Sanskrit....
that declares the possible number of metres in a Chandas. Many of

the works on metrics deal with the . ‘Pratyayaprakarana’ in which
the technical processes like Prastara, Nasta, Uddista, Lagakriya,
Sankhyana and Addhvayoga are described. Certain works that deal
with Prastara mainly, are also seen written. M. Krishnamachariar
gives a list of such works in his History of Classical Sanskrit
literature}5
Prastara Based on Matras

This process can be introduced in both Matravrttas and
Varnavrttas. Bharata discusses two types of Prastaras: Varnagata and
Matragata:
faff’d % |36
Prastara based on Matras can be applied in the cases of
Matravrttas like Arya and Giti. But it is to be noted that this type of
Prastara differs according to the structures of the metre. Arya and its
varieties which are constituted with Catuskalas, come under
Caturmatraprastara. In Giti varieties it is Pancakalaprastara:
TO W I I37
Prastara Based on syllables

Though Pingala and Bharata deal with two types of Prastaras,
Matragata and Varnagata, most of the later writers describe only the
second type. RP also deals only with the Prastara based on syllables.
He describes the process as follows:
sW w Wpt i i
TH d?J|d_ Jl-dAd I
............ 1.................."................. ' II38
Write all the syllables in a quarter line of the metrical scale,
118
that is to be made the subject of Prastara, in Gurus. This is the first

Prastara of that metrical scale with ‘Sarvaguru’. Then write the first
line, changing only the first Guru into Laghu. The second Prastara is
formed. The process may be fol lowed in the same manner filling up
the left side of the changed Laghu with Gurus. The right side should
be the same as in the line just above. This continues until all the
syllables in the line become Laghus. The process ends here and all
the possible patterns in that metrical scale become explicit. In this
way in Anustubh there will be 256 Prastaras. If a syllable in a line is
increased the number of Prastaras will be doubled. Thus the nine
syllabled Bfhati will have 512 Prastaras. In the same way the Prastaras
will be doubled in each metrical scale, according to the increase of
the number of syllables.
Bharata gives a list of possible metres in each metrical scale

starting from Gayatri to Utkrti.39 Possible patterns in the 27 syllabled
metrical scale are also calculated by him. RP also gives this list at
the end of the text.40
The Prastaras of Anustubh

The octosyllabic quatrain called Anustubh structurally falls into
two types - flexible of irregular type and fully fixed type. Vaktram,
Pathyavaktram and Sloka are included in the flexible type. Such
metres do not come under the purview of Prastara. It is confined
only to the fixed syllabic type like Vidyunmala, Manavakam and
Citrapada.
Only nineteen Prastaras of Anustubh are in practice which are

enumerated and defined by prosodists till the time. RP has elaborated
all the 256 Prastaras of Anustubh through the short poem Rasakrida.
By his poetic genius, profound scholarship and deep knowledge in
Talas, he has explored the possibility of designing more new metres
in the Anustubh class based on the rhythmic patterns of these Prastaras.
The Table of 256 Prastaras of Anustubh

1.
2. U................
3. - U-----------
4. U U.............
119
5. -- u-----
6. u - u---------
7. -U U.............
8. u u u------- --
9. ---U-------
10. U--U----
11. -U-U-------
12. u u-u-------
13. --U u-------
14. u - u u-------
15. - u u u-------
16. u u u u-------
17. ----U---
18. U---U---
19.
20. UU--U —
21. --U-U---
22. u - u - u---
23. . u U - U ---
24. uuu-u---
25. ---uu ---
26. u --u u---
27. _ u - u u ---
28. uu-uu —
29. ..UUU —
30. U-UUU---
31. -uuuu---
32. U U U U U ---
33. --------- u
34. U----U--
35. -U---U--
36. UU---U--
37. --U--U--
38. U - u -- u--
Vrttavartika - /A Critical Study
39. -UU--U--
40. u u u -- u --
41. ---U-U--
42. U--U-U--
43. -U-U-U--
44. UU-U-U--
45. .-UU-U--
46. U-UU-U--
47. -UUU-U--
48. U U U U - u --
49. ------- u U--
50. U---UU--
51. -U--UU--
52. u U--U U--
53. --U-UU--
54. U-U-UU--
55. -UU-UU--
56. u u u - u u --
57. --- u u u --
58. U--UUU--
59. -U-UUU--
60. UU-UUU-
61. --UUUU--
62. U-UUUU--
63. - u u u u u --
64. u u u u u u --
65. u-
66. u -- u -
67. -u- u -
68. u u - u -
69. -- u - u -
70. u-u - u -
71. -uu -u-
72. uuu ---U-
121
73. ---U-- U -
74. U--U--U-
75. -U -U --U-
76. U U -U--U-
77. -- U U --U -
78. U- U U--U-
79. -U U U--U-
80. U U U U --U-
81. ...-U-U-
82. u---U-U-
83. -U-- U -U-
84. U U--U-U-
85. -- U - U -U-
86. U -U- U -U -
87. - U U- U - U -
88. U U U-U - U-
89. --- U U - U -
90. U--U U-U-
91. -U-UU-U-
92. U U -U U-U-
93. --U U U-U-
94. U-U U U-U -
95. -U U U U-U -
96. U U U U U -U -
97. ........... U U -
98. U------- U U -
99. -U ---U U -
100. UU---UU-
101. --U--UU-
102. U-U--UU-
103. -UU--UU-
104. UUU--UU-
105. ---IJ-UU-
106. U--U-UU-
122
107. -U-U-UU-
108. UU-U-UU-
109. --UU-UU-
110. U-UU-UU-
111. -uuu-uu-
112. UUUU-UU-
113. ------- UUU-
114. U---UUU-
115. -U--UUU-
116. UU--UUU-
117. --U-UUU-
118. U-U-UUU-
119. -UU-UUU-
120. UUU-UUU-
121. —UUUU-
122. U--UUUU-
123. -U-UUUU-
124. UU-UUUU-
125. --UUUUU-
126. U-UUUUU-
127. -UUUUUU-
128. U U U U U U U
129. ................ U
130. U........... -U
131. .(J--------- u
132. UU--------- U
133. --U------- U
134. U-U----U
135. -UU----U
136. UUU------- U
137. ---U---U
138. U--U---U
139. -U-U---U
140. UU-U---U
123
141. --UU--U
142. U-UU---U
143. -UUU---U
144. UUUU---U
145. ------- U--U
146. U---U--U
147. -U--U--U
148. UU--U--U
149. --(J-U--U
150. U-U-U--U
151. -UU-U--U
152. UUU-U--U
153. ---UU--U
154. U--UU--U
155. -U-UU--U
156. UU-UU--U
157. --UUU--U
158. U-UUU--U
159. -UUUU--U
160. UUUUU--U
161. --------- U-U
162. U------- U-U
163. -U---U-U
164. UU---U-U
165. --U -- U - U
166. U-U--U-U
167. -UU--U-U
168. UUU--U-U
169. ---U-U-U
170. U--U-U-U
171. -U-U-U-U
172. U U-U-U-U
173. --U U-U-U
174. U - U U-U - U
124
175. -UUU-U-U
176. UUUU-U-U
177. ------- UU-U
178. U---U U- U
179. -U--UU-U
180. UU--UU-U
181. --U-UU-U
182. U-U-UU-U
183. -UU-UU-U
184. U UU-UU-U
185. ---UUU-U
186. U--UUU-U
187. -U-UUU-U
188. UU-U UU-U
189. --U UUU-U
190. U-U UUU-U
191. - U U U U U - U
192’ UUUUUU-U
193. ----------- UU
194. U........... UU
195. - U----UU
196. UU----UU
197. --U---UU
198. U-U---UU
199. -UU---UU
200. U U U---U U
201. --U--UU
202. U--U-- U U
203. -U -U -- U U
204. U U -U --U U
205. -- U U -- U U
206. U -- U U --U U
207. - U U U --U U
208. U U U U--U U
125
209. ------- U - U U
210. U---U-UU
211. -U--U-UU
212. UU--U-UU
213. --U-U-UU
214. U-U-U-UU
215. -UU-U-UU
216. U UU-U-UU
217. ---UU-UU
218. U--UU-UU
219. -U-UU-UU
220. U U -U U-U U
221. --U UU-UU
222. U-U U U -U U
223. -U U U U -U U
224. U U U U U -U U
225. --------- U U U
226. U------- U U U
227. -U---U U U
228. U U---U U U
229. --U -- U U U
230. U-U --U U U
231. -UU--UUU
232. U U U --U U U
233. — U-UUU
234. U --U -U U U
235. -U - U -U U U
236. U U -U -U U U
237. --U U- U U U
238. U-U U -U U U
239. -U U U -U U U
240. U U U U-U U U
241. ------- UUUU
242. U---U U U U
126
243. -U--U U U U
244. U U --U U U U
245. --U -U U U U
246. U -U -U U U U
247. -U U -U U U U
248. U U U -U U U U
249. ---U U U U U
250. U --U U U U U
251. -U-UUUUU
252. U U - U U U U U
253. --U U U U U U
254. U-U U U U U U
255. -U U U U U U U
256 -U U U U U U U U
Prastaras of Anustubh Named and Defined by Earlier
Prosodists
Among these Prastaras, 19 patterns are named and defined by
various earlier writers on Prosody.
1. The first Prastara (..................... ) is named as Vidyunmala. It is

