Lectures on Selected Metres from The OE NUE ELE ie i GangadasaLectures on Selected Metres from the Chandomanjari of Gangadasa, is the second of its kind after Lectures on the Abhijnana-Sakuntala of Kalidasa. Let me mention at the outset that all these are done at the request, help and encouragement from my colleague Head Professor Nalini Balbir, other members of the Department and the students, particularly Sri Suren Bhandari at the Sorbonne Nouvelle University, Paris. This attempt aims at giving an idea of the metres (mostly of the Samavrtia) used in classical Sanskrit literature. Discussion on the basics of Sanskrit metres and a statistical analysis of the metres used in five great epics of classical Sanskrit may appear interesting for the new entrants of Sanskrit metres. I have tried to cite examples mostly from well known texts which are generally prescribed for the students of Sanskrit. Coy'- izesignand Photograph by : Pacfes «+ Satyanarayan ChakrabortyLectures on Selected Metres from The Chandomaiijari of Gangadasa by Professor Satyanarayan Chakraborty M.A., Ph. D., D. Litt., Kavya-Vyaharana-Upanisat-tirtha Department of Sanskrit, Rabindra Bharati University Formerly I.C.C.R. Chair @ Visiting Professor of Sanskrit, Sorbonne Nouvelle University, Paris SANSKRIT PUSTAK BHANDAR 38, Bidhan Sarani, Kolkata - 700 006Published by : Debasish Bhattacharjee SANSKRIT PUSTAK BHANDAR 38, Bidhan Sarani, Kolkata 700 006 © Author First Edition : 2012 Allrights reserved. No part of this publication is to be produced in any form or by any means, without written permission of the author. Price : Rs. 125.00 Type-set By: Tyros Inia PRIVATE LIMITED 62/1, Hindusthan Park, Kolkata - 700 029 Printed By: Abhinava Mudrani Kolkata - 700 006Dedicated to my student-friend at Sorbonne Nouvelle University, Paris SUREN BHANDARI with love Professor Satyanarayan Chakrabortya8 age aie DG pete ewer AGE) bePREFACE Lectures on Selected Metres from the Chandomanijari of Gangadasa, coming up in audio C.D. form, is the second of its kind after “Lectures on the Abhijnana-sakuntala of Kalidasa’, prepared in 27 volumes. Let me mention at the outset that all these are done at the request, help and encouragement from my colleague Head Professor Nalini Balbir, other members of the Department and the students at the Sorbonne Nouvelle University, Paris, This attempt aims at giving an idea of the metres (mostly of the Samavrtta) used in classical Sanskrit literature. As we know, metres are well understood and enjoyed only when they are put to ears and from this standpoint this audio yersion may be of some help for the listeners. I have tried to cite examples mostly from well known texts which are generally prescribed for the students of Sanskrit. Let me express my sincere thanks to Professor Balbir, other colleagues and the officers of the University at this moment. In preparing this C.D. my student-friend Mr. Suren Bhandari, as done on earlier occasion as well, has taken a lot of pains in registering my voice and then editing it later. I feel paucity of words to express my sincere thanks and gratitude to him. I remember with great love and respect the good wishes and encouragement that I receive from Professor Satyayrat Shastri, Professor Srinivas Rath and others all the time. Thanks are due to my family members as well. Now at the request of Debashis Bhattacharya of Sanskrit Pustak Bhandar the script is being printed for students. I would feel my labour amply rewarded if the people for whom this work is intended are benefited to certain extent. 15" August, 2007 Satyanarayan Chakraborty 11, rue de Javel Tour Espace 2000, Appt. # 35 Paris 75015, Franceou 1 7 eae A = walle i 7 a deomgally Totevetee!l oy oe 2 NE | elt feel eteet toga et Tu re eel ee set Eh eee as int ls 1 ante Tce cba af |e ipm i ih ard ee eeINTRODUCTION freedom to word from the bondage of its inertness (jada-dharma). The poets from time immemorial used metres as a vehicle of expression of their thoughts and as a tool of adding more grace and charm to their compositions. The word chandas has been explained differently. Cf. Aitareya A ranyaka 2.5.—“chadayanti ha va enam chandamst papat karmanah” i.e., that which protects from vices; Taittiriya Samhita 5.9.9.1-—“te chandobhir dtmanam chadayitvopayan. tac chandasam chandatvam.” — i.e., they (the gods) approached (fire) by protecting themselves by chandas; Nirukta 7.3.12 “chandamsi chadandat” i.e., chands shields something; Siddanta-kawmudi, Unadi 659 - “cander Gdes ca chah”, on which Tattva-bodhini—“cadi ahladane asmad asun, adeh cha-kadras ca”. “Chandas’ stands for Vedic composition as well. Cf. “bahulam chandasi” — a number of sittra-s in Panini’s Astadhyayi. Whatever may be the origin, the word ‘chandas’ now meansa‘metre’, a composition regulated by some rules regarding placement of short-long syllables or number of matra-s. The science of metrics is regarded as one of the Vedanga-s. Cf. “chandah padau tu vedasya.” Metre is primarily divided into two — Vedic and classical. There are seven metres in the Vedic literature. Possibly there were some more. We know of many writers on classical metres like Kraustuki, Saitava, Kasyapa, Katyayana, Mandavya and others. Pingala’s work on metrics is one of the oldest available works. Halayudha’s commentary on it is very popular. In Purdna-s also we find some chapters on metrics. Now we mention a few other works and authors on metrics excluding this Chandomanjart by Gangadasa : Janasrayi Chandoviciti (possibly of 64 cent.), Vrtta-ratnakara of Kedarabhatta, Abhinava- A s mentioned by Rabindranath Tagore, metre allows8 The Chandomaijari of Gangadasa Vrita-darpana by Sitarama and ita-ratnakara of by Bhaskara, Bay ie : of Classical Sanskrit many others. (For details see “History Literature by K. Krishnamachariar, pp: 909- 12)" . Gangadasa has introduced himself in thevintreductory: verses of this work. He was a son of Gopaladasa of Vaidya caste and his mother’s name was Santosa. He blonged to Bengal and possibly of 15-16" centrury AD. He was a great devotee of Vaisnava sect, a fact that can easily be established from the benedictory verse and the illustrations of the work itself, He authored Acuuta-carita, an epic in sixteen cantos, Gopiala-sataka, a poem on Krsna and another poem on the praise of Sun, entitled Dinesa-carita. Cf. “yenakari tad acyutasya caritam kavi-pritidam / kamsareh Satakam dinesa- fataha-dvandvan ca......” (concluding