नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
252 THE NATYASASTRA [ XV. 23-
22. The characteristics of vocables have been mentioned in detail by the ancient masters. I shall again discuss those characteristics briefly when an occasion will arise¹.
The noun
23. The noun¹ has its functions determined by the case-endings such as 'su' and the like, and by special meanings derived therefrom²; and it is of five³ kinds and has a basic meaning (prātipadikārtha) and gender⁴.
24. It (the noun) is known to be of seven¹ classes and has six cases, and [sometimes] it is well-established (prathita)² and
22 (C.22; B. foot-note 5 in p. 231).
23 (C.25; B XIV.28). ¹ This couplet has evidently been misplaced in C. as well as B. Begin it as svādyādyā?.
² The second hemistich should be emended as follows : प्रातिपादिकार्थलिङ्ग-युक्तं पञ्चविधं नाम ज्ञेयम्. (mss. लिङ्गयुक्तं, ॰विधमिदं ज्ञेयम् ).
³ The five kinds of noun have been enumerated as follows : उणाद्यन्तं मदन्तं च तद्धितान्तं समासजम् । शब्दानुरूप्यं चैव नाम पञ्चविधं स्मृतम् ॥ Goyīcandra, Saṃkṣiptasāra-vivaraṇa (Ref. Haldar, Itihāsa, p. 174).
⁴ There is a difference of opinion about the number of basic meanings (prātipadikārtha) of a word. According to Pāṇini they are two : charcteristics of a species (jāti) and object (dravya). Kātyāyana adds one more to the number which is gender (liṅga). But Vyāghrapāt—a rather less known ancient authority—took their number to be four. According to him they are : characteristics of a species, object, gender and number (saṃkhyā). Patañjali however considered them to be five in number, e.g. characteristics of a species, object, gender, number and case (kāraka). (Haldar, Itihāsa p. 447-48.
24 (C.23; B.XIV.25b-26a). ¹ The seven classes probably relate to the seven groups of case-endings.
² The words prathita and sādhya as grammatical terms are scarcely well-known. Prathita seems to relate the well-known words as a whole, which cannot be conveniently analysed into component parts. (Uṇādi derivation should in this connexion be considered as the most artificial). It may be in contrast to these that the words which can be built up from the verbal roots and affixes etc. are known as sādhya (to be made). These two terms may therefore be taken as synonymous with rūḍha and yaugika respectively.
-XV. 27 ] RULES OF PROSODY 253
[sometimes] is to be constituted (sādhya)² [and when combined with different case-endings] it may imply indication (nirdeśa)³, giving to (sampradāna), taking away (apādāna) and the like.
25. ¹The verbs relate to actions occurring in the present and the past time and the like ; they are sometimes well-established (prathita)² and sometimes to be constituted (sādhya)², are distinguished and divided according to number and person.
The verb
26. [A collection of] five hundred roots divided into twenty-five classes are to be known as verbs (ākhyāta) in connexion with the Recitation, and they add to the meaning of the nouns¹.
27. Those that upasṛjanti (modify) the meaning of the verbal roots in connexion with the meaning of basic words¹ are for that [very] reason called upasarga (preposition) in the science of grammer (saṃskāra-śāstra).
³ Nirdeśa seems to to relate 'nominatives ; for it is one of the meanings of the case-endings. Enumerating these some grammarian says :
निर्देशः करणं कर्म प्रदानमपकर्षणम् । स्वाम्यर्थोऽथाधिकरणं विभक्तार्थाः प्रकीर्त्तिताः . : (Haldar, Itihāsa, p. 170).
25 (C.24; B.XIV.26b and cf. 29b). ¹ Read the couplet as follows :—
संप्रत्यतीतकालक्रियादियोगः प्रथितसाध्यम् । वचनानां यतियुक्तं पुरुषविभक्तं तदाख्यातम्.
B. 27a seems to be corrupt and redundant.
² In case of verbs prathita seems to relate to irregular froms like paśya in place of dṛś, and sādhya to regularly constructed ones. See also note 1 to 24 above.
26 (C.26a; B.XIV. 27b, 29a). ¹ C. omits 26a and gives only 26b as C. 26a. There are different number of roots in lists (Dhātupāṭha) attached to different grammatical works. It is not known which give their number as five hundred. Dhanapāla (970 A.C.). in his commentary to Jaina Śākaṭāyana's Dhātupāṭha says on the subject as follows :
चतुर्दशशतान्याहुश्चत्वारिंशच्च सप्त च । वाक्यताः श्लोकतश्चैव शतानि त्रीणि धातवः ॥ (Ref. Haldar, Itihāsa, p. 44).
Verbal roots are divided according to Pāṇini into ten classes (gaṇa). Their division into twentyfive classes does not seem to occur in any well-known work.