defined by Kedarabhatta as :
#r kt m jfr i41
This metre has an explicit rhythmic feature and so it got much
popularity in classical Sanskrit Literature.
2. The 19th2 Prastara (- U - - U----- ) is known as Padmamala.
Chandakaustubha gives the definition as:
ft nt I42
3. The 23rd pattern (- U U - U----- ) is named as Nagarakam.
Kedarabhatta defines this as:
nft crft I43

This is also a commonly accepted metre in classical literature.
4. The definition of the 52nd Prastara (UU - - U U - Moda is
given by Bhaskara in Abhinavavrttaratnakara as:
127
m ft iff nw i44
The rhythm of this metre also proves that it is constituted b
three Catuskalas or it can also be considered as a duplication
of Sumati (UU--xUU--).
5. The 55th Prastara (- U U - U U - is named as Citrapada by
Pingala45 and Kedarabhatta. Though it is defined as constituted
by two Bhagana and two Gurus, it can also be analysed as
a combination of three Catuskalas.
6. The57,h Prastara (—U U U - -) is Hamsarutam. According
to Pingala the definition is:
fwf Mt ft I46
7. The 64th one (U U U U U U - -) is defined under the name
Tuhga in PP and the definition is given as:
I47
Pingala or Kedarabhatta do not mention this metre
8. The 75th Prastara (- U - U - - U -). is named as Lata The
definition quoted in CS is:
ft nett I48
9. The 85th Prastara (- - U - U - U -) is known as Naracika. It is
defined by Kedarabhatta as
aft cFtr I49

10.86lh one is named as Pramanika (U - U - U - U Kedarabhatta
defines this as metre constituted with Jagana, Ragana, Laghu
and Guru.50 According to Pingala it is a repetition of the
disyllabic Gana with one Laghu and one Guru (U -)
11. The 96,h Prastara ( U U U U U - U-) is identified as a metre
named Kamala51 in PP. With a quicker opening and a slow
ending, the rhythmic pattern of this Prastara is much attractive.
This is a metre constituted by two Catuskalas and a Guru.
12. The 103rd Prastara (- U U--U U -) is Manavakam. Pingala
names this as Manavakakriditakam.52 It is really constituted
by two tetrasyllable Sumuki metres and if it is taken into
account as a duplication of tetrasyllable Gana, the rhythmic
128
pattern is very obvious.

13. The 120th Prastara ( U U U - U U U -) is named as Gajagati
in Chandomahjari,53
14. The Bhaskara in Abhinavavrttaratnakara defines 69th pattern
(- - U------ U) under the name Mrtyunjayachandah. He gives
the definition:
eft #r TTvT I54
15. The 146th Prastara (U — U - - U) is named as Sucandrabha
The definition given in Chandakaustubha is:
<4,-4 4TT TTcft I55
16. The 148th pattern(U U - - U - - U) is named as Suvilasa. The

definition given in Chandahkaustubha is:
TRt 4vft I56
17. The 1 71st Prastara (- U - U - U - U) is named as Samanika by

Kedarabhatta and Samani by Pingala it is also constituted by
the repetition of disyllabic Gana (- U)
18. The last 256th Prastara (UUUUUUUU)is called Acalam.
The definition is:
19. The metre called Vitanam referred by Pihgala58 and

Kedarabhatta59 deserve special mention here. The scheme of
the metre is not at all specified by them. They only say that
the octosyllabic quatrains which are not composed by
repetition of disyllabic Ganas iambus (U -) and trochee (-U),
(according to Sanskrit prosodists disyllabic metres Mahi and
Saru respectively) can be cal led Vitanam. So any octosyl labic
quatrain formed by the blending ofthe four different disyllabic
Ganas (- U, U - -,U U) can be called Vitanam. If it is so all
the 254 Prastaras of Anustubh can collectively be called by
this term Pihgala might have intended this when he defined
Vitanam as :
fadl-H^d 60
The term Vitanam is derived from the root ‘tanu vistare’
129
(Astadhyayi, Dhatupatha, 1463) which means to spread, with the

Upasarga ‘vi’. This also support the above mentioned idea.
Uncommon Prastaras Used in VV

Apart from these nineteen Prastaras defined by earlier prosodists,
RP has employed 26 uncommon Prastaras in the Vartikas of Wand
they are :
1 .The1 7th Prastara is used in 9th Vartika:
----- u - - -
2. The18th Prastara is used in 11 ,hVartika:
U - - - U ---
3. The 20th Prastara is used in 38lh Vartika:
U U - - U - - -
4. The 21st Prastara is used in 7th Vartika:
- - U - U - - -
■eiî11qui xf
5. The 22nd Prastara is used in 10th Vartika:
U - U - U - - -
6. The 25th Prastara is used in 58th Vartika:
- - - U U - - -
U - - U U - - -
130
8. The28lh Prastara is used in 16th Vartika:
U U - U U - - -
9. The29,h Prastara is used in 21s' Vartika:
. . u u u - - -
cRT WWWT
10. The102nd Prastara is used in 13rd Vartika:
U - U -- U U -
11. The 116th Prastara is used in 14'h Vartika:
U U - - U U U -
12. The118th Prastara is used in 56th Vartika:
U-U - U U -
13. The 133rd Prastara is used in 17th Vartika:
- - U - - - - U
W H^TTT
14. The 134,h Prastara is used in 8th Vartika:
U - U - - - - U
15. The 142nd Prastara is used in 53,d Vartika:
■J - U U U - - U
3T?rt Pl^x^
- U U U - - U
131
srwftdiPi wrfT
17. The146th Prastara is used in 22nd Vartika:
U - - U U - - U
TJTBJT V mTOT xf
18. The153rd prastara is used in 2nd Vartika:
- - - U U --U
3T^t srfai- 3
19. The154th Prastara is used in 5th Vartika:
U . . (j U - - U
20. The155th Prastara is used in 29lh Vartika:
. u - u u- --
21. The 156 th Prastara is used in 3rd Vartika:
U U - U U - - U
22. The160th Prastara is used in 18'b Vartika:
u u - u u - - u
23. The162nd Prastara is used in 43rd Vartika:
................ U - -
24. The 1 75lh Prastara is used in 52nd Vartika:
-- U U U - - U
•o
25. The 182nd Prastara is used in 30,b Vartika:
132
u - u - u - - u
wt Wt whr
U - U - U - - U
Matraganas and Rhythemic Patterns

In order to find out the acceptable types among the 256 Prastaras
of the metrical scale Anustubh, the rhythmic principles behind these
patterns should be understood.
It is an accepted fact that rhythm is the soul of metre. A

sequence of syllables without any rhythemical feature cannot be
considered as a metre. Abhinavagupta says:
STEZHTT TIFT THlfT I61
RP also accepts this idea when he states:

3FT^T 3 I62
The basic factor behind this pleasantness in hearing is the rhythm.