verses of this work), He quoted from a drama named Parijata-harana, composed by his father. Chandomarijari is the most popular work on classical Sanskrit metres. It contains six chapters (Stavaka-s). On the basis of several manuscripts, in some editions, however, it is divided into seven chapters (content remaining the same), ¢.g., the edition by Professor Dileep Kumar Kanjilal, Modern Book Agency Pvt. Ltd., Calcutta, 1962. The 5‘ Stavaka on Vaktra in this edition is presented as a part of the fourth Stevakain other editions, e.g., edition by Ananta Rama Shastri Vetal, Jaya Krishna Das Haridas Gupta, Benares, 1940. This work is a compendium of metres used in Sanskrit literature and appears to be a compilation of works available in the field with less amount of originality. After the benedictory verse with some information about himself, Gangadasa mentioned necessity of this work. Then followed discussion on the nature of poetical composition (padya), the nature of metrical triads (gana), enumeration of gana-s, determination of short and long letters, placement of yati and divisions of Sanskrit metres (Stavaka I). In the following chapters even, semi-even and uneven metres, the vaktras, matra-vrtia-s and a short note on prose composition have been discussed (Stavakas W-VIor VII). Ch. IL dealing withIntroduction 9 samavrita-s starts with eka@ksara vriti (i.e., metre with one letter in each foot) and then ‘gradually increases by one letter cach and reaches up to 26 letters a foot, as promised (sadvimsatim gatam— Ch, I. 25). Then once again the author takes up some metres with more letters. We would like to mention an interesting point in this regard. A particular metre is supposed to be employed on the consideration of theme, sentiment and situation. In Sanskrit works on prosody there are some discussions on this aspect, particularly in the Suurtta-tilaka of Ksemendra. For example we mention a few such directions mentioned in this book: Anustup is good for the description of tranquility of mind (Sania), Upajati for spring season, Rathoddhata for the description of heroine’s beauty and excitants like moonrise etc., VamSasthavila for morals (niti-sdstra), Vasantatilaka for Heroic and Horrific sentiments (vira and raudra), Sardiila- vikridita for valour, Prthvi for anger and censure, Mandakranta for separation, sojourn and rainy-season (or separation due to sojourn at rainy-season) etc. Anustup is good for Sastra-s and Purana-s in general. Cf. Suvrttatilaka Vinydsa I Sdstram kuryat prayatnena prasannarthamanustubha / yena sarvopakaraya yati suspastahetutam // 6 kavye rasanusarena varnandnugunyena ca / kurvita sarvavrttanam viniyogam vighagavit // wee d puranapratibimbesu prasannopayavartmasu / upadesapradhanesu kuryat sarvesvanustubham HY. tathapyavasthasadrsath sddhusabdapadasthitah / suurttaireva sobhante prabandhah sajjana iva // 1210 The Chandomanjari of Gangadasa drambhe sarvavrttasya kathavistarasamgrahe / Samopadesavrttante santah Samsantyanustubham HN6 srngdralambanodara-nayikarupavarnanam / vasantadi tadangam ca sacchayamupajatibhih // 17 rathoddhata vibhavesu bhavya candrodayadisu / Sadgunyapraguna nitir vamsasthena virajate// 18 vasantatilakam bhati samkare viraraudrayoh / kuryat sargasya paryante mdlinim drutatalavat // 19 upapannaparicchedakale sikharini mata i audaryaruciraucityavicare harini vara // 20 saksepakrodhadhikkare param prthvi bharaksama/ pravrtpravasavyasane mandakranta virajate // 21 Sauryastave nrpadinam sardulakriditam matam f savegapavanadinam varnane sragdhara mata /f/ 22 Instructions are generally formed on the basis of established norms noticed in representative works. We have tried to make an estimate of these instructions on the basis of analysis of the metres used in five ‘great maha-kavya-s’ (Raghu-vamsa, Kumara-sambhava, Kiratdrjuniya, Sisupdla- vadha and Naisadha-carita) and noticed that there is a clear indication of the preference for shorter metres with 8, 11 or 12 letters irrespective’ of the subject of description or sentiment. Let us discuss the point with some details : First of all let us mention a few cases where the metres actually used in these Mahaka@vya-s and the instructions of the Suuritatilaka do not go in line. Thus:Introduction i Subject Instructions Metre in the Suvrtta. actually used Description of Upajati Driutavilambitain seasons Sisupal, VamSsasthain Kirat. Description of Rathoddhata Svagatain Kirat. (Des- moon-rise cription of evening). Nitisastra Vamsastha Anustup in Sisupal. Vira/Raudra Vasantatilaka Anustup, Upajatiin Kirat (XV, XVI, XVII) Anustupin Raghu (IV, XII) Salini, Anustup in Sigupal (XVII, XIX) Atthe end ofa Malint Not followed. canto generally. e.g., Sisupal. 1, 1M, V, V1, VIL, IX, XII-XX. Let us make a survey of the preference of particular metres in these works : Raghuvamsa Canto ‘Subject Metre I Arrival at Vasistha’s hermitage Anustup It Granting of boons by Nandini Upajati I Coronation of Raghu Vamsastha IV Victorious expedition of Raghu Anustup Vv Svayamvara marriage ceremony ofAja Upajati VI Description of Svayamvara Upajati Vit Marriage of Aja Upajati VII Wailing by Aja Viyogini Ix Hunting by Dasaratha DrutavilambilaCanto It TL VI VII Bel Il The Chandomafjari of Gangadasa Subject Birth of Ramacandra Marriage of Sita Killing of Ravana Return to Dandaka Renunciation of Sita Death of Rama Marriage of Kusa with Kumudyvati Description of Atithi Geneology Amorous sports of Agnivarna Kumdrasambhava Subject Birth of Uma Arrival of Madana (Cupid) Scorching of Madana Wailing by Rati Attaining fruits of Parvati’s penance Gifting of Uma to Siva Marriage of Uma Kiratarjuniya Arrival. of Vanecara Arrival of Vyasa Departure of Dhananjaya Description of autumn Description of the Himalayas Metre Anustup Rathoddhata Anuslup Upajati Upajati Anustup Vamsastha Anuslup Upajati Rathoddhata Metre Upajati Anuslup Upajati Viyogini Vamsastha Anustup Upajati Vamsastha Mixed Upajati VamSastha MixedCanto VII VIL Ix XI XII XI XIV XV XVI XVII XVIII II Il Iv < Vil VIII IX XI XI Introduction 13 Subject Metre Departure of the women Pramitaksara Approaching the hermitage Praharsini Sports of the divine women VamSastha Description of evening Svagata Winning over temptation by Arjuna Kusumavicitra Arrival of Indra Anustup Approaching the Lord Uneven metre Speech of the messenger Uneven metre Approaching Indra Vamsastha Description of battle Anustup Same continues Upajati Same continues Upajati