27 (C.26, B.XIV.30). ¹ This definition of the upasarga follows Śākaṭāyana's view on the subject as expressed in the Nirukta (I. 1.3-4). According to this authority upasargas have no independant meaning and
.XV. 34 ] RULES OF PROSODY 255
The case-ending
31. As they vibhajanti (distinguish between) the meanings of an inflected word or words with reference to their roots or gender, they are called vibhakti (case-endings).
The euphonic combination
32. Where separated vowels or consonants sandhīyate (combine)¹ by coming together² (yogataḥ) in a word or words it is called [an instance of] sandhi (euphonic combination).
33. As due to the meeting of two sounds (lit. letters) or of two words, their sequence (krama)¹ sandhīyate (result in a combination), it is called sandhi (euphonic combination).
The compound words
34. The Samāsa (compound word) which combine¹ many words to express a single meaning and suppresses affixes, has been described by the experts to be of six kinds such as Tatpuruṣa and the like.
31 (C.30; B.XIV.34). ¹ This definition follows the etymological sense of the term (vibhakti). Durgasiṁha of the Kalāpa school says the case-endings are so called because of their giving distinctive meaning to a word (अर्थस्य विभजनाद् विभक्ति). See Haldar, Itihāsa, p. 169).
32 (B.XIV.35) C. omits this. Read viśliṣṭa for viśiṣṭa. ¹ The sandhi is strictly speaking, not merely a combination of two sounds (vowels or consonants), in a great number of cases their mutual phonetic influence constitutes a sandhi. This is of five kinds, and relate to savara-s, vyañjana-s, prakṛti-s, anusvāra-s, and visarga-s.
² This 'coming together' depends on the shortness of duration which separate the utterance of the two sounds. According to the ancient authorities sandhi will take place when this duration will not be more than half a mātrā. It is for this reason that the two hemistichs in a couplet are never combined.
अर्धमात्रोच्चारणकालव्यवहितयोर्वर्णयो द्रुततरोच्चारणं सन्धिः। अतएव श्लोकार्धयोर्मन्त्रार्धयोर्वा न सन्धिः। अर्धमात्रोच्चारणकालव्यवधानस्योचितत्वात्. (Hāldar, Itihāsa p. 166).
33 (C.31; B.XIV.36). ¹ C. reads 33a, as वर्णक्रम सम्बन्धः पदसंयोगोऽन्वयसंधीयते.
34 (C.32; B.XIV.37). ¹ Reads saṁharat samāso'pi (B.) for saṁharanti saṁkṣepāt (C.).
256 THE NATYASASTRA [XV. 35
35. Observing such rules of grammar (śabda-vidhāna) one should compose series of inflected words (pada) combined in verse or in prose, which have the quality of suggesting extensive meaning (lit. extensiveness )¹.
Two kinds of word
36 Padas are inflected words¹ and are of two kinds, viz. those used in verse, and those in prose, Now listen² [first] about the characteristics of words used in prose.
Words in prose
37. Words used in prose are not schematically combined, have not the number of their syllables regulated, and they contain as many syllables as are required to express the meaning [in view]¹.
Words in verse
38 Words used in verse consist of schematically combined, syllables which have caesura and stops¹ and which have their number regulated ².
Syllabic metres
39. Thus arises a Rhythm-type (chandas) called Vṛtta (syllabic metre) made up of four feet¹ which expresses different ideas and consists of [short and long] syllables.
Rhythm types
40. Rhythm-types in feet are twenty-six in number. Syllabic metres with these Rhythm-types are of three kinds, viz. even (sama), semi-even (ardha-sama) and uneven (viṣama).
35 (C.33; B.XIV.38). ¹ Read the couplet as follows :—एभिः शब्दविधानैर्विस्तारव्यञ्जनार्थयुतैः। पदबन्धाः कर्तव्याः वृत्तनिबद्धास्तु चूर्णा वा.
36 (C.34; B.XIV.39). ¹ C. vibhajyakapadam for vibhaktyantam ; C. bahir-bodhata for saṃvibodhata.
37 (C.35; B.XIV.40). ¹ B. anibaddhapadam chandas for anibaddhapadavṛnda ; C. arthopekṣākṣarayutam and B. °syutam for arthāpekṣyakṣarayutam.
38 (C.36; B.XIV.41) ¹ C. padaccheda for yaticcheda.
39 (C.37; B.XIV.42). ¹ B. pramāṇa-niyatātmakam for pramāṇaniyatākṣaram; Read pādair-varṇair for pādairvarṇair.
40 (C.38 ; B.XIV.43).