It has been stated and discussed earlier that the rhythm always
depends upon the Matras and not upon syllables. It is true that
sometimes the trisyllabic mode of analysis will correspond to the
moric mode also. But in many metres the trisyllabic Gana analysis
is insufficient, to understand their rhythmic pattern. So they also
must be analysed on the basis of Matraganas.
PP has studied five types of Matraganas in decending order:

Satkala, Pancakala, Catuskala, Trikala and Dvikala.63 Kuttikrishna
Marar, who has made an indepth study regarding the rhythmic
patterns of metres both in Sanskrit and Malayalam, has opined that
metres constituted with seven Matras are also prevalent in Sanskrit.64
The Matraganas and Talas

According to musical science, these Matraganas have
separate names: Trikala, Catuskala and Pancakala are respectively
called Tryasragati, Caturasragati and Khandagati. The Gana which
has six Kalas can be included in Tryasragati. Musical structure with
133
seven Matras is called Misra and it is a combination of Tryasra and

Caturasra. A fifth structure called Sankirna which is a combination
of Caturasra and Khanda with 9 Kalas is also accepted.65
Certain other principles related to music are also taken in to

account in analysing the rhythmic pattern of metres. They are:
1.There is an accepted rule in Sanskrit prosody that the last

syllable in a line if it is a Laghu, can be transformed in to Guru
whereever necessary. RP has accepted this rule when he says:
Mill'd44 fWH'W’6
2.In order to fill up the shortage of Matras, a syllable if it is a

Guru can be lengthened to three four or more Matras when it is
extended to three it is called ‘Pluta.’ If the extension goes to four or
five Matras it is called ‘Kakapada.’67
3.In music there is a technical method ‘Anagatagraha’where

the rhythm starts before the words.68 This method is applicable to
the rhythmic patterns of metres also. Such metres can be called
'Anagatavjtta.'
Rhythmic Pattern of the Prastaras of Anustubh

Taking into consideration all these aspects the rhythmic
patterns of the 256 Prastaras can be analysed as shown in the scheme
given below. As stated above, all the stanzas in Rasakrida through
which the Prastaras of Anustubh are exemplified are analysed on the
basis of Matra ganas. In order to fill the rhythm, if necessary, two or
three Matras are added according to the musical principles stated
above. The musical pattern in which each Prastara can be included
is also pointed out.
SI. Gana Division No. Matras Rhythmic Pattern

No.
1. w/^TT/srfa/^ 4+4+4+4 xKJTSbjilfa:
2. -3T?/f^w|'|/Tra-/f^T 4+4+4+4
3. rt-^r/ 4t/ tpt/ 4+4+4+4 ifct:
4. JhfTT/?ftt/4TFr/^ ... 4+4+4+4
134
5. 3W/M 4+4+4+4 ■q <r| | ft:
6. ftpit/ft<1 <jt/’'ô-Tj/^rt . 4+4+4+4 ■qâivrtlft:

7. FRT cT/^TTATW/’t ... 4+4+4+4 xRJT^lft:
8. -W êi/atsar/nftt/aTT .. 4+4+4+4 +RJT?T3nftT
9. îfti^/nt/nlft^ 6+3+6 RTTHTPR
10. HHHT/sI-jI'Hi'I/TWT 5+5+5 'W^Jlft:
11. 1 +11 / 9 4 1 / ft^T - 5+5+5 W^Jlft:
12. Wl/T +RTT - 7+7 th War
13. ft? ^/?H^/HTTn/Tf .. 4+4+4 FRJT^Plft:
14. hhi ^HFt/’rwt 7+7 ftr^rnftr
15. ftr w 7+7 th^thttr
16. 4 6+6 RT^nftr
17. 4+4+4+4 ■^4 <7^+ 34 | ft:
18. H^tftcTR/^T< IJ414 7+7 ftrsrnftr
19. THURT cfr/ftcIlfW 7+7 fnnnftR
21. 5Rl<AlÂit - HR 7+7 ftrmftn
22. ’1'WI4Rr1',’4/ 7+7 fn^rnftr
23. Tlft^V /WW 7+7 th hhrt?
24. sHRT +ft fa/afftAi 6+6 RTTHTRR
25. ÎH/ST 7+7 fna+nftR
26. 'Jel'ftl ^RT/TFS^rRTT- 7+7 ftrsrnftn
27. ^RT ?JRJ/HIÛ||- 7+7 fn^rnftn
28. srrat/^fecit/Ttjft 4+4+4 ■q^'i^l-'lft:
29. HT HT ^RT/+r!3T- 7+7 thWht
30. 3TKT H 313/r+l+'is4 6+6 RTWT+
31. ft$cl/qftrtl:/a>T+1ld 4+4+4 xRJ<SHlft:
32. -ft^ftsj/TTcIMM 6+6 ^n^rnftr
135
■dcjd^wifd:
33. 4+4+4+4
34. st'TH- HT/^Nr 7+7 'fti^FTTeT?
35. 7+7 fiTBFTfa:
36. 4+4+4 ■d ^1 1 fd:

37. 'JTSTTH/^tW^rr 7+7 fn^Fifar
38.-<FT $ W 7+7
39. -dldd^T/^R*il HI 7+7 i+pj+rk7
40. —THT^RT/dS-^n^ 7+7 fnwkr
41. 7?4HH q/’qfaWTFT 7+7 fawn
42. -thf-h ^/dWHi'«rr 7+7 f+rmfk

43. -d-ddl'dl/fa^ 7+7
44. nftcTT/^Ttf^/cTT H7 4+4+4 "deJT^dlid:
45. — 7+7
46. ddd/dxd I'd/d led I 4+4+4
47. f^/W/T5 4+4+4 ■dddîdfd:
48. fa<d$ddl/'HWT- 6+6 !JTWf?r
49. TnPT/^/nftrHT/w 4+4+4 ■dq^dfa:
50. 377 fWt/T^W^T- 7+7

51. ^T°J5? is+fd I /dd^ci 7+7 faerrTicTT
52. d^Hct>l/oxld*lo4) 6+6 PTwk:
53. xU^W/u^^-0- 7+7 firWci?
54. dHIMcj/acT W 6+6 5^8FWT

55. d')-ddJ|'|/7R?lt HV 6+6 ^rwkr
56. êdldl-/dddMT 6+6

57. fpW 6+6 ^T^ldfd:
PPddfd:
58. W7t/HWJT^ 6+6
59. ^htT? 6+6 "ST^nTfcTT
136
60. 6+6 J llcl:

61. ^TT 6+6 5CF?Wd?
62. 6+6 "SET J | Tel:
63. dT^T W^T 6+6 >CT J1 Frl:
64. WTWST/HsRTt 5+5 usjifd ■•
65. dhr/^W/^r/f^rr- 4+4+4+4 xftJT SFrfcT:
66. ■H'Hl 7+7
67. dUHcfteTT/ 7+7 t+P-WH7
68. -fafcidl 7+7 nrWdr
69. 3Th-T^ 7+7 f+rpwn
70. 4+4+4+4
71. 7-3i+7/îmT 7+7 f+rwfdr
72. xl^d^^D/cTR^r- 7+7 Fd^Ttdr
73. 4TW H/dWd: 7+7 fpwpr?
74. -^WMI 7T/73T d? ?T?ft 7+7 m+rwn
75. -^Nxliq/^dlMfcl:- 7+7 faepTtd7
76. 7+7 fppwr
77. -31Hlx«dM 7O< 7+7
78. wlfa 7+7
79. x|o.x|d^TTM HHt- 7+7 PT+ptPT
80. 3R^/9W/^t- 4+4+4 x|^< %Pltd:
81. THT/smT/TW^/H- - 4+4+4 x((J< ltd:
82. SlfciMldl/sl'dl^MI:- 7+7 fcpjdfd7
83. HKT 7+7 fxWai
84. jfx|r| -i•‘-fiSTTJ 6+6 ÊT^M Jifcl:
85. <^ldA/ftldlftl41- 7+7 n+wrdr
86. +*i<I/td<j/<<’fl/ 3+3+3+3 PTWllF
87. 7T3^/WwTiTt/^rarT 3+3+3+3 PT+dltd:
137
Metre in Sanskrit. .
88. ^THcT/cfNr/Ht ^/^TR 3+3+3+3 R3l4lid:

89. PR ^/frRllfcd+- 7+7 R3RTR
90. ?RT/R^/WT/WH 3+3+3+3 R 3|41 fd:
3+34-3+3 R3<41 fd:

91.
92. m qJT/Hft- cJ5T/f*Rt- 4+4+4 3(4lid:
93. eTleiIdfcd/d'4>'t|<i 6+6 rrttr

94. M9H/$Rt3’/'MI- 4+4+4 R^T3Trrf+
95. wrf9/^7TR/i++- 4+4+4 3<4lfd:

r\
96. 1c|’t>c|^fcd/'3llc1'MI 5+5 <duS4lld:
97. 3RTT/3TW/5Tf^RT/R- 4+4+4 84Jifcl:
98. RTR 574 7+7 R3RTR
99. fW^T/^PTWTT- 7+7 ftrmfHT
100. cJcRT/-U^l/^Jui 4+4+4 3d4|fd:
101. 7/WK- 7+7 fnwf?r
102. W TT/SR/WT 4+4+4 ■dcji %l41 ?d:
103. WTR/WR/RTR? 4+4+4 rjt3r1+