Receiving the weapons Drutavilambita Sisupalavadha Dialogue between Krsna and Narada Vamsastha Planning future steps Anustup Departure for the capital Upajate Description of Raivataka Mixed Same continues Vasantatilaka Description of seasons Drutavilambita Sports in gardens Puspitagra Water-sports Praharsini Description of evening Pramitaksara Description of amorous sports J Svagata Description of morning Malini March of the army UpajatiCanto XI XIV XV XVII XVIII XIX XH XII XIV XVIT The Chandomanjari of Gangadasa Dissatisfaction of Kali and Dvapara Subject Metre Arrival of Krsna Manijubhasini Offering honour to Krsna Rathoddhata Same continues Udgata Same continues Vaitaliya Agitation by the Yadavas Rucira Description of fighting Saline Same continues Anustup Killing of Sisupala Aupacchandasika Naisadhacarita Anuraga (Love) Vamsastha Same continues Vaitaliya Same continues Upajati Description of the viraha Drutavilambita Departure of the gods Svagata Arrival of Nala as a messenger Upajati Description of Damayanti’s beauty Upajati Request to Damayanti to choose a god Upajati Proposal refused by Damayanti Vamsastha Description of Svayamvara Upajatt Introduction of the kings Vasantatilaka Same continues Mixed Introduction of the gods Vasantatilaka Damayanti recognizes Nala Upajati Arrangement for marriage Vamsastha Procession of the bride-groom Vamsastha PathyavaktraIntroduction 15 Canto Subject Metre XVIIL_ Description of amorous sports Rathoddhata XIX Description of morning Mixed XX Nala performs his duties Anustup XXI_ Nala takes bath and worship Mixed XXII Description of moon-rise Upajati Analysis Raghu. Kumara. Kirata, Sisupala. Naisadha. Total (-7) Anustup 6 2 2 2 1 = 13 Upajan 7 3 3 2 = 22 Vamsastha 2 1 4 1 = 12 Viyogini 1 1 eee) Drutavilambita 1 ase 1 1 = 3 Rathoddhata 2 i 1 = 4 Pramitaksara Bs ae I 1 = 2 Praharsini = = 1 1 = 2 Suagata ie _ 1 1 2 = 4 Kusumaviatra 1 = 1 Vasantatilaka 1 2 = 3 Puspitagra 1 = 1 Malini 1 as = 1 Satini 1 =e Rudra 1 a! Others/Mixed —... y is 6 4 = 4 No. s of cantos 19 7 18 20 22 = 8616 The Chandomaijari of Gangadasa From the above analysis it appears that : (1) the poets preferred metres of 8, 1] or 12 letters in each foot. (2) metres with higher number of letters are remarkably less in number. (3) Statistical analysis on the basis of these five Mahakavya-s is as follows : Anustup— 15.11% | taking together : 54.65%. If Upajati- 25.58% | consider their use in cantos Vamsastha— 13.95% | with mixed verses : 58-59%. Twelve other metres, excepting the three mentioned above, used : 27.9%. Others / Mixed : 16.27%. Comparison: 54.65 divided by3 = 18.21% 27.9 divided by 12 = 2.39% Thus, use of Anustup, Upajati and Vamsastha taken together is 7.84 times more than the other metres used.Anustup Drutavilambita Kusumavicitra Malini Others/Mixed Praharsint Pramitaksara@ Puspitagra Rathoddhata Svagata Upajati Vamsastha Vasantatilaka Viyogint The Chandomanjari of Gangadasa 15.11 3.48 1.16 116 16.27 2.32 2.32 1.16 4.65 1.16 1.16 4.65 25.58 13.95 3.48, 2.32STAVAKA I (Mukhabandha) devam pranamya gopalam vaidya-gopala-dasajah / santosa-tanayas chando gangadasas tanotyadah // 1 The author begins his work with a salutation to Lord Gopala (Krsna) with a view to a smooth and successful completion of the work undertaken. This is an Indian tradition to begin awork with a benediction to gods, preceptor or elders and is continuing till modern days. Traditionalists believe that if one follows this custom, the work undertaken brings success. Thus they maintain a cause-effect relation between the prayer to god (marngalacarana) and the successful completion or the desired end of a work. Those who do not have faith in this practice mention a lot of cases where in spite of having a mangalacarana, e.g. the Kadambari by Banabhatta, the work has not been completed. Moreover, books written by the atheists have no mangalacarana at all. Anyway, this custom is accepted as an ‘avigita- sis cara’ (a good practice) and followed by the Indians tifl modern days. Panini’s Astadhyayi starts with the sutra ‘vrddhir @daic’. Asa rule, in the construction of a sentence subject (‘uddesya’) is mentioned first and then the predicate (‘vidheya’) and accordingly ‘adaic’ should have taken place first. But by doing the reverse Panini uttered ‘yrddhih’, which is an auspicious word, at the outset, as a mark of following the tradition. Cf. *etad ekham Gcaryasya mangalartham mysyatam. mangalika20 The Chandomanjari of Gangadasa acaryo mahatah sastraughasya mangalartham vrddhi-sabdam aditah prayunkte. mangaladini ht Sastrani prathante vira- purusakant bhavantyayusmat-purusakani cadhyetdras ca vrddhi- yukia yatha syur iti.” — Mahabhasya of Patanjali. In the Kalapa Vyakarana we have a beautiful verse in this regard. “adeso nanu vaktum adya ucitah Sese hatham nirmitah aidautavili nirmite'apyabhimate vyaplyaiva va kim phalam / satyam mangala-hetave nija-kyte nirvighna- siddhipsuna grantharabdhi-badhi-parigraha-vidhau urddhih krtadaviyam //” Gangadasa, author of this work on Chandas (metre), was a Vaisnava, hence preferred pay homage to Lord Krsna Gopala. His father was Gopaladasa and mother Santosa and he belonged to a Vaidya family. Santi yadyapi bhuyamsas chando-grantha manisinam / latha pi saram akrsya navakartho mamodyamah // 2 iyam acyula-liladhya sad-urtta jati-salini / chandasam manjari kanta sabhya-kanthe lagisyati // 3 There are in fact a number of books like the Srutabodha and others by great scholars on this subject — says Gangadasa. Then why another attempt to write on the same subject? The author himself replies to this question — His is the attempt to prepare a compendium of metres for an easy understanding of the beginners (‘navaka’). He has collectedStavaka | 21 the essence from early works. This may have an indication that earlier books like the one by Pirigala were not suitable for the beginners. This work contains eulogies to Lord Krsna profusely in the form of examples for different metres. Hence the author mentions “acyuta-liladhya’ (enriched with verses depicting various feats of Acyuta, i.e., Krsna and he has full confidence that this work Chandomanjari (chandasam manjart) will be appreciated by the learned people. Itis ‘kanta’ (beautiful) and also ‘sad-vrita’ and ‘jati- jalini’, contains verses in ‘urfta’ metre (on the basis of number of letters) and also in ‘jati’ metre (on the basis of moras). We shall discuss about the nature of vytta and jati in details