.XV. 51] RULES OF PROSODY 257
41-42. This Rhythm-type which assumes the form of different syllabic metres, is the body of words. There is no word, without rhythm and no rhythm without word. Combined with each other they are known to illuminate the drama.
Twentysix Rhythm-types
43-49. [The Rhythm-type] with one syllable [in a foot] is called Ukta, with two syllables is Atyukta, with three syllables Madhya, with four syllables Pratiṣṭhā, with five syllables Supratiṣṭhā, with six syllables Gāyatri, with seven syllables Uṣṇik, with eight syllables Anuṣṭup, with nine syllables Bṛhatī, with ten syllables Paṅkti, with eleven syllables Triṣṭup, with twelve syllables Jagatī, with thirteen syllables Atijagatī, with fourteen syllables Śakkarī, with fifteen syllables Atiśakkarī, with sixteen syllables Aṣṭi, with seventeen syllables Atyaṣṭi, with eighteen syllables Dhṛti, with nineteen syllables Atidhṛti, with twenty syllables Kṛti, with twentyone syllables Prakṛti, with twentytwo syllables Ākṛti, with twentythree syllables Vikṛti, with twentyfour syllables Saṃkṛti, with twentyfive syllables Atikṛti¹, and with twentysix syllables Utkṛti.
Possible metrical patterns
49-51. Those containing more syllables than these are known as Mālā-vṛttas. And the Rhythm-types being of many different varieties, metrical patterns according to the experts¹ are innumerable. The extent of these such as Gāyatri and the like, is being given [below] But all of them are not in use.
51-76. [Possible] metrical patterns of the Gāyatri [type] are sixtyfour, of the Uṣṇik one hundred and twenty-eight, of the Anuṣṭup two hundred and fiftysix, of the Bṛhatī five hundred and twelve, of the Paṅkti one thousand and twentyfour, of the Triṣṭup two thousand and forty-eight, of the Jagatī four thousand
41-42 (C.39b-40; B.XIV.44b-45).
43-49 (C.41-47a; B.XIV.46-52a). ¹ also called abhikṛti.
49-51 (C.47b, 58b-59a, B.XIV.52b-54a). ¹ These experts are mathematicians like Bhāskarācārya. See Līlāvatī, section 84, (ed Jīvānanda, p. 50).
51-76 (C.59b-80a; B.XIV.54b-79).
33
258 THE NATYASASTRA [ XV. 77-
and ninetytwo, of the Śakkarī sixteen thousand three hundred and eighty-four, of the Atiśakkarī thirtytwo thousand seven hundred and sixty-eight, of the Aṣṭi sixtyfive thousand fiive hundred and thirty-six, of the Atyaṣṭi one lac thirty one thousand and seventy-two, of the Dhṛti two lacs sixty-two thousand one hundred and forty-four, of the Atidhṛti five lacs twenty-four thousand two hundred and eighty-eight, of the Kṛti ten lacs forty-eight thousand five hundred and seventy-six, of of the Prakṛti twenty lacs ninety-seven thousand one hundred and fifty-two, of the Ākṛti¹ forty-one lacs ninety-four thousand three hundred and four, of the Vikṛti eighty-three lacs eighty thousand six hundred and eight, of the Saṃkṛti one crore sixty-seven lacs seventy-seven thousand two hundred and sixteen, of the Abhikṛti (Atikṛti) three crores thirty-five lacs fifty-four thousand four hundred and thirty-two, of the Utkṛti six crores seventy-one lacs eight thousand eight hundred and sixty-four.
77-79. Adding together all these numbers of different metrical patterns we find their total as thirteen crores forty-two lacs seventeen thousand seven hundred and twenty-six.¹
Another method of defining metres
79-81. I have told you about the even metres by counting [their numbers]. You should also know how the triads which make up the syllabic metres. Whether these are one, twenty, thousand or a crore, this is the rule for the formation of all the syllabic metres or metres in general.
81-82. Triads are eight in number and have their own definitions. Three syllables heavy or light, or heavy and light make up a triad which is considered a part of each metrical pattern.
¹ Ślokas giving the numbers of metres of the ākṛti, vikṛti, saṃkṛti, abhikṛti (atikṛti) and utkṛti classes seems to be corrupt in C.
77-79 (C.80b-82a; B.XIV.80-82a). ¹ Readings of B. and C. do not literally agree.
79-81 (C.82-84a; B. foot note 4 in p. 241). ¹ C. omits 79b.
81-82 (C.84b-85; B.XIV.83b-84).
-XV. 90 ] RULES OF PROSODY 259
83-84. [Of these eight triads] bha contains two light syllables preceded by a heavy one (— ◡ ◡), ma three heavy syllables (— — —), ja two light syllables separated by a heavy syllable (◡ — ◡), sa two light syllables followed by a heavy syllable (◡ ◡ —) ra two heavy syllables separated by a light one (— ◡ —), ta two heavy syllables followed by a light one (— — ◡), ya two heavy syllables preceded by a light one and (◡ — —), na three light syllables (◡ ◡ ◡).