104. -HH WT/'RT ^ft 6+6 R 3|41 fd:
105. ^tt- 7+7 fassRicH
106. tr/w+t/ttr/w 3+3+3+3 R?44Ud:
107. it/+t/?RT 3+3+3+3 RRJlFd:
108. 4+4+4 ■9^4 3d4l[d:
109. ST ST/^R TR/sftr ?t- 4+4+4 3<4lld:

110. -3TSt/?R 4+4+4 3i4lpd:
111. ’RW/RW/SR- 4+4+4 xiq< 314ifdl
112. -?R far/SR RT 6+6 R 3i4lid:
113. ton/cft wr 7+7 PT3WR
114. ^RTT+rT/W ^TT- 7+7 TH3RfR
115. -yi Id+ldd/HR FW- 7+7 fHSHlI+e
138
116. awt/fafe/M- 4+4+4 drH 3HI?d:
11 7. TT/F At 4+4+4 xFJT3Trrffa'
118. ufW? ^r/fW- 4+4+4 3PTTfa
119. 6+6 mwfrn

120. <?dr*U<ri I/I 5+5 <flu-SJlfd:
121. ^ToSnH'/T^FPft 6+6 ^rsorffa

122. W tT/’jd^T fa 6+6 ^TSldld:
123. #k/cnft/few/?TT- 3+3+3+3 5ET 34J1 Id:
124. wfadh/Pb^Pi ?A- 4+4+4 3pild:
125. HMUpl/Pld<u|| 6+6 ^wffa

1 26, 31A 5+5
127. rUrf. 5+5
128. 5+5 USJ1 Id ■
129. T^r/HFj/sptQT/^fV-^ 4+4+4+4 TJ 3| J1 Id:
1 30. 3T? t| ifd/^Thl far 7+7 faWfa

131. W 5ITO/ f?WO 7+7 fawfa?
132. -^Hlfa/fal<^ 7+7 faarfafa
133. <t>l<dH 7+7 famffa
134. -3T^TT^/§4 fa 7+7 fawfar
135. -4xi-4>ul44/<falfa4T 7+7 fawf+r
136. 'Wsf’-T 7+7 faWfa
137. HNPlk/^T: fatsfa 7+7 fa?Frffa
1 38. -fafaÎfa/ffafa^lfaf 7+7 faawfa
139. -Ho-xKPd/cbWI^ 7+7 fa srfafa
140. -^PTIH/ffa ^WT 7+7 fasifafa
141. -Wfafaifa HTK 7+7 fasrnffa
142. -ddllfa^/^SSf far 7+7 fawffa
143. -fawi/fa! fa fa? 7+7 fa^lfafa
139
144. -cj> 5+5+5 WOTJ'IKn

145. Tjcplft ^q-/44441411-^T 7+7 fkWrTT
146. ?fW 7+7 rprttr
147. 6+6
148. dldlWcJl/^-^T 7+7
149. 3T?/^T/H 3+3+3+3 RTSHifci:
150. ^xx|ftdl/fa RT^lfd:

6+6
151. ftTT^RWT/TW-rn 6+6 Rrwfcn
152. 7+7 fkWcn

RT^HlId:
153. 3+3+3+3
1 54. cJevf/tfrir/^Tcj:/>J4 lid 3+3+3+3 Rrwfcrr
RT^Plfd:
155. cicHloid/^FrTT-’T 6+6
156. 6+6 1 let:
157. ^PTHTH'/PW-^T RRHlId:
6+6
158. ^TTK/fW-fa 6+6 mwfiTr
159. PcKÎ 5+5 ^rrttr
160. W^TT/^- ^/^-R ~cU <4 4 J1 Tri:
4+4+4+4
161. ?3 3T/-+T3 *1=35 7+7 RTRnTR
162. 7+7 writr
163. 6+6 RTSRlfcH
164. 7+7 ft'Brnfcn
165. 37d/RRT/RrR/RlRT 3+3+34-3

166. 3T^/'Ipft'/+lS-$/cll['l 3+3+3+3 RTÎ4 ifei:
167. -f^pOTt/cTshn^r 6+6 ÊT34 41?c1:
168. 7+7 RPRITR

RT3i J1 frl:
1 69. 6+6
170. ^/cp^/+PR/7Rr 3+3+3+3 rrr
“cJd"1. si-|4|fd:
171. wrt/^PTWHT-^r 4+4+4
140
172. 6+6 ^rwi+

5ST<M J l?rl:
173. WK/3TTWF:3<T 6+6
174. -qfg ^r/faei 4+4+4
175. -^McW/T-tT 4TH 6+6 4lfcl:
176. -3TWT^/^ 7+7 faWF
177. whh/^-3 7+7 TKRPTTK
1 78. a 7+7 T+PKHK
179. TfcfHlHT/^Wr-17 6+6 >*T^4lid:
180. W/^T W/’T^ 4+4+4 ■dî^Plid:
181. 3RT ’fTT/^PW-H 6+6
182. £p W^T>T 4+4+4 x| J | id:
183. WT/^T 5+5
184. 3J&T 6+6 J1 id:
185. 6+6 >qr3pni+
186. 6+6 J1 id:
187. spwnj/aWT 5+5 <W^4lfa:
188. 6+6 ^rwi+
189. H^WT/Tf^T 5+5 'W^Jlicf:
190. q>|o-Tnq /^HprfJsr 5+5 u^4 liFi:
191. -IJ^PT/t+nT 5+5 <!4u^4lic1:
192. 5+5 US41 id:
193. ^ft/HTcft/HKT/-H?T 4+4+4+4 x|^<3H|fd:
194. ^WJcvT/+rT-odd' 7+7 P=t^pt+tt
195. 3ed cPs?/U~Hcd 1 -fo^RT faspifr
7+7
196. IRK 5/+tFK K 6+6 J1 id:
197. ^lfa7TM-fa4>fa 7+7 faWcTT
198. a^r/^ 6+6
199. rtk =a/âT/fôd4 4+4+4 'd c^+ 41 Fcl:
141
200. -fcrr<=Rt/qT 6+6 nrî+rPn

201. ^TT 4CT/4r+-fW 7+7
202. 4444 cFT/ftra; Îo44 6+6 niWpT?
203. iWr 6+6 743+114:
204. -afe H/HTW+T 6+6 nrwPn
205. ^TT/fe rT^T/4114 4+4+4 xl^lSHlfd:
206. -«x||<u|/f^T 3714 6+6 nrei+rPn
207. -41144/41 -si: IT 6+6 nTSHlPl:
208. -cbd<bciJj/-oxlN<^ 6+6 nraT+rPn
209. -4T4 4T/^ TpT 7+7 IHWfH?
210. ■rrtr 41 44/<rt41-4-i 7+7 wwii
211. dl+ldl/HHt-?T 7+7 1437+1767
212. yftPlWo^-W 6+6 7437+1177:
213. /TW'^TTW/WIH n 4+4+4 44134lf6:
214. wbw/^TT-^ 6+6 nT3HlPi:
215. arrfWn/îT-^^RT 6+6 7437+TpT:
216. K5 5+5 14u^4ld:
217. HHT/^HT/cTrfenT 4+4+4 44,1 3<J|Pl:
218. 6+6 mn+rPn
219. 4114614/4+4-7+1 6+6 74 3|dPl:
220. 4,1414/^4I4"4 5+5 4r+++rPn
221. 4.l4l$f4/44l44 6+6 743+lld:
222. 374^/141-1-6 Pl 5+5 <4 US414:
223. Pb414o/r44liu| 5+5 >14 Hd:
T\
224. Jl4 14 4/41-44 5+5 <4US4I4:
225. mPl 7+7 f+T37+Tpn
226. -Wl-/^ fs^Pl 7+7 1+737+7167
142
227. -W-/W WHI 7+7 fawfan