in our exposition of the next verse. This verse (“iyam acyutalila ...” etc.) can be construed and explained in a different way from the pun used by the author. The earlier explanation was with relation to Krsna. Now we explain it with relating it to a ‘kanta’, a lady. She is ‘a-cyuta-ltladhya’, full of amorous gestures (pirna-vildsa-sobhini), sad-vrtla, chaste, ja@ti-salini, i.e., kulina (of a high family) —a manijart (ie. Adra-bhitd), as a necklace, sabhya-kanthe lagisyati, will embrace a sportful young (and thus give him immense pleasure). padyam catus-padi tac ca urttam jatir iti dvidha / urttam aksara-samkhyatam jatir matra-krta bhavet // 4 A Sanskrit verse is called ‘padya’. Now Gangadasa gives definition of a ‘padya’. It is ‘catus-padz’, consisting of four pada-s, i.e., four feet (‘carana, line) of a verse combined is called a padya (poetry). Thus ‘pada’ means one quarter of a full verse (generally calledia sloka). One should not mix up this ‘pada’ as a ‘subanta’ or ‘tinanta’ as mentioned in Sanskrit grammar — “sup-tinantam padam”. Anyway, the word ‘pada’ is used to indicate a number of things. We quote a yerse from the Natya-pradipa (quoted in Raghavabhatta’s22 The Chandomaijari of Gangadasa commentary on the Abhijnana-sakuntala and other works): “sloka-paduh padam kecit sup-tinantam athapare / pare’vantara-vahyaika-svarapam padam acire //” Padya is divided into two classes — vytta and jatt. Vrita is counted by letters (aksara) and pati by moras (ma@tra). Matra indicates a specific time or duration for the prounciation of ajletter. The exact duration needed for pronunciation of yowwels and consonant is also clearly mentioned in works on grammar. Vowels are of three types depending on the time it takes to pronounce — hrasva (short), dirgha (long) and pluta (protracted). Cf.“ai-haloj-jhrasva-dirgha-plutah” (Astadhyayt 1.2:27) i.e., the time needed for pronouncing u (short), @ @) and uwwith 3 matras (which has been compared as the sound of a cock) determines the nature of the vowel from the standpoint of time it takes. In the Tantrasastra it has been mentioned: “yama-januni tadd-hasta-bhramanam yavata bhavet / kdlena matra sa jreya munibhir veda-paragaih // Similar direction: “kalena yavata panih paryeti janu-mandale/ $a matré kavibhih prokta hrasva-dirgha-pluta mata //”. That amounts to one matra-time, which is needed for moving round the surface of the left knee by the left palm on it. Let us mention the duration in a more clear terms: “eka-matra bhaved hrasvo dvi-matro dirgha ucyate / ini-matras tu bhavet pluto vyanjanam cardha-matrakam // For short vowel one matra, for long vowel two matra-s, for the protracted vowels (pluta, used for calling a person from a distance etc.) three matra-s and for the consonants half a matra —this is the rule. We mention a very interesting verse which is based on the observation of the animal world in this regard.Stavaka I 23 - casastvekam vadenmatram dvimatram vayaso vadet / trimatram tu sikhi brityan- nakulascardhamatrakam // Casa (a particular bird with blue wings) makes sound in one maira, vayasa (a crow) in two matré-s, sikhi (a peacock) in three mdird-s and a nakula (a mongeese) in half a matra. samam ardha-samam urttam visaman ceti tat iidha / samam sama-calus-padam bhavatyardha-samam punah // 5 Gdis irliyavad yasya padas taryo dvitiyavad / bhinna-cihna-catus-padam visamam parikirtitam // 6 Vrtta metre is sub-divided into three — sama (even), ardha- sama (semi-even) and visama (uneven). Sama is one in which all the four feet (lines) counted with reference to the short or long nature of the vowels are equal (and obviously in same sequence). For example, Totaka, Malini etc. In Totaka there are 12 letters with four ‘sa-gana-’s in each foot. In Malini 15 letters with na-na-ma-ya-ya gana-s (five in number) in each foot (in the same sequence). An Ardha-sama (semi-even) metre is one in which the first and the third feet are similar and in the same manner the second and the fourth are similar with regard to the counting of letters and moras. The metre Upacitra is an example of this variety. In a Visama (uneven) metre all the four feet are different. For example, Udgata. Here the first foot has the sa-ja-sa gana-s with one short letter, the second has na-sa-ja gana-s and one long, the third has bha-na-ma gana- s and one long and the fourth foot has sa-ja-sa-ja gana-s with one long.24 The Chandomanjari of Gangadasa myarastajabhnagatr lantair ebhir dasabhir aksaraih / samastam vanmayam vyaplam trailokyam iva visnuna MT As Lord Visnt covers the three worlds, the whole world of sounds is covered by ten gana-a, namely, ma, ya, ra, Sa, ta, ja, bha, na, ga and la. Here we should mention at the outset that the first eight ganas consist of three letters each and all of them have specific sequence of placing short and long (laghu-guru) letters. The last two gana-s, namely ga and la have only one letter each, — ga one long and la one short. We shall discuss about this in details later. Visnu, in his incarnation as a dwarf (Vamana) covered all the three worlds, namely, the heaven (sva7ga), the earthly world (martya) and the nether world (patala) by his three foot-steps (hence called ‘in-vikrama') to control a demon named Bali. The story runs thus: Bali was a powerful demon, the grand-son of Prahlada. Through the merit of his pious acts and munificence, he drove away Indra from the heaven and deprived him of all his possessions. Being entreated by gods, Visnu incarnated himself as a dwarf and was born in the womb of Aditi, the mother of Indra. The dwarf then went to Bali and asked for three paces of ground from him, to which Bali readily agreed. The dwarf then expanded himself and by his two huge feet occupied earth and heaven and asked for the third pace as promised by the demon, Bali then held out his own head and a third foot shooting out of the dwarfs navel pressed Bali to the nether world. mas tri-gurus tri-laghus ca na-karo bhadi-guruh punar adi-laghur yah / Jo guru-madhya- gato ra-la-madhyah So/anta-guruh kathito ‘antalaghus tah // 8Stavaka [ 25 gurur eho ga-karas tu la-kGro laghur ekakah / kramena caisam rekhabhih samsthdnam darsyate yatha // 9 Here is the enumeration of ten gana-s. They are: J. ma = na = bha = 4. ya = 5. ja = 6. ra = 7. sao= 8 ta = ga = 10. la = where all the three letters (vowels) are long. For example — sridurga. where all three letters are short. e.g., trimuni. where the initial letter