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 SIXTEEN

METRICAL PATTERNS

Tanu-madhyā

1. 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 :

2. 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

3. [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 :

4. 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-

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 :

12. 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 :—

14. 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 :

16. 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

17. [The metre with] the feet of eight syllables of which all are heavy, is called Vidyul-lekhā.¹

Example :

18. 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

19. [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 :

20. 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 :

26. 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 :

28. 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 :

30. 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

31. [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 :

32. 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

33. [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 :

34. 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

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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).

272 THE NATYASASTRA [ XVI. 48.

the third, the fifth, the ninth and the last are heavy [and the rest light] is called Pramitâkṣarā¹.

Example :

48. smita-bhāṣiṇī hy acapalâparuṣī
nibhṛtâpavāda-vimukhī satatam ।
yadi kasya cid yuvatir asti sukhā
pramitâkṣarā sa hi pumāñ jayati ॥

If any one has a pleasing young wife with restrained speech, who is always smiling and averse to speaking ill of him [even] secretly, and is never fickle or harsh, that person verily thrives.

Vaṁśasthā

49. [The metre with] the feet of twelve syllables of which the second, the fourth, the fifth, the eighth, the tenth and the last are heavy [and the rest light] is called Vaṁśasthā.¹

Example :

50. na me priyā yad bhumāna-varjitā
kṛtâpriyā te paruṣâbhibhāṣaṇaiḥ ।
tathā ca paśyāmy aham adya vigrahaṁ
dhruvaṁ hi vaṁśastha-gatiḥ kariṣyati ॥

You are not dear to me, for you are wanting in esteem [for me] and your harsh words [also] have made you displeasing [to me]. So I see that the natural habit will surely bring a quarrel today.

Hariṇa-plutā

51. [The metre with] feet of twelve syllables of which the fourth, the seventh, the tenth and the last are heavy [and the rest light] is called Hariṇa-plutā¹.

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¹ Scheme (∪ ∪ -, ∪ - ∪, ∪ ∪ -, ∪ ∪ -).
48 (C.45, B.XV.64).
49 (C.46, B.XV.65, 66). ¹ Scheme (∪ - ∪, - - ∪, ∪ - ∪, - ∪ -).
50 (C.47, B.XV.67).
51 (C.48, B.XV.68). ¹ Scheme (∪ ∪ ∪, - ∪ ∪, - ∪ ∪, - ∪ -).
This is called Druta-vilambita by Piṅgala and his followers.

-XVI. 55 ] METRICAL PATTERNS 273

Example :

52. paruṣa-vākya-kaśābhihatā tvayā
    bhaya-vilokana-pārśva-nirīkṣaṇā ।
    varatanuḥ pratata-pluta-sarpaṇair
    anukaroti gatair hariṇa-plutam ॥

'The fair lady (lit. fair-limbed one)¹, smitten by the whip of your harsh words, and looking in fear to her sides and runing away continously with quick steps is imitating by her movements a deer's gallop.

Kāmadattā

53. [A metre with] the feet of twelve syllables of which the seventh, the ninth, the eleventh and the last are heavy [and the rest light] is called Kāmadattā¹.

Example :

54. karaja-pada-vibhūṣita yathā tvaṃ
    sudati daśana-vikṣatādharā ca ।
    gatir api caraṇâvalagna-mandā
    tvam asi mṛga-samâkṣi kāmadattā ॥

O fair lady¹, you have been adorned with the marks of nails, your lips have been bitten by teeth and your gait also is faltering and slow. It seems, O deer-eyed one, that you have given [yourself up] to [the enjoyment of] love.

Aprameyā

55. [The metre with] the feet of twelve syllables of which the first, the fourth, the seventh and tenth are light [and the rest heavy] is called Aprameyā¹.