228. afaat at/i- aafar 6+6 iawfan
229. -faat- fa/wat wfal 7+7 fawfan
230. ârda/a-lfarfa 6+6 laWId:

231. WTWT/a-WW 6+6 J1 fa:
232. WH fat/afaw 5+5 wwfan
233. araiW/?jaT wfar 6+6 iawfan
234. a^ffaw/waaffa- 6+6 iawffa
235. ^WMlfal/aT- WT 6+6 lawfan
236. 3WTR/-aidH^ 5+5 anwfan
237. ?ifan/farfa/-farw 4+4+4 awwfan
238. WT W/Wpi 5+5 anwfan
239. d<x>j)d</'l>M<+l 5+5 arwfan
240. -tk4H<yWW 5+5 Wâfa:
241. W/stfaa/^falfa 4+4+4 a W fa:

242. -WRTT/aTaa ffafaT 6+6 iawfan
243. -aifaal/fa fawfa 6+6 iawfa:
244. -fafaWfaaTawfaT 6+6 iawfan
245. -3T«afar/af tbxaa- 6+6 iawfan
246. fana- 6+6 iawfan

247. -a sb 9 a/—'Jew fa 6+6 iawfan
248. fayfadfa-aafar fa 5+5 'Wâfa:
249. ^WPTT/-faafarfa 6+6 iawfa:
250. >R/WWJ 5+5 anwfan
25 I. -§fa dli/M^jM'^X'l 5+5 W'lld:
252. faw/fawn 5+5 awnfan
253. Jd/Wl/aTl 3+3+3 iawfan
143
254. 5+5 W^4|Pi:
255. 4+4 J lid:

An Evaluation
As it is stated above, the poem Rasakrida is designed by RP in
the order of Prastaras of Anustubh. But in five stanzas, 10th, 40th, 57th,
68th and 82nd, the first line deviates from the scheme of the
concerned Prastaras. So in such cases, 3rd line of the stanza is given
in the list to analyze the rhythmic structure of them.
An analytical study of the Prastara patterns and the stanzas in

which they are exemplified, shows that 88 Prastaras,among them
can be adopted as such in poetry, without any addition of Matras in
them. The sequence of Gurus and Laghus in them correspond
rhythmically to any of the four patterns, Tryasra, Caturasra, Khanda
and Misra mentioned above.69 But other 168 Prastaras need an
addition of one or two or three Matras in order to regulate their
rhythm. For example, in 38th and 39th Prastaras one Matra is added in
the beginning of the first Gana to adjust them to Misragati pattern of
rhythm. This process, as stated above, according to the musical theory,
is called ‘Anagatagraha’70 and so a metre with such an addition can
be called ‘Anagatavrtta’. Sometimes the number of Matras added in
the beginning has to be doubled as in the case of 142nd and 143rd
Prastaras. They also come under the ‘Anagata’ type.
In certain places, an addition of one or two Matras at the end of

the last Gana is needed to put in order the rhythm. For example, in
Prastaras 9 and 11, one Matra is to be added by lengthening the
Guru into Pluta in order to adjust the Trisra and Misra patterns of
rhythm respectively. In some other cases two Matras are to be added
for this purpose. Such examples can be termed as ‘Kakapadanta.’71
Prastaras 4, 6 and 7 are some examples.
Sometimes, the shortage of Matras can be filled up by adding

the number by which it fell short in a Gana inside the line, but not in
the beginning or at the end. In such Gana, the Guru is lengthened to
Pluta as in the case of 33rd Prastara in the list. In very rare cases the
Guru is lengthened to Kakapada. Prastara 210 and 211 are examples
for the same.
144
In pattern 75 of the list, one Matra is added in the beginning as

well as at the end. Then only it can be adjusted for including in the
Khandagati pattern.
In Prastaras 1 76 and 208, the fifth Guru is extended to Pluta.

Among the three Matras of Pluta, one will remain in the first Gana
and the others two are adjusted to the second to regulate the pattern
as Misragati.
The 8th and 70th Prataras have only 13 Matras. Three Matras
should be added there in order to adjust them to the Caturasragati
pattern of rhythm.
Thus among these 256 Prastaras, 88 numbres have Tryasragati

rhythmic pattern, as they are constituted by Matraganas called
‘Trikala’ and ‘Satkala.’ 51 verses are formed by various varieties of
Catuskala and so they have a Caturasra pattern. 31 Stanzas are
constituted with two or three Pancakalas and they can be included
in the Khandagati pattern. 86 verses, having two Ganas with seven
Matras are included in the Misragati pattern.
The above analysis will prove that how the Prastara patterns
with the same number of Matras vary in rhythm according to the
change in the position of Gurus and Laghus in them. This also helps
one to understand that all the Prastaras are not suitable to be accepted
as ‘Vrttas’ because they do not yield to the rhythmic patterns as
such. Through Rasakrida RP also illustrates basing on which rhythmic
pattern these Prastaras can be adopted in poem and how new and
beautiful metres can be designed in Anustubh class. Thus the Prastaras
of Anustubh elucidated in Rasakrida by RP have much relevance
and scope in the study of metres in Sanskrit.
References
1. CS, V, 18, VII, 9, 10, 35.
2. NS, Vol. 11, p. 1189,
3. For a list of such works vide - History of classical Sanskrit
literature, M. Krishnamacariar, pp. 903 to 912.
4. For a list of works of RP and details about them vide The
contribution of Kerala to Sanskrit literature, K. KunjunniRaja,
145
University of Madras, 1980, pp. 183 to 195. Also vide

Sarikasandesa of Ramapanivada Ed. with critical study, Dr. C.
M. Neelakandhan, Nag Publishers, Delhi, 1987, pp. 32-51.
5. VV, P. 1.
6. Pathya vaktra, Pramanika, Vidyunmala, Manavakam,
Campakamala, Matta, Manorama, Upendravajra, Indravajra,
Upajati, Bhadrika, Sumukhi, Dodhakam, Salini, Rathoddhata,
Svagata, Mauktikamala, Srivrttam, Vamsastham, Indravamsa,
Drutavilambitam, Totaka, Kusumacitra, Bhujangaprayatam,
Navamalini, Rathodhatagati, Pramitaksara, Manimala,
Mahitojjvala, Sragvini, Malati, Prabha, Navatamarasam,
Praharsini, Ksama, Cancalikavali, Mattamayuri, Rucira,
Manjubhasini, Vasantatilakam, Praharanakalika, Induvadana,
Sasikala, Malini, Sikharini, Prthvi, Harini, Katakam,
Mandakranta, Kaumudi, Sardulavikriditam, Meghavisphurjita,
Suvadana, Sragdhara, Vrttabhedam, Drutamadhya, Vegavati,
Upacitram, Aparavaktra, Puspitagra, Vaitaliyam, Vasantamalika,
Harinapluta, Bhadravirat, Udgata, Upasthitapracupitam and
Amrtadhara.
7. Arya, Citi, Upagiti and Aryagiti.
8. VV. 6, 7.
9. VV. Commentary onVartika, 8.
10. VV, 1, 9.
11. 97ZJT CS, V, 14.
12. 3JKF7R qsUJIcP-M I
VR,V\, 44.
13. VV, U.
14. Commenatary on Vartika, 11.
15. VR, 111, 11, 10.
16. VV, 18.
17. Ibid., 35, VR, 111, 17, 6.
146
Vrttavartika A Critical Study
18. V/?, 111, 18, 3, VV, 37.

19. VR, 111, 11. 16.
20. VV, 18.
21. VV, 42.
22. Quoted in C5, P. 167.
23. VV, 61.
24. Quoted by Dr. V. Raghavan in his Bhoja’s Srhgaraprakasa,
Punarvasan, Madras, 1963, P. 628.
25. For a detailed account of sastrakavya in Sanskrit Vide introduction
of Subhadraharanam of Narayana, Ed. by M. Sreedharamenon,
Department of Sanskrit, University of Calicut.
26. For the details of Gajendramoksa vide Keralasahityacaritram,
Ullur, Vol. 1, P. 118.
27. Ibid., P. 159.
28. VV, Rasakrida, P. 18.
29. For the pattern of Prasthara concluding in each sixty four stanzas,
vide the complete list of the Prastharas, infra PP. 177-184.
30. Vide Vrttavartika - A study, unpublished Ph.D thesis, submitted
by P. V. Kunjamma to the University of Kerala, Trivandrum,
1997, P. 219.
31. VV, Rasakrida, 3
32. /fe/cf., 61.
33. /6/d, 239.
34. NS, Abhinavabharati, XIV, commentary on V. 112.
35. For the list of works vide History of Sanskrit Literature
M. Krishnamachariar, P. 910.
36. NS, XIV, 113.
37. Ibid., XIV, 118, 119.
38. Rasakrida, Appendix V, 12, 13.
39. NS, XIV, 57-83.
147
40. Rasakrida, Appendix V, 8-11.