is long, following two are short. €.g., madhava, where the initial letter is short, following two are long. e.g., valakd. where the letter in the middle is long, the initial and the last being short. e.g., sivdya. Where the letter in the middle position is short, the initial and the last being long. e-g., sundarah. where the last letter is long, first and second letters are short. e-g., latika. where the last letter is short and the first and second are long. e.g., ramaya. one long letter. e.g., sr. one short letter. €.g., na. There are two symbols to indicate short or long letters. For short ‘U’ and for long ‘-’. In some texts however symbols are different. jneyah sarvanta-madhyadi- guravo'tra catus-kalah / ganas catur laghtipetah pancaryddisu samsthitah A190 In metres like Arya thre are five gana-s with four types of26 The Chandomaijari of Gangadasa métré-s, as mentioned. They are sarva-guru (all long sounds), anta-guru (ending in a long sound), madhya-guru (a Jong sound in the middle), ddi-guru (a long sound at the starting point) and catur-laghu (four short sounds). sanusvaras ca dirghas ca visargi ca gurur bhavet i varnah samyoga-pureas ca tatha padantago’pi va // 11 Now the author mentions characteristics of a guru sound. (1) A letter with anusvara, i.e., short vowels a, i, u, rf with anusvara, like am, kam etc. For obvious reason long vowels with anusudra must be taken as guru as the long yowels are by nature long. (2) long vowels 4,i, i, 7, ¢ ai, 0, au themselves. (3) a letter with visarga, i.e., short vowels with visarga like ah, kah etc. No need to mention that long vowels with visarga are guru. (4) A short vowel (letter) preceding a - conjunct; e.g., rakta. Here ‘a’ in ‘ra’ is to be taken as guru, since followed by the conjunct ‘kta’. (5) The final or ultimate syllable of any foot even short, may be accepted as guru, if necessary, i.e., it is optional. In a similar manner a long sound may be taken as a laghu. Examples will follow next. There are different opinions regarding rule No.5 mentioned above (the ultimate short syllable to be taken as guru and vice versa). According to some the ultimate short should be long in a vrtta compulsorily, but in a jati it is allowed optionally. But even in jati if the optional lengthening of the short be conducive to the terseness of the diction (bandhadrdhatva) then it must not be treated as blemish. Cf. Sahitya-darpana VII — “drste yatra patanti midha-manasam astrani vastrani ca”—with the reading ‘vastranyapi’ the short may be taken as long. There is another note in this regard in the same work — “yat padante laghor api guru-bhava uktas tat sarvatra dvitiya-caturtha-pada- visayam, prathama-tztiya-pada-wsayam tu vasantatilakaderStavaka I 27 eva.” There is another opinion: this optional lengthening of the ultimate vowel is applicable to Indravajra, Upendravajra etc. atra padantago laghur gurur bhaved va. yatha — tarunam sarsapa-sakam navaudanam picchilani ca dadhini / alpa-vyayena sundari gramya-jano mistam asnati // atra sundariti gramya-Ssabde pare vikalpena laghutvam. This is an example of optional lengthening shortening according to necessity as mentioned in previor rule. It is composed in Arya, a jat metre. “yasyah prathame pade duadasa matras tatha trtiye’pi/ astadasa duitiye caturthake panicadasa sa rya // i.e., a verse containing 12 moras in the first foot, 18 in the second, 12 in the third and 15 in the fourth — is called Arya. Now, in the verse cited, the ultimate short vowels in foot second and fourth are taken as guru (long, consisting of two matra-s) . The final vowel in third foot though long (since it precedes a conjunct ‘gra’, the initial letter in forth foot), has been taken as a laghu, short. The normal counting and changes as we see in this verse: 18t foot - 141424241414242=12 ond foot-1424149424+142+1414+14241 (41)=18(<17) 3rd foot-242+14241424142(-1)=12 (<13) 4th foot-2414142+24142+241 (41)=15 (<14) The verse contains a fine picture of the simple life of the villagers. They are happy with a simple dish of fresh grown sarsapa Saka (green)rape-seed potherbs), navaudana28 The Chandomanijari of Gangadasa (boiled new rice) and picchila dadhi (liquid curd). Do not run after a five-course lunch. tatha bhattih - atha lulita-patatiri-malam rugndsana-bana-kesara-tamalam if sa vanam vivikta-malam sitam drastumjagamalam // atra prathama-padanta-guror laghutuam. This is another example of the rule regarding shortening of a long of the ultimate letter of a foot. The yerse is from Ravana-vadha of Bhatti and is composed in Arya metre. Character of this metre has already been explained. As per rule the 1S! foot should consists of 12 matra-s. From normal counting it comes 13. Hence the last letter ‘lam’, which is a long one owing to its being with anusvéra, has been taken as a short and then it goes with the definition of Arya. This verse along with notes is not found in many manuscripts. Some recent editions also have not incorporated this. tatha mat-pituh parijata-harana-natake — sinditra-pira-kyta-gairika-raga-sobhe Sasvan-mada-sravana-ninjhara-vari-piire/ samgrama-bhimi-gata-matta-surebha-humbha- kule madiya-nakharasanayo visantu // atra trtiya-caturtha-padanta-laghor gurutuam. This is an example of lengthening of shorts as the ultimate letter. As mentioned in the text, it is from a drama named Panjata-harana by the father of the author. It is composed in Vasantatilaka metre. Definition of this metre — “jneyam vasantatilakam tabhaja jagau gah”, This is a Samaurita metre consisting of 14 letters each foot with particular sequence of short and long. Let us put the symbols to show the sequence:Stavaka I 29 ta bha ja ja ga ga -—-U —UU U-U U-U - - In this verse however the ultimate vowel at the end of the 3°4 foot (‘bha’) and also at the end of 4! foot Cntw) though short are taken as long, tatha mama acyuta-carite'pi — raktena kesi-dasana-ksaia-sambhavena veje sa manditataro hari-bahu-dandah / tad-danta-sandalita-bhima-bhuja-pratapa- vahner iva sphuta-kana-prakarena kirnah /f atra prathama-trliya-padantasyapi laghor gurutuam. This is another example of lengthening of short yowels which are placed at the end of a foot. This is from a work Acyuta-carita by Gangadasa himself. This is also in Vasantatilaka metre. Definition of the metre has (already) been discussed immediately preceding this one. Here the ultimate vowels in the 15t and the 3f4 feet (‘na’ and ‘pa’ respectively) though short are