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52 (C.49, B.XV.69). See above 20 note 1.
53 (C.50, B.XV.70). ¹ Scheme (⏑ ⏑ ⏑, ⏑ ⏑ ⏑, – ⏑ –, ⏑ – –). C. calls this Kāma-mattā.
54 (C.51, B.XV.71). Sudati—O fair-toothed one.
55 (C.52, B.XV.72). ¹ Scheme (⏑ – –, ⏑ – –, ⏑ – –, ⏑ – –). This is called Bhujaṅga-prayāta by Piṅgala and his followers.

35

274	THE NATYASASTRA	[ XVI. 56-

Example :

56. na te kā cid anyā samā dṛśyate strī
    nṛ-loke viśiṣṭā guṇair advitīyaiḥ ।
    trilokyāṁ guṇāgryān samāhṛtya sarvān
    jagaty aprameyāsi sṛṣṭā vidhātrā ॥

Nowhere amongst the mortals (lit. in this world) is to be seen a woman who is your equal, and is distinguished by singular accomplishments. The creator has made you matchless by putting together [in you] all the best virtues of the three worlds.

Padminī

57. [The metre with] the feet of twelve syllables of which the second, the fifth, the eighth and the eleventh are light [and the rest heavy] is called Padminī¹.

Example :

deha-toyāśayā vaktra-padmôjjvalā
netra-bhṛṅgâkulā danta-haṁsaiḥ smitā ।
keśa-patrac-chadā cakravāka-stanī
padminīva priye bhāsi me sarvadā ॥

58. O dear lady, you always appear to me like a lotus-lake, for your body is a pool of water which shines by the lotus-face, and your eyes are the restless bees [there] and you smile with the swan-like teeth and your hairs are [the lotus] leaves, and the breasts are like the Cakra-vākas¹ [swimming there].

Paṭuvṛtta

59. [The metre with] the feet twelve syllables of which the first six and the tenth are light [and the rest heavy] is called Paṭuvṛtta¹.

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56 (C.53, B.XV.73).
57 (C.54, B.XV.74, 75). ¹ Scheme (- ῠ -, - ῠ -, - ῠ -, - ῠ -). This is called Sragviṇī by Piṅgala and his followers.
58 (C.55, BXV.76). ¹ B. gives a second example (B.XV.77) which seems to be a variant of this.
59 (C.56, B.XV 78, 79). ¹ Scheme. (ῠ ῠ ῠ, ῠ ῠ ῠ, - - -, ῠ - -). This is called Puṭa by Piṅgala and his followers.

-XVI. 68 ] METRICAL PATTERNS 275

Example :

60. upavana-salilānāṃ bāla-padmair bhramara-parabhṛtānāṃ kaṇṭha-nādaiḥ । samada-gati-vilāsaiḥ kāminīnāṃ kathayati paṭuvṛttaṃ madhu-māsaḥ ॥

The month of Caitra (lit. honey-month) with lotus-buds in the garden-lakes, songs of bees and cuckoos and the playful movements of intoxicated women, is anouncing its smart manners¹.

Prabhāvatī

61. [The metre with] the feet of twelve syllables of which the second, the fourth and the ninth the eleventh and the last are heavy [and the rest light] is called Prabhāvatī.¹

Example :

62. kathaṃ nv idaṃ kamala-viśāla-locane gṛhaṃ ghanaiḥ pihita-kare niśākare । acintayanty abhinava-varṣa-vidyutas tvam āgatā sutanu yathā prabhāvatī ॥

O fair one, with eyes as large as a lotus, how have you come like a radiant being to this house [of mine] when the rays of the moon have been covered by clouds and you have not cared for the impending (lit. new) rains and the lightning ?

Praharṣiṇī

63. [The metre with the] feet of thirteen syllables of which the first three, the eighth, the tenth and the twelfth and the last are heavy [and the rest light] is called Praharṣiṇī¹.

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60 (C.57, B.XV.80). ¹ I am not certain about the exact meaning of the term puṭavṛtta. One ms. gives it as paṭuvṛtta (see B.) which I adopt.

61 (C.58, B.XV.81). ¹ Scheme (∪ - ∪, - ∪ ∪, ∪ ∪ -, ∪, - -).