85-86. These are the eight triads having their origin in Brahman. For the sake of brevity or for the sake of metre they are used in works on prosody, with or without [inherent] vowels (i. e. a ).¹
86-87 A single heavy syllable should be known as ga and such a light syllable as la.
Separation of two words [in speaking a verse] required by rules [of metre] is called caesura (yati).
87-88. A heavy syllable is that the which ends in a long or prolated (pluta) vowel, Anusvāra, Visarga or comes after a conjunct consonant or sometimes occurs at the end [of a hemistich].
88-89. Rules regarding the metre, relate to a regular couplet (sampat), stop, foot, deities, location, syllables, colour, pitch and hyper-metric pattern.
The regular couplet
89-90. A couplet in which the number of syllables is neither in excess nor wanting is called a regular one (sampat).
The stop
90-91. The stop (virāma) occurs when the meaning has been finally expressed.
83-84 (C.86-87; B.XIV.85-86).
85-86 (C.88-89a; B.XIV.87, 88b). ¹ B. reads one additional hemistich between 85b and 86a.
86-87 (C.89b-90a; B.XIV.89).
87-88 (C.90b-91a; B.XIV.90).
88-89 (C.48; B.XIV.102). 89-90 (C.49, B.XIV.103).
90-91 (C.50; B.XIV.104).
260 THE NATYASASTRA [ XV. 91-
The Foot
The foot (pada) arises from the root pad, and it means one quarter [of a couplet].
The presiding deities of metres
91-92. Agni and the like presiding over different metres are their deities.
Location
Location is of two kinds, viz, that relating to the body and that to a [particular] region.
Quantity of syllables
93. Syllables are of the three kinds, viz. short, long and prolated (pluta).
Colours of metres
Metres have colours like white and the like.
Pitch of vowels
94-95. The pitch of vowels is of three kinds, viz. high, low and medium. I shall speak about their character in connexion with the rules of Dhruvās Rules [about their use] relate to the occasion and the meaning [of thing sung or recited].
Three kinds of syllabic meters
95-97. Syllabic metres are of three kinds, viz. even (sama), semi-even (ardha-sama) and uneven viṣama).
If the number of syllables in a foot of any metre is difficient or in excess by one, it is respectively called Nivṛt or Bhurik. If the deficiency or excess is of two syllables, then such a metre is respectively called either Svarāṭ or Virāṭ.
91-92 (C.51; B.XIV.105).
93 C.53b-54a, B.XIV. (107b-108a). This couplet is preceded by in B. three hemistichs which do not occur in some versions, and which seem to be irrelevant.
94-95 (C.53b-54a, B.XIV.108b-109).
95-97 (C.54b-58a, B.XIV.110-112a).
-XV. 102 ] RULES OF PROSODY 261
98. All the syllabic metres fall into three classes such as divine, human and semi-divine.
99. Gāyatrī, Uṣṇik, Anuṣṭup, Bṛhatī, Triṣṭup and Jagatī belong to the first or the divine (divya) class.
100. Atijagatī, Śakkarī, Atiśakkarī, Aṣṭi, Atyaṣṭi, Dhṛti and Atidhṛti belong to the next (i.e. human) class.
101. Kṛti, Prakṛti, Vyākṛti (Ākṛti), Vikṛti, Saṁkṛti, Abhikṛti (Atikṛti) and Utkṛti belong to the semi-divine class¹.
102. O the best of Brahmins, now listen about the metrical patterns which are to be used in plays and which are included in the Rhythm-types described by me¹.
Here ends Chapter XV of Bharata's Nāṭyaśāstra
which treats of the Rules of Prosody.
98 (C.91b-92a, B..XIV.112b-113a).
99 (C.92b-93a, B.XIV.113b-114a).
100 (93b-94a, B.XIV.114b-115a).
101 (C.94b-95a, B.XIV.115b-116a). ¹ The seventeen couplets after this (C.101a-118a B.XIV, 116b-132a) seem to be spurious. For a discussion on this point see the Introduction.
102 (C.118-119, B.XIV,133-134). ¹ Some versions of the NŚ. read this couplet as the beginning of the next chapter.
Chapter 16: Metres and Prosody (छन्दोविचिति)
CHAPTER SIXTEEN
METRICAL PATTERNS
Tanu-madhyā
- ¹Tanu-madhyā is a variety [of metres] of the Gāyatrī class. [In each of its feet] the first two and the last two syllables are heavy².