taken as long, since in Vasanta-tilaka the last vowel in each foot is to be long. “‘prahre va” iti punah pingala-muner vikalpa-vidhayakam Stitram. udaharanam yatha kumare— sa mangala-snana-visuddha-gatrt grhita-pratyudgamaniyavastra / nirupita-parjanya-jalabhiseka praphulla-kasa vasudheva reje // atra pra-sabde pare guror laghuivam. Now the author mentions an opinion from an earlier work of Pingala. However, present editions do not contain this rule, a fact that indicates several recasting of the text by Jater scribes and commentators. The original text is, most possibly, lost. The present author quoted this as it was30 The Chandomanjari of Gaigadasa known to him through tradition or some other source. The general rule, as already mentioned, is that a short vowel preceding a conjunct has to be taken as a long one. Cf. ‘varnah samyoga-purvas ca’. On this point Pingala says that if a short vowel is immediately followed by the conjuncts ‘pra’or ‘hra’ then it would be optional, i.e., it may be treated as short itself. Let us mention clearly that this rule of Pingala has no relation of its being a ‘padanta’ for which the scope of optionality has already been discussed. For example the cauthor cites a verse from the Kumara-sambhava of Kalidasa. This verse is composed in Upajati metre. It is in fact a combination of two metres. For example, one foot (may be 15¢ or 2°¢ or any of the four) is Indravajra, the other (any foot) may be Upendravajra. We shall discuss about this metre later. Now that we say that this verse is a combination of Indravajra and Upendravajra metres. The definitions of these two metres: “syad indravajra yadi tau jogau gah” and “upendravajra prathame laghau sa”. The second foot of the yerse cited (“sad mangala...” etc.) is in Indravajra. Let us show the sequence of short-long sounds in Indravajra — ta ta ja ga ga ==U0 =“Wu=u == According to the definition the third letter, in this case ‘fa’ (= == =e ue) rasaih iudiais chinna yamanasabhala Bah whhariniStavaka II 51 This is a metre with 17 letters each foot and consists of the following gana-s in order mentioned: ya-ma-na-sa-bha-la- ga. 1st, 7th, gth, gth, yoth, 11th, 14th, 15th and 16" letters are short, other are long. Yadi-s are after 6'% and 11'» letters, indicated by ‘rasa’ (six in number — Kalu, Amla, Tikta, Madhura, Lavana and Kasd@ya) and ‘rudra’ (eleven in number: Aja, Eka-pad, Ahirvradhna, Pinakin, Aparajita, Tryambaka, Mahesvara, Vrsakapi, Sambhu, Harana and Isvara). It is a popular metre. Bhavabhuti is said to have excelled in this metre. Cf. “bhavabhileh Sikharini nirargala-tarangini / rucira ghanasandarbhe ya mayuriva nytyati // —Ksemendra. Example: yad dloke suksmam vrajati sahasa tad vipulatam yad antar-vicchinnam bhavati krta-sandhanam iva tat / prakrtya yad vakram tad api sama-rekham nayanayor na me dure kinicit ksanam api na parsve ratha-javat // — Abhi. Saku. 1. Prthvi Definition: ja sa ja sa ya la ga U-U UU- U-U UU- U-- U - jasau jasayala vasu-graha-yatis ca prthvi guruh This is a metre with 17 letters each foot with following gana-s in order as mentioned: ja-sa-ja-sa-ya-la-ga. This metre is named Vilambita-gati by Bharata. 2"4, 6th, gth, 19th, 14th, 15th and 17" letters are long, others are short. Example: pravisya vipinam mahat tadanu maithili-vallabho maha-bala-samanvitas calita-nila-sailacchavih /52 The Chandomafjari of Gangadasa nisd-cara-davanala-prasamanam vidhatum sarais eacdra sasardsanah sura-pathe taditvan iva // = Campu-ramayana HI. Mandakranta Definition: ma bha na ta ta ga ga === =UUUUU =U =U) = — mandakrantambudhi-rasa-nagair mo bhanau tau ga-yugmam This is a metre with 17 letters each foot consisting of the following gana-s in the order mentioned: ma-bha-na-ta-ta- ga-ga. Thus 5%, 6th, 7th, gth gth, yoth and 15th —these are short and others are long. Most noticeable is that first four are long and they are followed by five short letters. There are three yati-s: first at the 4th, then 6" after the first pause (ie., 10°) and then 7" (after the second pause, i-e., 17"). This is indicated by ‘ambudhi (ocean, counted as four), ‘rasa’ (six < katu, amla, tikta, madhura, lavana and kasdya) and ‘naga’ (mountains, seven in number — Mahendra, Malaya, Sahya, Suktiman, Rksa, Vindhya and Paripatra). A very popular metre, immortalized by Kalidasa in his Meghaduta. Cf. “suvasd kalidasasya mandakranta pravalgati / sadasva-damakasyeva kamboja-turagangana //” There ia a variant reading of the definition as mentioned in the Chandomanjari — mandakrantambudhi-rasa-nagair mobhanau gau ya-yugmam. In. that case the order of gana-s would be like this: ma-bha-na-ga-ga-ya-ya (instead of ma- bha-na-ta-ta-ga-ga). As mentioned earlier, the general system is that gana-s are counted taking three syllables for each from the beginning and then the rest or rests (1 or 2)Stavaka TH 53 are counted separately (forming ‘la’ or ‘ga’ considering whether short or long). In the variant reading, that is not maintained. Anyway that is nothing wrong as we find similar application with reference to some metres. Cf. Pancacamara (explained earlier). In Pingala’s Chandah-sitra definition of Mandakranta is: “manddkranta mbhau ntau tgau g samudrartu-svarah.” (yati indications are: ‘samudra’ = 4, ‘rtu’=6and ‘svara’=7). Vrita- ratndkara defines : “mandakranta jaladhi-sadagair mbhau natau tad gura ced.” Sruta-bodha defines: “catvarah prak sutanu guravo dvau dasaikadasau cet”. Whatever may be the definition, the sequence of short-long or the place of yati remains the same. Now an Example: hascit kanta-viraha-guruna svadhikara-pramattah Sapenastam gamita-mahima varsa-bhogyena bhartuh / yaksas cakre janaka-tanayd-snana-punyodakesu snigddhacchaya-tarusu vasatim ramagiryasramesu // — Meghadital.1. Harini Definition: nasa ma ra sa laga UUU UU- ---— -U- UU- U- nasamarasala gah sad-vedair hayair harint mata This is a metre with 17 letters each foot with the gana-s in the following order — na-sa-ma-ra-sa-la-ga. Here first five syllables are short and then five'syllables are long, then 11th, 18th, 14th, and 16th are short and 12%, 15 and 17" are long. In the Nélya-sastra this metre is named Vrsabha-lalita. This is suitable for the expression of the magnanimity and the depth of feeling as said by Ksemendra — “audanya- ruciraucitya-vicare harint vara.”54 The Chandomanjari of Gangadasa Example: sutanu hrdayat pratyadesa-vyaliham apaitu te kim api manasah sammoho me tada balavan abhut / prabala-tamasam evam-prayah