62 (C.59, B-XV.82).

63 (C.60, B.XV.83). ¹ Scheme (- - -, ∪ ∪ ∪, ∪ - ∪, - ∪ -, -).

276 THE NATYASASTRA [XVI. 64-

Example :

64. bhāvasthair madhura-kathaiḥ subhāṣitais tvaṃ sāṭopa-skhalita-vilambita-gataiś ca । śobhāḍhyair harasi manāṃsi kāmukānāṃ suvyaktam hy atijagatī praharṣiṇī ca ॥

[O fair one], by your loving and sweet words, witty sayings, beautiful, majestic, faltering and slow steps, you captivate the mind of lovers. It is apparent that you are enrapturing beyond [anything else in] this world.

Matta-mayūra

65. [The metre with] the feet of thirteen syllables of which the sixth, the seventh, the tenth and the eleventh are light [and the rest heavy] is called Matta-mayūra¹.

Example :

66. vidyun-naddha sêndra-dhanur-dyotita-dehā vātôddhūtāḥ śveta-balākā-kṛta-śobhāḥ । ete meghā garjita-nādôjjvala-cihnāḥ prāvṛt-kālaṃ matta-mayūraṃ kathayati ॥

These clouds [characterised] by a thundering noise and brilliant signs containing lightning and rainbow, moved about by the wind, and adorned with white cranes speaks of the [arrival of the] rainy season which maddens the peacocks.

Vasanta-tilakā

67. [The metre with] the feet of fourteen syllables of which the first two, the fourth, the eighth and the eleventh and the thirteenth and the last are heavy [and the rest light] is called Vasanta-tilakā¹.

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64 (C.61, B.XV.84).

65 (C.62, B.XV.85). ¹ Scheme (-- -, -- u, u --, uu-, -).

66 (C.63, B.XV.86).

67 (C.64, B.XV.87). ¹ Scheme, (-- u, - uu, u-u, u-u, --).

-XVI. 71 ] METRICAL PATTERNS 277

Example :

68. citrair vasanta-kusumaiḥ kṛta-keśa-hastā
    srag-dāma-mālya-racanā-suvibhūṣitāṅgī ।
    nānāvataṁsaka-vibhūṣita-karṇapāśā
    sākṣād vasanta-tilakêva vibhāti nārī ॥

This well-dressed woman who has adorned her braid of hairs with the many-coloured vernal flowers, and the rest of her body with various types of flower-garlands¹ and her ears with various ornaments, looks indeed like the decoration (tilaka) on the forehead [of the goddess] of spring.

Asaṁbādhā

69. [The metre with the] feet of thirteen syllable, of which the first five and the last three are heavy, [and the rest light] is called Asaṁbādhā.¹

Example :

70. mānī lokajñaḥ śruta-bala-kula-śīlâḍhyo
    yasmin sammānaṁ na sadṛśaṁ anupaśyed dhī ।
    gaccet taṁ tyaktvā druta-gatir aparaṁ deśaṁ
    kīrṇa nānârthair avanir iyam asaṁbādhā ॥

A proud person who knows the world and is learned, strong, of high birth and character, must leave [a country] in which he does not find adequate honour, and quickly goes to a different country ; for this world is scattered over with wealth of many kinds and offers no obstruction [to such a person].

Śarabhā

71. [The metre with the] feet of fourteen syllables of which the first four, the tenth, the eleventh the thirteenth and the last are heavy [and the rest light] is called Śarabhā¹.

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68 (C.65, B.XV.88). ¹ Srak and mālya are used here probably to indicate two different kinds of garlands.
69 (C.66, B.XV.89). ¹ Scheme (-- -, -- ⏑, ⏑ ⏑ ⏑, ⏑ ⏑́-, --).
70 (C.67, B.XV.90).
71 (C.68, B.XV.91). ¹ Scheme (-- -, - ⏑ ⏑, ⏑ ⏑ ⏑, -- ⏑́, - -).