Example :
- santyakta-vibhūṣā bhraṣṭâñjana-netrā । hastârpitagaṇḍā kiṃ tvaṃ tanu-madhyā ॥
O fair lady (lit. slim-waisted one), why¹ have you cast off your ornaments, why are your eyes without collyrium and why are you resting the cheek on the palm of your hand ?
Makaraka-śīrṣā
- [Of the same class is] Makaraka-śīrṣā which has [in each of its feet] the first four syllables light and the last two heavy¹.
Example :
- svayam upayāntaṃ bhajasi na kāntam । bhayakari kiṃ tvaṃ makaraka-śīrṣā ॥
You are not greeting the beloved one who has come to you of his own accord O terrible one, why¹ are you so dull-headed²
1 (C.2, B.XV.2). ¹ This is preceded in B. and C. by a couplet which rightly belongs to the Chapter XV. (XIV. in B.) ² Scheme (-- ∪, ∪ --). The definition of this metre is also its example though an independent example also follows. Such is the case with many other metres defined in the NŚ.
2 (C.3, B.XV.3). ¹ Kiṃ tvaṃ—why (are) you...? Cp. Kiṃ akāraṇaṃ eva darśanaṃ rataye na dīyate, Kumār. IV. 7.
3 (C.4, B.XV.4). ¹ Scheme (∪ ∪ ∪, ∪ --). This is called Śaśivadanā by Pr. P. Vr. R. and Srv.
4 (C.5, B.XV.5). ¹ See above 2 note 1. ² Makarakasira—having a head (i.e. brain) like that of a makara.
-XVI. 9 ] METRICAL PATTERNS 263
Mālatī
5. [The metre with] the feet of six syllables of which the second and the fifth are light and the rest heavy, is called Mālatī¹.
Example :
6. śobhate baddhayā ṣaṭpadāviddhayā ।
mālatīmālayā māninī lilayā ॥
The offended woman wearing the Mālatī garland in which the bees are clinging looks charming.
Mālinī
7. [The metre with] the feet of six syllables of which the second one is light [and the rest heavy] is called Mālinī.¹
Example :
8. snāna-gandha-sragbhir vastra-bhūṣāyogaiḥ ।
vyaktam evaiṣā tvaṃ mālinī prakhyātā ॥
By your perfumed bath, [wearing of] garlands, [good] dress and ornaments you are clearly recognised as the wife of a garland-maker.
Uddhatā
9. [The metre with] the feet of seven syllables of which the second, the fourth and the fifth are light [and the rest heavy] is called Uddhatā¹.
The allusion is perhaps to the foolish makara in the Vānara-makara-kathā in the Pañcatantra, IV. which really believed that the monkey had left its heart behind in the tree on the river-bank. Hence I translate the word as "dull-headed one."
5-6. (B.XV.9-10). ¹ Scheme (- ᴗ -, - ᴗ -) C. omits this metre.
7 (C.6, B.XV.6-7). ¹ Scheme (- ᴗ -, - - -). This is quite different from the metre Mālinī defined by Piṅgala and his followers. The NŚ. calls this second Mālinī (with 15 syllables in each pāda) Nāndīmukhī. See below 73-74.
8 (C.7, B.XV.8).
9 (C.8, B.XV.11-12). ¹ Scheme (- ᴗ -, ᴗ ᴗ -, -).
10 (C.9, B.XV.13).
264 THE NATYASASTRA [ XVI. 10-
- danta-kunta-kṛtâṅkaṁ vyākulâlaka-śobham । śaṁsatîva tavâsyaṁ nirdayayaṁ rata-yuddham ॥
Your face which bears the marks of spear-like teeth [of the beloved] and is strewn over with your dishevelled hair, indicates indeed an unrelenting fight of love.
Bhramara-mālikā
11. [The metre with] the feet of seven syllables of which the first two and the last two are heavy [and the rest light] is called Bhramara-mālikā¹.
Example :
- nānā-kusuma-citre prapte surabhi-māse । eṣā bhramati mattā kānte bhramara-mālā ॥
O beloved one, this being the month of Caitra which is varigated with different flowers, cluster of bees are flying about intoxicated [with their smell].
Siṁha-lekhā
13. [The metre with] the feet of eight syllables of which the first, the third, the fifth, the seventh and the last [the eighth] are heavy [and the rest light] is called Siṁha-lekha¹.
Example :—
- yat tvayā hy aneka-bhāvaiś ceṣṭitaṁ rahaḥ sugātri । tan mano mama praviṣṭaṁ vṛttam atra siṁha-lekham ॥
That you have planned the love's embrace in various ways, O fair-limbed one, has been inscribed in my mind with the scratch of a lion's claws¹.