subhesu pravrttayah srajam api sirasyandhah ksiptam dhunotyahi-samhaya // — Abhi. Saku. VII. Sardulavikridita Definition: ma sa ja sa ta ta ga === UU= U-U UU- —--U —-U - Suryasvair masajastatah Saguravah Sardulavikriditam This is a metre with 19 letters with the following gana-s and sequence as mentioned — ma-sa-ja-sa-ta-ta-ga. 4", 5th, 7th, gth, 10th, 11¢h, 15% and 18' letters are short and the rests are long. Places of yati are 12'h and then 7" (i.e., at 19") which are indicated by ‘surya’ (sun, which is twelve in number: Varuna, Surya, Sahasramsu, Dhata, Tapana, Savita, Gabhasti, Ravi, Parjanya, Tvasta, Mitra and Visnu and ‘asva’ (seven Vedic metres, identified as horses of the sun: Gayatri, Vrhati, Usnik, Jagati, Tristup, Anustup and Pankti). Example: kim tavad vratinam upodha-tapasam vighnais tapo dusitam dharmaranyacaresu kenacid uta pranisvasat cestitam / Ghosvit prasavo mamapacaritair vistambhito virudham ityarudha-bahu-pratarkam aparicchedakulam me manah // — Abhi. Saku. V.Stavaka II 55 Sragdhara Definition: ma ra bha na ya ya ya === -U- -UU UUU U-- U-- U-- mrabhnair yandm trayena tri-muni-yati-yuta sragdhara kirtiteyam This is a metre with 21 letters each foot with the following gana-s and sequence as mentioned: ma-ra-bha-na-ya-ya- ya. 5%, gth, oth, 19th, 11th, oth 13th, 16th and 19t — these letters are short and the rests (15, 27d, 3rd, qth, gth 7th, 14th, 14th, 15th, 17¢h, 18th, 20th and 215t)are long. Itis a big metre with so many syllables, but very popular and used widely, particularly as a benedictory verse. Cf. “srak ma@lyam dharati iti sragdhara”. Ksemendra remarks about this metre: “sdvega-pavanadinam varnane sragdhara mata.” The yati is in every 7" syllable (i-e., first at 7%, then at 14"? and then at 21!). This is indicated in the definition by the expression ‘tri-muni’. Example: ya srstih srastur adya vahati vidhi-hutamya havir ya ca hotri ye dve kalam vidhattah sruti-visaya-guna ya sthita wyapya visvam / yam ahuh sarva-vija-prakrtir iti yaya praninah pranavaniah pratyaksabhih prapannas tanubhir avatu vas tabhir astabhir isah // — Abhi. Saku. 1.STAVAKA ITI (Vaktra-prakarana) Sloka (Anustup) In the category of Samavytia there is a group of metres with eight letters each foot under the heading ‘Anustup’. It hasa number of varieties like Citrapada, Manavaka, Vidyunmala, Samanika etc. (See, Ch. II). In Ch. V (in some editions however it is Ch. IV) in the category of Vaktra metres (metres with uneven variety and consisting of eight letters) definition of this metre, named Sloka (often called Anustup), has been mentioned. The term ‘sloka’ is generally used to mean a verse in general. Cf. havyasyatma sa evarthah tathd cadi-kaveh pura / krautica-dvandva-viyogotthah Sokah Slokatuam agatah // Dhvanydloka, Ch. 1. But here in this context this word has been used for a particular metre. It is possible that by the process fo expansion of meaning (because of its popularity) any verse in whatever metre may it be composed came to be known as Sloka. Composing a verse in this metre is comparatively easy since out of 32 syllables (in the whole verse in four feet) there is no restriction as regard the use of short or long in most of the letters, thus allowing more freedom for the _ composer.Stavaka III 57 paricamam laghu sarvatra Ssaptamam dvi-caturthayoh / guru sasthan ca janiyat Sesesvaniyamo matah // prayoge prayikam prahuh ke’pyetad vaktra-laksanam / loke’nustub iti khyatam tasyastaksarata mata // Thus, this metre consists of eight syllables each foot. The 5" syllable in each foot is short, 6" in each foot is long and the 7‘ in the second foot and the fourth foot is short. As regards other syllables there is no restriction. This is what we get straightway from the definition as mentioned here. But from the expression ‘saptamam dvi-caturthayoh’ it is understood, according to many, that the 7* letter in the first and the third feet should be ‘gurw’ i.e. long and thus falling into the group ‘ardha-sama-vortia’. Cf. “sloke sastham guru jneyam Sarvatra laghu paricamam / dvi-catuh-padayor hrasvam saptamam dirgham anyayoh //” — Srutabodha. If we accept this then the order of setting letters would be: 1stline: XX XXU-— — X ondline: X XX X U-— U X srdiines XX XXU- —- X 4 line: XX XXU- UX (‘X’ indicates no restriction as to short-long.)58 An example: The Chandomanjari of Gangadasa Uc tavasmi gita-ragena u - U harina prasabham hrtah / ve esa rajeva dusyantah U -U sGrangenatiramhasa // — Abhi. Saku. PrastavanaSTAVAKA IV (Matracchanda) Arya Let us mention the character of this metre first as in the Srutabodhaand then we will discuss about the definition as in the Chandomanjar: “yasyah prathame pade dvadasamairas tatha trtiye pi / astadasa dvitiye caturthahe pancadasa sa’rya //” If there are twelve moras in the first foot, eighteen in the second, once again twelve in the third and fifteen in the fourth, then it is called Arya. As mentioned earlier a metre based on mdtra-s means we haye to count 1 matra for a short syllable and 2 matrd-s for a long syllable and then on counting the total matra-s in a foot and accordingly in other feet, which may vary from one foot to the other, a particular metre is formed. For example: 2 12 (2+1+2)=5 Srimati The word mentioned above has 5 matra-s. Similarly anala (I+ 1+ 1 = 3) = consists of three matra-s. Now let us present an example of Arya in full: 1 1 AG) Ae 1.262) =12 subhaga-salilavagahah 211.22 1.47111 22 =18 patala-samsarga-surabh i-vana-vatah/60 The Chandomanjari of Gangadasa 2 21 11 1 2 2 =12 pracchaya-sulabha-nidra 1442 112171 122 =15 divasah parinama-ramaniyah // Abhi.saku. 1 So this is an example of Arya. We have not so far mentioned anything about the regulations of particular position of placing of short-long syllables, Here in the Chandomanijart there are specific mention in this regard. Thus : laksmaitat sapta-ganda gopeta bhavati neha visame jah / Sastho jas ca na-laghu va prathame’ardhe niyatam anyayah // sasthe dvittya-lai parake nle mukha-lac ca sa-yati- pada-niyamah / carame'ardhe pancamake tasmad tha bhavati sastho lah // pathya vipula capala mukha-capala jaghana-capala caf §ily-upagily-udgitaya arya-gitis ca navadharya // The first half of the Arya should have seven gana-s and a single long syllable (‘ga’). Each of these gana-s should have their last syllables long. Moreover the 1st, 3™4, 5th and 7th gana must not have the second syllables long. At times there may be in place of the 6" gana