41. VR, 111, 8, 2.
42. CS, P. 108.
43. VR, 111, 5.
44. CS, P. 108.
45. < ’ft I CS, VI, 5.
46. CS, VI, 7.

47. PP, 11, 73.
48. CS, P. 108.
49. VR, 8, 6.
50. Ibid., 8, 8.
51. PP. 11, 75.
52. CS, VI, 4.
53. Ibid., p. 108.
54. Ibid., p. 108.
55. Ibid., p. 108.
56. Ibid., p. 108.
57. Ibid., p. 108.
58. Ibid., V. 8.
59. VR, 111, 8, 9.
60. CS, V, 8.
61. Vide supra p. 8.
62. VV, Commentary on V. 11.
63. Vide, supra pp. 23-24.
64. Vrttasilpam, p. 5.
65. Vide Sangitasastrapravesika, pp. 105-106.
66. VV, p. 13
67. Vide Sangitasastrapravesika, p. 104.
148
68. Vide Ibid., p. 104.

69. For details vide supra p. 196.
70. For details vide supra p. 197.
71. For details the term kakapada vide p. 197.
a
149
CONCLUSION
The foregoing chapters reveal that metre in Sanskrit has a long

history of development from the time of Vedas themselves. Metres
are much connected with the rhythm and diction of poetry and they
have their role in depicting the internal element or the soul of poetry,
the Rasas and Bhavas also.
The Vedic Rsis, who composed the hymns might have been
guided by some specific cannons for metrical expressions that were
current in their times. Though the Vedic metres are regulated by the
number of syllables in a stanza, variations in this rule are not
considered as a fault. If one or two syllables are increased or
decreased, it will be considered as the same metre. The quantity of
the syllables are also not taken into consideration. Thus, generally
the Vedic metres have a flexible nature. The Vedic Rsis have also
shown their skill in composing mixed metres, Pragathas making use
of the seven principal metres, Gayatri to Jagati.
Coming to classical metres, a fusion of Vedic and folk

traditions can be seen. The moric metres, termed as Jati, had their
development from the metres which were current in folk songs. Most
of them are based on the musical structure that prevailed in folk
songs. The syllabic metres are traditionally analysed as assemblage
of various trisyllabic Ganas. But it seems that the analysis of the
Gana structure is inadequate to fully understand the rhythmic pattern
based on which these metres are designed. So these metres also
deserve an analytical study based on the Matras in them, which is
attempted in the third chapter.
150
Conclusion
Metres prior to Anustubh are seen enumerated and studied in

VR and PP. Though they are not widely current in practice in classical
literature as such, they might have served as components in longer
metres that became classified into two catagories, simple and
composite, based upon the nature of components. Most of the metres
upto Asti class (16 syllables per line) are included in the simple
type. Those like Sikharini, Prthvi and Sardulavikridita are included
in the category of composite metres. The uneven syllabic metres,
Ardhasama and Visama and Dandakas are also designed by the poets
on the basis of same rhythmic principles.
Prosodists themselves have remarked that metres which are not

included or which cannot be included among the catagories defined
and illustrated by them, are also seen used by the poets in their
works. They are generally grouped under the title, Gathas which
give a hint to the possibility of still new metres with novel rhythmic
patterns.
A number of treatises in metrics have been produced on

classical prosody in Sanskrit following the methods of Pingala. Most
of them merely tried to enumerate and define the metres without
giving much importance to their applicability in poetry. A few works
like Srutabodha and Suvrttatilaka deviate from this traditional method
and they, with an innovative sense, deal with prosody as a science
and study it seriously applying the metres in poetry and giving ample
examples. The WofA’Pis included in this group of prosodiai works.
The appended poem, Rasakrida, in VV, which illustrates the 256
Prastaras of Anustubh, isa unique contribution to the field of Prosody
by RP. The il lustrated verses of Rasakrida help us to understand how
by the altering of the position of Gurus and Laghus, the rhythmic
pattern changes in the same metrical scale. Thus the study of VV
and Rasakrida from the point of view of prosody helps to open new
horizons in the field of metrical science with its application in poetry.
New Findings in the Work

1. The history and development of Vedic metres have been studied
in detail.
2. Metres prior to Anustubh (those from Ukta to Usnik) have been
151
Metre in Sanskrit
subjected to detailed examination and their specific features as

components to longer metres have been elucidated.
3. Special study on classical metres, both simple and composite,

has been carried out.
4. It is established that in order to understand their rhythmic nature

fully, the Varnavrttas deserve analysis on the basis of
Matraganas also.
5. Presenting the critical study of W, Rasakrida, the short poem

appended to it has been subjected to detailed analysis based on
the 256 Prastaras of Anustubh.
6. The rhythmic pattern of all the 256 Prastaras of Anustubh,

elucidated in Rasakrida, has been worked out and presented.
□
152
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157
INDEX
a
abhikrtih 34, 40 anustubh capala 66
abhijnanasakuntala 26 anustubh class 72, 86
abhinanda 84 anustubh garbha 36
abhinavagupta 16, 19, 62, 69, anustubh group 65
77, 109, 113 anustubhvaktra 53

abhinavavrttaratnakara 127, 129 anustubhvirat 36
acalam 129 aparavaktra 94, 95, 96
acephaly 57 aparajita 84
achaladhrti 63 aparantika 65
aksarachandas 68, 78 ardhasamametres 93
alola 84 arthasastra 52
amaruka 88 arnnam 98
amarukastaka 91 arnavam 99
arnrtadhara 98 astadhyayi 130

amrtagati 75 asti 34, 40, 150
amulyadhan mukherji 18, 27, asticlass 86, 112
52, 55, 79, 82, 83, 91,93, 98 asvaghosa 92, 97, 83, 84, 88, 89,
ariaclasis 56 76
anacrusis 56 atichandas 34, 39, 40, 42
anagatavrtta 134, 144 atidhrti 32, 34, 40
anagatagraha 134, 144 atidhrticlass 90, 91

anahgakrida 67 atijagati 34, 39
anustubh 26, 34, 36, 42, 43, 45, atijagaticlass 82
52, 53, 66, 67, 68, 72, 91, atinicrt 35
110, 115, 119, 127, 134, 144 atirekha 85
158
Index
atirucira 67 bernard blackstone 1 7, 32

atisakvari 34, 39 bhadra 77
atisakvariclass 85 bhagavatgita 15
atyasti 34, 40 bhadravirat 94, 95
atyasticlass 87 bharata 16, 19, 21, 26, 62, 66
aupachandasika 18, 22, 54, 59, 68, 69, 83, 86, 92, 97, 118
63, 64, 79, 82, 93 bhatti 114
ausnikah 45 bhattikavya 114
akhyataki 25, 95, 96 bhavabhuti 88, 1 26
akrtih 34, 40 bhavipula 67
anustubhausnikah 45 bhahyarupakam 86
anustubhjagati 45 bhamaha 14
anustubha Panktah 45 bhasa 89
anustubha Pragatha 45 Bharavi 80, 83, 96
apatalika 22, 65 bhaskara 127
apitah 98 bhoja 114
ardra 77, 100 bhuddhi 77
arya 18, 22, 59, 60, 61, 62, 63, bhujagasisubhrta 74
100, 114, 118 bhujangaprayata 79, 80
aryagiti 60, 61, 62, 100, 114 bhujarigavijrmbita 58, 59
aryagroup 59 bhurik 41
astarapanktih 37 bhrahmadattanarayana 115
b brahmana 52
bauma 115 c
bana 92 campakamala 72, 75
banini 86 candisataka 92
barhata 45 candralekha 85
barhata Pragatha 44 candravartma 82, I 85
barhatanustubhah 45
159
candrika 82 doubling 58
cancalika 82 drutamadhya 95
cancarikavali 82 drutavilambita 16, 54, 79, 81,82,
capalavaktram 66 96, 100
catalexis 58 dvayasrayakavya 115
chandakaustubhah 75, 127, 129 dvipada 42, 97
chandas 109 dvipadabrhati 45
chandasastra 41,43, 63, 98,109, dvipat 67