Matta-ceṣṭita
15. [The metre with] the feet of eight syllables of which the
11 (C.10, B.XV.14-15).¹ Scheme (-- ◡, ◡ ◡ -, -).
12 (C.11, B.XV.16).
13 (C.12, B.XV.19). ¹ Scheme (- ◡ -, ◡ - ◡, - ◡ -) C. gives the name as Siṁhalīlā.
14 (C.13, B.XV.17-18). ¹ The translation follows Ag.
15 (C.14, B.XV.20, 21). ¹ Scheme (◡ - ◡, - ◡ -, ◡ -). This metre is named as Pramāṇikā in Pr. P.
-XVI. 20] METRICAL PATTERNS 265
second, the fourth, the sixth and the eighth are heavy [and the rest light] is called Matta-ceṣṭitā.¹
Example :
- carâvaghūrṇitêkṣaṇaṃ vilambitâkulâlakam ।
asaṃsthitaiḥ padaiḥ priyā karoti matta-ceṣṭitam ॥
The beloved one with her eyes restless and rolling, hairs hanging down dishevelled, and footsteps unsteady, is behaving like a person who is intoxicated.
Vidyul-lekhā
- [The metre with] the feet of eight syllables of which all are heavy, is called Vidyul-lekhā.¹
Example :
- sāmbho-bhārair ānardadbhiḥ śyāmāmbhodair vyāpte vyomni ।
ādityâṃśu-spardhiny eṣā dikṣu bhrāntā vidyul-lekhā ॥
The sky being overcast with dark clouds which are roaring and are laden with masses of water, a flash of lightning which rivals the sun-beam is running in [different] directions.
Citta-vilasita
- [The metre with] the feet of eight syllables of which the fifth, the seventh and the last are heavy [and the rest light] is called Citta-vilasita.¹
Example :
- smita-vaśa-viprakāśair daśana-padair amībhiḥ ।
varatanu pūrṇa-candraṃ tava mukham āvṛṇoti ॥
O fair lady (lit. fair limbed one)¹, your face with the teeth
16 (C.15, B.XV.22).
17 (C.16, B.XV.23, 24). ¹ Scheme (-- -, -- -, - -). B. gives the name as Vidyun-mālā. This is the name in Piṅgala and Śr. B.
18 (C.17, B.XV.25).
19 (B.XV.26). ¹ Scheme (∪ ∪ ∪, ∪ - ∪, - -). C. omits this metre.
20 (B.XV.27). ¹ This mode of addressing a beloved woman is as old as the time of Patañjali who quotes the fragment of a poem as follows : varatanu saṃpravadanti kukkuṭāḥ (Ref. Apte's Guide to Skt. § 319).
34
266 THE NATYASASTRA [ XVI. 21-
revealed on account of your smile, outshines (lit. covers) the full moon.
Madhukarī
21. [The metre which has] the feet of nine syllables of which the last three are heavy [and the rest light] is called Madhukarī.¹
Example :
22. kusumitam abhipaśyantī
vividha-tarugaṇaiś channam ।
vanam atiśaya-gandhāḍhyaṃ
bhramati madhukarī hṛṣṭā ॥
Seeing the woodland covered with various trees full of flowers and rich in exuberence of [pleasent] odour, the female bee is flying about in delight.
Kuvalaya-mālā
23. [The metre which has] the feet of ten syllables of which the first and the last three are heavy [and the rest light] is called Kuvalaya-mālā¹.
Example :
24. asmiṃs te śirasi tadā kānte
vaidūraya-sphaṭika-suvarṇāḍhye ।
śobhāṃ svāṃ na vahati tāṃ
baddhā suśliṣṭā kuvalaya-mālêyam ॥
O dear one, this well-made garland of Kuvalaya¹ flowers fastened at that time on your head which has been richly decorated with lapis lazuli, quartz and gold, does not bear [any more] its naturalbeauty.
Mayūrasāriṇī
25. [The metre which has] the feet of ten syllables of
21 (C.18, B.XV.28, 29). ¹ Scheme ᑌ ᑌ ᑌ, ᑌ ᑌ ᑌ, - - -). This metre is called Bhujagaśiśubhṛtā (ºyutā, vṛtā) by Piṅgala and his followers.
22 (C.19, B.XV.30).
23 (C.20, B.XV.31, 32). ¹ Scheme (- - -, ᑌ ᑌ ᑌ, ᑌ - -, -). This is called Paṇava by Piṅgala and his followers.
. 24 (C.21, B.XV.33). ¹ Kuvalaya is a blue aquatic flower of the lotus class. 25 (C.22, B.XV.34, 35).
.XVI. 29 ] METRICAL PATTERNS 267
which the second, the fourth, the sixth and the eighth are light [and the rest heavy] is called Mayūrasāriṇī¹.