one short syllabe (‘a’) and one ‘na’~ gana of three short syllables. In the 2nd gana either all the syllables would be short or only the 2nd syllable long, others being short. In the second half of the verse the 5th gena will have only one short syllable. Regarding Yati the rule is that it will be placed after the initial short syllable where the sixth gana constitutes of all short syllables and just before the seventh gana when the same is composed of all short syllables. Again the Yati will be placed at the end of theStavaka [IV 61 last syllable of the fourth gana when the same consists of all short syllables. The sixth gana at the end of the second half should have one ‘da'- gana and the Yati will be placed after the end of the fourth gana. However, according to some, Yati would be placed at the end of the metre. There is difference of opinions with regard to other aspects of this metre as well. According to some, this metre is divided into two parts, while others prefer four divisions (i.e., four feet). Authors on Sanskrit metrics have mentioned many varieties of this metre. Gangadasa mentioned the following varieties : Pathya, Vipula, Capala, Mukha-capala, Jaghana-capala, Giti, Upagiti, Udgiti and Arya-giti. Pajjhatika Definition: pratipada-yamakita-sodasa-matra navama-gurutva-vibhisita-gatra / pajhatika punar atra vivekah kuapi na madhya -gurur gana ekah ff This a metre based on mara. A metre which echoes similar sounds arising out of repetition of similar sounds, called Yamaka (one of the popular figures based on sounds, ‘sabdalamkara’) and which consists of sixteen malraé-s each foot with the 9th letter lorig and which has no ‘j@’- gana. The pause, according to some is at the even letters. Example: - = 211211211 22 =16 mudha jahthi dhanagama-trsnam ll ll 22 2.711122 =16 kuru sad-buddhim manasi vitrsnam / 21 Weaitr2 222 =16 yal labhase nija-karmopattam62 The Chandomanjari of Gangadasa 22 924 12 a2: =16 vittam tena vinodaya cittam // Regarding character of this metre there is difference of opinions. For example, Narayanabhatta mentions the definition thus: pratipadam catvaras catuskala ganah tatrantimo ja-gana eva / evam caturbhih padais catuhsasthi- madtram pajhatikae chandah // Thus we see Narayanabhatta admits ja-gana in this metre, which has been restricted by Gangadasa. The rule of 9th syllable being a gure has also exceptions.Anustup ardhasamavrita Arya Bhujangaprayata Dodhaka Drutavilambita Gana-s (ten) Gangadasa Harini Indravajra Indravamsa jai Kusumavicitra laghu-guru Malini Mandakranta Matra (mora) padya Pajjhatika Pancacamara Praharsini Page INDEX 56 23 59 42 40 46 24 20 53 36 41 21 46 26 49 52 22 21 61 50 AT Pramitaksara Preference of metres Prthvi Rathoddhata Rucira Salini sSamaurita Sardilavikridita Sikharini Sloka Sragdhara Suvrttatilaka Svagata Totaka Upajati Upendrayajra Varnsasthavila Vasantatilaka visamavurtia urtta : yati Page 45 9-18 51 39 48 38 23, 35 54 50 56 55 9-11 40 44 37 37 41 48 23 21 32-34SELECT BIBLIOGRAPHY Chandomanjari of Gangadasa edited by Gurunath Vidyanidhi, 12th Revised edition, Sanskrit Pustak Bhandar, Kolkata, 1411 (B.S). Chandomatjari of Gangadasa edited by Dileep Kumar Kanjilal, Second edition, Modern Book Agency Pvt. Ltd., Calcutta, 1970. Chandomanjari of Gangadasa edited by Gurunath Vidyanidhi and Rampada Bhattacharya, Fighth edition, Sanskrit Book Depot, Calcutta, 1970. Chandahsastram of Pingalacarya, edited by Pt. Ananta Sharma, First edition, Parimal Publisher, Delhi, 2007, Chandahstitrabhasyam Yadavaprakasakriam, edited by Haridas Sinha Ray, First edition, Asiatic Society, Calcutta, 1961. Srutabodhah edited by Heramba Nath Chatterjee, First edition, Sanskrit Pustak Bhandar, Calcutta, 1961. Srutabodhah edited by Gurunath Vidyanidhi, Seventh edition, Calcutta, 1341 (B.S). Srutabodhaschandogranthah with the commentary by Kanaklal Thakur, Chowkhamba, Kashi, 1923. Vagvallabha of Sri Duhkhabhajijan Kavi, edited with the Commentary Varavarnini by Devaprasada Kavi Chakravarti, Jaikrishan Haridasgupta, Benares, 1933. Vaidik-o-laukik chande pingal (in Bengali), by Asoke Chatterjee, West Bengal State Book Board, Calcutta, 1990.Select Bibliography 65 Vanibhiisana of Damodara Misra, edited by Sivadatta and Kashinath Pandurang Parab, 12th Bombay, 1895. Vrttarainakara of Kedarabhatta with commentary by Nrisimhadey Shastri, Meherchand Lachmandas, Lahore, 1923. Vyttaratnavali of Venkatesa, edited by H, G, Narahari, Adyar Library, 1952. Vritaratndvali of Venkatesa with Commentary Villaratnakara-pancika by Ramachandra Kavi, Pub. by Satyabhama Bai Pandurang, Bombay, :1948.Dr SATYANARAYAN CHAKRABORTY, Professor of Sanskrit, Rabindra Bharati University, Kolkata and formerly Visiting Professor & I.C.C.R. Chair of Sorbonne Nouvelle University, Paris has to his credit twenty-five books authored / critically edited. A few of them deserving mention are ; A Study of the Citramimaisa of Appaya Diksita, Problems of Transliteration , Ecology and Other Essays; Dharmasastre Atmahatya, Kalidas evam Anyanya Nibandha; Trayi ( on three works of Sanskrit poetics by Appaya Diksita); Meghadiita - O - Saudamant; Abhijiana- Sakuntala (with Raghavabhatta's Arthadyotanika); Canakya-niti Sastra-samiksa; Paniniya Sabdasastra; Astadhyayt Satrapatha; Sei Ekai Akas Ekai Dhard (Bengali rendering of Tadever Gaganam Saiva Dhara of Srinivas Rath); Sahitya-darpana; Hitopadeia; Dhvanydloka; Lectures on Chandomanjari; Santisataka; Sigupalavadha; Ra@javahana-carita and others. A Professor of repute Dr Chakraborty acted as Visiting Professor of Sorbonne Nouvelle University (Paris, France), CASS (Pune), Gauhati University, Tripura’ University, Jagannath Sanskrit University (Puri) and many others. Outside India he had travelled extensively for special lectures/ key-note addresses/ chairing academic sessions in countries like U.S.A, Canada, U,K., Scotland, Italy, Germany, Finland, Netherlands, Belgium, Greece, U.S.S.R., Hungary, South \ftica, Bangladesh, Thailand, China, Hong Kong, Japan, «igapore, New Zealand, Australia, Indonesia, Bhutan and ers. Research articles by him have been published in ‘siatic Society Journal, V.V.R.1., Bulletin D’Eutudes Indiennes, Journals of Rabindra Bharati University, Bharatiya Vidya, Samvid, Dhaka University Research Journal and many commemoration/felicitation volumes. He is the Corresponding Editor of Banglapedia (Encyclopedia of Bangladesh, Dhaka) and Sectional Secretary of Visvakosa (Encyclopedia, Kolkata),