128 e
chandasastra of jayadeva 109 ekapada 42
chandavrstiprayata 98 epics 53
chandomancari 16, 109, 129 epic vaktra 52, 53
chandonukramani 109 extension 55
chandoviciti 109
g
chandogyopanisad 15
gajagati 129
citrapada 56, 72, 119, 128
gajendramoksa 114
classical metres 52
ganacchandas 21,22, 59, 60, 68
classical sloka 52
gahgadasa 16, 109
compounding 55
garigalahari 87
d gauri 82
dandakas 68, 98 gatha 61, 99, 100, 150
dandin 15 gayatrabarhatah 45
dhammapada 53 gayatri 16, 26, 32, 33, 34, 35,
dhatukavya 114, 115 36, 40,41,42,43,45,68, 69,
dhari 70 111,119
dhrti 34, 40 gayatrigroup 71
dhrti class 90, 91 gayatram 45
dodhaka 27, 56, 57, 76, 77, 96 gitagovinda 89

gitarama 110
160
Index
giti 18, 22, 32, 59, 60, 61, 114, jagati class 79
118 jaladharamala 82
gityarya 63 jalodhatagati 82
h janasraya 109
halamukhi 74 jaya 77
halayudha 16,18, 22, 62, 67, 68, jagatah 45
74, 77, 94 jambavatijaya 76
hamsam 71 jatigroup 59
hamsamala 71 Jimutah 99
hamsarutam 73, 128 jyoti 67
hamsi 77 jyotismati 38
haranartakam 90
k
haravijaya 85
Kakup 36, 44
harinapluta 26, 58, 95
Kakupnyankusira 36
harini 90
Kamala 73, 128
hari 71
Kamalam 70
harsacarita 21
Kanya 70, 72
hemacandra 115
Karahanci 71
history of classical Sanskrit
Kadambari 21
literature 118
Kakubhabarhatah 45
hrasiyasi 35
Kakubha Pragatha 44
i
Kakubhatraistubhah 45
indravajra 18, 76, 80, 84, 85
Kalidasa 26, 27, 76, 78, 80, 82,
indravamsa 16, 54, 76, 79, 80 83, 86, 88, 96, 99, 109
induvadana 73, 84 Kantotpida 82
j kasyapa 109
jagati 16, 18, 25, 34, 39, 43, 52, Katyayana 26, 43, 47, 93, 109
93 Kavirat 36
161
Kavyalahkara 62 lasini 70, 72

Kedarabhatta 60, 61,65, 66, 67, iilakarah 99
70, 71,73, 74, 82, 84, 85,86,
m
90, 98, 99, 109, 111, 112,
madalekha 71
114, 127, 128, 129
madhyagroup
kesa 70
madumati 71
ketumati 95
madhyejyoti 71
khaja 67
mahabharata 45, 52, 53, 54, 76,
kiratarjuniya 83
77, 80, 84 85
krsnagiti 113
mahabrhati 39
krsnamachariar-M-118
mahapadapanktih 36
krtih 34,36,40,77
mahapanktijagati 39
krticlass 92
mahasatobrhati 39
krtichandas 34
mahimabhatta 14
Ksama 82
mahi 129
ksemendra 76, 77, 79, 80, 85, 86,
mahitojjvala 82
87,88, 89, 91, 93, 109
mandakranta 19, 26, 58, 59, 78,
Kumaralalita 71
88, 93
Kunalajataka 79
manda 70
Kusumavicitra 82
mandaram 70
Kutakam 11 2
mandaramaranta 11 3
Kuttikrsnamarar 133
mallika 74
Kuvalayamala 99
manjari 98
Kudiyattam 110
manjubhasini 94, 95
Kuttu 110
manigunanikarah 85
I
manigunakiranah 85
lalita 82, 57, 95, 97
manirnala 82
lata 1 28
maniraga 75
lavali 98
162
Index
matta 74, 75, 77 moric metres 59

mattamayura 82 mrgendra 70
mattebhavikridita 92 rnrgi 70
mayura 92 mrtyunjayachandah 1 29
mauktikadama 81 mukulam 71
mauktikamala 113 n
ma 40 nadi 71
magha 83, 84, 86 naganika 70
mala 85, 77 nandimukhi 86
malabharini 94, 95 narkutakam 112
malavrtta 68 nastarupa 36
malati 82 navamalini 82
malini 53, 85, 86, 71 navipula 67
manavakam 119, 128 nagarakam 73, 127
manavakakriditakam 72, 128 naracika 73, 128
mandavya 109 narayaniya 11 3
manaveda 113 nari 70
matrasamaka 63 nicrt 36, 41
matrasama group 59, 63 nidanasutra 109
matravjtta group 112 nyankusarini 37
maya 77
P
meghaduta 26
Padapankli 35
meghavisphurjita 90
Padmamala 127
meghavitanam 57
Pahkti 34, 37, 42,_70, 72
Melputtur narayanabhatta 113,
Pankticlass 75
115
Pariktyuttara tristubh 38
modaka 81
Pancacamara 27, 73
moda 127
Pathyavaktram 111, 112, 119
163
Paumacarita 61 pratistha group 70

Padacatururdhva group 97, 98 pratyapidah 98
Padanicrt 35 Pracyavrtti 65
Pahktakakubhah 45 Prakrtapingala 19, 23, 31,61,69,
Pancala 70 70, 71,72, 73, 74, 75, 77, 80,
81, 82, 86, 97, 109, 128
Panini 76
Prema 77
Pingalacarya 22. 43, 59, 67, 69,
71,72, 74, 76, 77, 80, 82,84, Priyamvada 82
85, 86, 99, 109, 111, 118, Priya 70
128, 129, 150 Priti 70
Pipilikamadhya Prthvi 89, 93
Pipilikamadhyama 37 Purastatbrhati 37
Prabhadrakam 85 Purastatjyoti 38
Prabha 82 Purausnik 36
Pragatha 28, 44, 45 Purana 53
Praharanakalika 84, 85 Puspitagra 54, 86, 94, 96
Praharsini 26, 53, 82, 83
r
Prakrti 34
raghuvamsa 78, 82, 83, 92
Prakrti group 40
ramana 70
Pramada 57
ramani 71
Prama 40, 41
rama 77
Pramani 22, 23, 73
rathoddhata 18, 54, 68, 76, 78,
Pramanika 72, 73, 79, 81, 84 79
Pramitaksara 56, 57 ratnakara 84, 85
Pramuditavadana 82 ravipula 67
Prastara 55, 68, 74 rajasekhara 14
Prastara pankti 38 ramapanivada 110, 111, 112,
Pratima 40, 41 113,114,116,117,118,119,
Pratistha 35 150
164
Index
ramayana 52, 53, 54, 65, 76, 80, samyuttanikaya 53

83, 84, 85, 91, 114 sandesakavya 88
rasakrida 114, 115, 116, 117, sankirnachandas 34
119, 134, 144, 145, 150, 151
sankrtih 40
rata 109
sati 70
ravanarjuniya 115
satobrhati 44
ravanavadha 114
satobrhatipanktih 37
resolution 57
saundarananda 92, 97
rddhi 77
saundaryalahari 87
rgsarvanukramani 43
saurabha 97
rgveda 13, 15,1 7, 27, 32, 33, 34,
samaveda 109
40,47
sambasivasastri 11 5
rgvedapratisakhya 14, 40, 43, 44,
47, 109 samkhykarika 62
rsichandas 34 saravati 75
sari 70
rsabhavilasita 86
rucira 82, 83 saru 129
rudrata 14, 62 savitri 71
rugmavati 75 simhavikriditam 90, 92, 112

simhonnata 84, 85
S
skanthaka 61, 100
saitava 109
skandogrivi 37
samavrttagroup 98
srag 85
samanika 58, 71, 73, 129
sragdhara 19, 26, 74, 92
samani 22, 23, 58, 74, 92, 129
sragvini 18, 80
samma 40, 41
sri 69
samrddhi 70
srivrttam 112
samskrti 34
srngara 76
samstarapanktih 38
stri 1 1 2
samyuta 75
165
Metre in Sanskrit
subhadraharana 115 Sikharini 26, 87, 88, 98