Example :
- naiva te'sti saṃgamo mănuṣair
nâsti kāmabhoga-cihṇaṃ anyat |
garbhiṇîva dṛśyase hy anārye
kiṃ mayūra-sāriṇī tvam evam ||
O ignoble one, you have no union with men, neither have you any sign of love's enjoyment. Still you look like one who is enceinte. You indeed behave like a pea-hen.¹
Dodhaka
27. [The metre with] the feet of eleven syllables of which the first, the fourth, the seventh the tenth and the last are heavy [and the rest light] is called Dodhaka.¹
Example :
- praskhalitâgrapada-pravicāraṃ
matta-vighūrṇita-gātra-vilāsam |
paśya vilāsini kuñjaram etaṃ
dodhaka-vṛttam ayam prakaroti ||
O merry lady, look at this elephant which with its faltering steps of the front legs, and with the body playfully moved about [as if in] intoxication, is imitating the manner of a calf (?)¹
Moṭaka
29. [The metre with] the feet of eleven syllables of which the first two, fifth, the eighth, and the last are heavy [and the rest light] is called Moṭaka.
¹ Scheme (– ◡ –, ◡ – ◡, – ◡ –, –). ¹ Piṅgala gives the name as Mayūrasā° and so does Vr. R.
26 (C.23, B.XV.36). ¹ This relates the belief that the pea-fowls' sexual union take place in complete seclusion.
27 (C.24, B.XV.37, 38). ¹ Scheme (– ◡ ◡, – ◡ ◡, – ◡ ◡, – –).
28 (C.25, B.XV.39). ¹ We are not sure of the meaning of the word dodhaka. Ag. writes dodhakeña gīyamānaṃ vṛttaṃ dodhaka-vṛttam.
29 (C.26, B.XV.40). ¹ Scheme. (– – ◡, ◡ – ◡, ◡ – ◡, ◡ –). This is named as Moṭanaka by Gaṅgādāsa in Ch. M.
268 THE NATYASASTRA [ XVI. 30.
Example :
- eso'mbuda-nisvana-tulya-ravaḥ kṣībaḥ skhalamāna-vilamba-gatiḥ । śrutvā ghana-garjitam adri-tate vṛkṣān prati moṭayati dviradaḥ ॥
This elephant hearing the clouds roaring in the mountain valley, is trumpeting in excitement as loudly as the [rain] clouds and is rushing with faltering steps to the trees.
Indra-vajrā
- [The metre with] the feet of eleven syllables of which the third, the sixth, the seventh and the ninth are light, [and the rest heavy] is called Indra-vajrā¹.
Example :
- tvaṃ durṇirīkṣyā duratiprasādā duḥkhaika-sādhyā kaṭhinaika-bhāvā । sarvāsv avasthāsu ca kāma-tantre' yogyāsi kiṃ vā bahunêndravajrā ॥
You are hard to be looked at, difficult to be pleased and won over, and you have an unmixed ( lit, one ) hard feeling, in the practice of love, you are unfit (ayogya) at every stage ; and in short you are [like] the thunder-bolt of Indra.
Upendravajrā
- [The metre with] the feet of eleven syllables of which the first, the third, the sixth, the seventh, the ninth are light [and the rest heavy] is called Upendravajrā¹.
Example :
- priye śriyā varṇa-viśeṣaṇena smitena kāntyā sukumār-bhāvāt । amī guṇā rūpa-guṇānurūpā bhavanti te kiṃ tvam upendravajrā ॥
30 (C.27, B.XV.41).
31 (C.28, B.XV.42). ¹ Scheme (-- u, -- u, u - u, --).
32 (C.29, B.XV.43).
33 (C.30, B.XV.44). ¹ Scheme (u - u, -- u, u - u, --).
34 (C.31, B.XV.45).
- XVI. 36 ] METRICAL PATTERNS 269
O beloved one, due to your beauty, the special colours [of your dress], smile, grace and delicate bearing, these qualities of yours have matched the qualities of the [beautiful] form. Are you the bow of Indra ?¹
Rathôddhatā
35. [The metre with] the feet of eleven syllables of which the first, the third, the seventh, the ninth and the last are heavy [and the rest light] is called Rathôddhatā¹.
Example :
36. kiṃ tvayā subhaṭa dūra-varjitaṃ
nātmana na suhṛidāṃ priyaṃ kṛtam ।
yat palāyana-parāyaṇasya te
yāti dhūlir adhunā rathôddhatā ॥
O good soldier, why have you left the battle-field completely. You have done neither any good to yourself nor to your friends, for while runing away [from the battle field] the dust [in your road] rises now [as if] scattered by chariot. ¹
Svāgatā
37. [The metre with] the feet of eleven syllables of which the first, the third, the seventh and the tenth and the last are heavy [and the rest light] is called Svāgatā¹.