Subrahmanyan - s 17 Sisupalavadha 81, 83, 84, 86
substitution 56 Sivagiti 110
sucandrabha 129 Sirsa 71
sumati 70, 128 Sudhaviratrsabha 97, 98
sumukhi 70, 128 Suklayajurvedapratisakhya 16
sundari 95 Syamaladandaka 99
supratistha group 71 syncopation 58
susama 75 t
suvasakam 71 taitiriyaranyaka 40
suvilasa 129 tanumadhya 71
suvrttatilakam 78, 109, 150 tanusira 36
suryasataka 92 taralanayani 81
sakvari 34, 39 tavipula 67
sankhah 99 tali 70
sakvariclass 84 talaprastara 110
Sankunni Nair M.P. 62 tamarasah 57, 82
Sasikala 85 teragatha 65
Sasivadana 71 terigatha 65, 79
Saunaka 34, 35, 37, 40, 45,46,47 tirna 70
Sala 77 totaka 16, 18, 56, 58, 79, 80, 81,
Salini 54, 74, 76, 77, 78, 88 82, 100
Sardula 91 tristubh 16, 18, 25, 32, 33, 34,
Sardulalalita 90,91 38, 42, 43, 52, 75, 77, 82
Sardulavikridita 20,91,92,93,98 tristubh class 76
Sastrakavya 114 traistubham 45, 46
Satavahanasaptasati 63 tvaritagati 75
Sikha 67 u
uddamah 99
166
Index
uddarsini 84, 85 vaisvadevi 82, 86

udicyavrtti 65, 97 varnasasthram 1 6, 27, 53, 56, 76,
udgata group 97 79, 83, 86
udgiti 60, 114 vamsasthavila 80
ukta 68, 69 varshamana 35, 97, 98
unevenmetres 93 vasantatilaka 20, 74, 84, 85, 86
upacitraka 95, 96 vasudevakavi 115
upacitra 25, 63 vasumati 71
upagiti 22, 60, 114 vahini 82
upajagatitristubh 38 vajasaneyisamhita 40
upajati 53, 75, 76, 80, 86, 96 vala 77
upama 40, 41 valmiki 13
upanisad 52 vamana 14, 20
uparistadbrhati 37 vani 77
uparistadjyoti 39 vedanga 109
upasthitapracupita group 91,97,98 vegavati 95, 96
upendravajra 16, 76, 80, 96 Vernon Arnold. E. 17,18, 32, 33, 47
urobrh^ti 37 vichandas 42
utkrtih 68, 111, 119 vidyadhara 81
usnik 34, 35, 36, 41, 42, 43, 68, vidyunmala 67, 72, 73, 86, 100,
71 119, 127
usnikgarbha 35 vikrtih 34, 40
utkrtih 34, 40, 41 viparitapankti 37
v viparitapathyavaktra 66
viparitapurva 25
vaitaliya 16, 22, 54, 59, 64, 65,
79, 80, 83, 94, 95 viparitakhyataki 96
vaitika 92 viparitanta 45
vairajam 45, 46 vipula 66

virat 41, 42, 43
167
viratpurvatristubh 38
viratrupa 38
viratsthana 38
viratusnik 41
vistarabrhati 37
vistarapankti 38
visamavrtta 96, 98
vitanam 22, 23, 73, 74, 129
viyogini 53, 95, 96
vrttagandhi 20
vrttam 45, 46, 92
vrttabhedam 113
vrttaratnakara 69, 70, 71, 82,
109, 112
vrttavartika 100, 109, 110, 113,
114, 130, 150, 151
vyalah 99
vyuhah 43, 44
w
Warder. A.K. 59, 60, 63, 79,
82, 84, 91
y
yajurveda 52
yamakam 71
yaska 15
Yavamadhya 35
Yavamadhyatristubh 39
Yavamati 95
Yugmavipula 66
□
168
Calicut University Sanskrit Series 30
Metre in Sanskrit:
A Study with Special Reference to
K.K. Geethakumary
Metre in Sanskrit has a long history from the time of

Vedas themselves. Most of the classical metres have
developed from the Vedic metres. The folk tradition ^f
India has also influenced much in the various stages
of the development of the classical metres in Sanskrit.
Prosodists generally accept that the classical metres

are the Prastaras (permutations) of various Vedic
metres like Gayatri, Usnik, Brhati and Tristubh. Each
metre is having a number of Prastaras among which
only very few are accepted and used by poets
generally. Thus Anustubh has 256 Prastaras all of
which are illustrated by the scholar poet
Ramapanivada in a short poem Rasakrida appended
to his famous work on Prosody, Vrttavartika. This is a
unique feature of Vrttavartika as a work on Prosody.
The present book is a study on the metre in Sanskrit

with special reference to Vrttavartika of
Ramapanivada studying in detail the rhythmic
patterns of the Prastaras of Anustubh exemplified by
the author in Rasakrida.
Publication Division
University of Calicut PriceRs. 125.00

Metre in Sanskrit - A Study With Special Reference To Vrttavartika of Ramapanivada by Dr. K.K. Geethakumary

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Metre in Sanskrit - A Study With Special Reference To Vrttavartika of Ramapanivada by Dr. K.K. Geethakumary

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Metre in Sanskrit - A Study with Special Reference to

Metre in Sanskrit - A Study with Special Reference to

Metre in Sanskrit - A Study with Special

I have great pleasure to introduce the present work Metre in

I am sure that this work will be welcomed as an important

I. Metre in Sanskrit - Nature and Function 13

II. Vedic Metres - A General Study 32

III. Classical Metres - A Critical Analysis 52

IV. Vrttavartika - A Critical Study 109

In poetic compositions, rhythm and melody are mainly

Metre in Sanskrit has a long history from the time of Vedas

Prosodists generally accept that the classical metres are the

The present book is a study on the metre in Sanskrit with

The present book is divided into five chapters. The first

I have great pleasure in expressing my deep gratitude to my

I am very much obliged to Dr. C.M. Neelakandhan, Reader,

Ramapanivada is a prolific writer from Kerala, whose versatality

In the present work Dr. K.K.Geethakumary tries to analyse all

It is hoped that the scholarly world will accept

IKL - Indian Kavya Literature

An imaginative idea, devoid of emotion cannot be considered

Tpn ittt hfw i P

Metres had been amply used in Rgveda which is considered to

This verse is also found in Suklayajurveda - pratisakhya of

Saunaka, the author of Rgvedapratisakhya (RVP) says that by

Prosody - An Equipment of Poet

Mahimabhatta has realised the rhythmic nature and potentiality

The Term Chandas

A mythical account described in Chandogyopanisad says that

Yaska accepts this derivation when he says vsimia

In Bhagavadgita, Chandas is used to denote Veda

Here the world is figuratively depicted as a tree and the Vedas

Vrttam and Jati

era- aa fevn I’9

Halayudha, while commenting the Sutra ‘vrttam’ says that the

They have definite rules in the arrangement of Gurus and Laghus:

Metres like Vamsastham, Indravamsa, Totakam and

Bharata also attests this view when he says:

Abhinavagupta gives a different derivation to the term Vrttam:

He says that because of the rules of Gurus and Laghus, where

The difference between Vrtta and Jati is clearly stated by

Metre and rhythm

‘Metre is the organisation of rhythms into regular and recurring

Dr. S. Subrahmanyan observes:

‘fution and seperation of syllables with isocronicity make the

Stressing the relation of metre and rhythm, I. A. Richards states:

Regarding the rhythmic nature of the Vedic metres, E. Vernon

2) A general iambic rhythm may be noticed in almost all metres.

As regards the rhythmic nature of classical metre, it is

Melody also has an important place in metre. But the melody in

The musical metres like Vaitaliya and Aupachandasika and the

In classical metres also, especially in longer metres, prosodists

gives the derivation of Yati thus:

(Bharata uses the term ‘Virama’ instead of Yati) Abhinavagupta

Thus, Yati is a pause in the sense as well as in the sound.

Here it is to be noted that the above mentioned explanations on

- - -/ -YU U/U UU/-Y-U/- -U/- - /

But if the verse is analysed by following the Matragana scheme

------ U - - YUUUUUU -Y-U - - U - -35

and that of Sardulavikridita is

So it can be concluded that Yati has more relation to the Matra

They were very well aware of the rhythmic nature of these

Keeping this idea in mind, Vamana more expressly states that