Example :
38. adya me saphalam āyata-netre
jīvitam madana-saṃśraya-bhāvam ।
āgatâsi bhavanaṃ mama yasmāt
svāgataṃ tava varôru niṣīda ॥
Today the two large eyes of mine have attained their object and so has my life and love, because you have come to my house ; O fair lady, you are welcome, please be seated.
¹ Upendra-vajrāmtu indra-dhanuṣā upamitam etc. (Ag.).
35 (C.32, B.XV.46). ¹ Scheme (- ◡ -, ◡ ◡ ◡, - ◡ -, ◡ -),
36 (C.33, B.XV.47). ¹ B. gives an additional example of this metre (B.XV.48).
37 (C.34, B.XV.49). ¹ Scheme (- ◡ -, ◡ ◡ ◡, - ◡ ◡, - -).
270 THE NATYASASTRA [ XVI. 39-
Śālinī
39. [The metre with] the feet of eleven syllables of which the sixth and ninth are light [and the rest heavy] is called Śālinī.¹
Example :
40. duḥśīlam vā nirguṇaṃ pāpakaṃ vā
loke dhairyād apriyaṃ na bravīṣi ।
āryaṃ śīlaṃ sādhvī he te'nuvṛttaṃ
mādhuryāḍhyā sarvathā śālinī tvam ॥
On account of your patience with the people you do not, utter a harsh word to any one who has bad manners or is without any merit or is wicked. O good lady, you have followed a noble manner, you are a housewife full of sweetness in every respect.
Toṭaka
41. [The metre with] the feet of twelve syllables of which the third, the sixth, the ninth and the last, are heavy [and the rest light] is called Toṭaka.¹
42. kim idam kapaṭāśraya-durviṣahaṃ
bahu-śāṭhyaṃ athôlbana-rūkṣa-katham ।
svajana-priya-sajjana-bhedakaraṃ
nanu toṭaka-vṛttam idaṃ kuruṣe ॥
Why is this crooked and insufferable conduct full of villainy, and unambiguous (lit. direct) and harsh words hurting the relations, dear ones and [other] good people ? You are indeed behaving like a cutter.
Kumudanibhā
43. [The metre with] the feet of twelve syllables of which
38 (C.35, B.XV.50).
39 (C.36, B.XV.51). ¹ Scheme (– – –, – – ∪, – – ∪, – –).
40 (C.37, B.XV.52).
41 (C.38, B.XV.53, 54). ¹ Scheme (∪ ∪ –, ∪ ∪ –, ∪ ∪ –, ∪ ∪ –).
42 (C.39, B.XV.55).
43 (C.40, B.XV.59),
-XVI. 47 ] METRICAL PATTERNS 271
the first four, the eighth and the tenth are light [and the rest heavy] is called Kumudanibhā¹.
Example :
44. kumudanibhā tvaṁ kāma-bāṇa-viddhā
kim asi-natabhruḥ śīta-vāta-dagdhā ।
mṛdu-nalinīvâpāṇḍu-vaktra-śobhā
katham api jātā agrataḥ sakhīnām ॥
O fair-eyed damsel, being like a Kumuda flower why have you been struck with cupid's arrow and why do you appear pale before your friends like a delicate Nalinī blasted by the cold wind.
Candra-lekhā
45. [The metre with] the feet of twelve syllables of which the first five, the seventh and the tenth as are light [and the rest heavy] and the caesura falls after the first five syllables, is called Candra-lekhā¹.
Example :
46. vaktraṁ saumyaṁ te padma-patrâyatâkṣaṁ
kāmasyâvāsaṁ svabhruvoś câvabhāsam ।
kāmasyâpīdaṁ kāmam āhartukāmam
kāntyā tvaṁ kānte candra-lekhêva bhāsi ॥
O beloved one, your sweet face with eyes as large as lotus-petals and the splendour of your eyebrows, are the abode of love, and they are ready to bring love even to the god of love ; you shine as it were like a phase of the moon.
Pramitâkṣarā
47. [The metre with] the feet of twelve syllables of which
¹ Scheme ( ⏑ ⏑ ⏑, ⏑ – –, – ⏑ –, ⏑ ⏑ ). B. gives another metre of this name with a different scheme (– ⏑ –, ⏑ – –, ⏑ ⏑ ⏑, ⏑ – –) and an example of this (B.XV.56-58).
44 (C.41, B.XV.60).
45 (C.42, B.XV.61). ¹ Scheme (– – –, – – –, ⏑ – –, ⏑ – –).
46 (C.43, B.XV.62). 47 (C.44, B.XV.63).