नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
-XVI. 55 ] METRICAL PATTERNS 273
Example :
- 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
- [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 :
- 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
- [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.
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 :
- 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.
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 :
- 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
- [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 :
- 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
- [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.
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 :
- 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 :
- 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.
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 :
- 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 :
- 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.
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 (-- -, - ⏑ ⏑, ⏑ ⏑ ⏑, -- ⏑́, - -).
278 THE NATYASASTRA [ XVI. 72-
Example
- eṣā kāntā vrajati lalitaṃ vepamānā
gulmac-channaṃ vanam uru-nagaiḥ saṃpraviddham ।
hā hā kaṣṭaṃ kim idam iti no vedmi mūḍho
vyaktaṃ krodhāc-charabha-lalitaṃ kartu-kāmā ॥
This beloved lady goes trembling in a graceful manner to the forest covered with shrubs and interspersed with high hills. Ah, what a pity, the fool that I am, I could not understand that due to anger she is openly playing the graceful role of an young elephant.
Nāndimukhī
- [The metre with] the feet of fifteen syllables of which the first six, the tenth, and the thirteenth are light [and the rest heavy] is called Nāndimukhī.¹
Example :
- na khalu tava kadācit krodha-tāmrāyatākṣaṃ
bhrukuṭī-valita-bhaṅgaṃ dṛṣṭa-pūrvaṃ mayāsyam ।
kim iha bahubhir uktair yā mamaiṣā hṛdisthā
tvam asi madhura-vākyā devi nāndīmukhīva ॥
Never before have I seen your face with eyes red in anger and with eyebrows curved in frowning ; O lady, what more shall I say ? Are you the [same] sweet-tongued one who resides in my heart and is like Nāndimukhī ?
Gaja-vilasita
- [The metre with] the feet of sixteen syllables of which the first, the fourth, the sixth and the last are heavy [and the rest light] is called Gaja-vilasita.
72 (C.69, B.XV.92).
73 (C.70, B.XV.93). ¹ Scheme (UUU, UUU, --, U--, U--). This is called Mālinī by Piṅgala and his followers.
74 (C.71, B.XV.94).
75 (C.72, B.XV.95, 96). ¹ Scheme (-UU, -U-, UUU, UUU, UUU, -). This is called Ṛṣabha-gaja-vilasita by Piṅgala and his followers.
.XVI. 79 ] METRICAL PATTERNS 279
Example :
- toyâdharaiḥ sudhīra-ghana-paṭu-paṭaha-ravaiḥ
sarja-kadamba-nīpa-kuṭaja-kusuma-surabhim ।
kandala-sêndragopaka-racitam avanitalam
vīkṣya karoty asau vṛṣabha-gaja-vilasitakam ॥
On seeing the surface of the earth adorned with the Kandala and the Indragopa, and perfumed with the flowers of Sāl, Kadamba¹, Nīpa², and Kuṭaja, which open at the loud and clear drum-like peals of thunder (lit. sounds of the clouds) this [man] imitates the sportful movement of a bull-elephant.
Pravara-lalita
- [The metre with the] feet of sixteen syllables of which of the second, third, the fourth, the fifth, the sixth, the twelfth the thirteenth, the fifteeth and the last are heavy [and the rest light] is called Pravara-lalita.¹
Example :
- nakhālīḍhaṁ gātraṁ daśana-khacitaṁ côṣṭha gaṇḍaṁ
śiraḥ puṣpônmiśraṁ pravilulita-keśâlakântam ।
gatiḥ khinnā cêyaṁ vadanam api sambhrānta-netram
aho ślāghyaṁ vṛttaṁ pravara-lalitaṁ kāma-ceṣṭam ॥
Her body has been scratched by nails, and lips and the cheeks are bitten by teeth, the head is set with flowers, hairs have their ends dishevelled, and her gait is languid, and the eyes are restless. Ah, a very graceful exploit of love, has taken place in a praisworthy manner.
Śikhariṇī
- [The metre with] the feet of seventeen syllables of which the second, the third, the fourth, the fifth, and sixth, the twelfth,
76 (C.73, B.XV.97). ¹ Kadamba and nīpa are usually considered synonymous. It is just possible that there are two different trees with these two names and later writers have ignored the difference which may be very slight. It may be noted here that the Concise Oxford Diction-ary defines nīpa as a 'kind of E. Indian palm'.
² See note 1 above.
77 (C.74, B.XV.98, 99).¹ Scheme (⏑ - -, - - -, ⏑ ⏑ ⏑, ⏑ ⏑ -, - ⏑ -, - ).
78 (C.75, B.XV.100).
79 (C.76, B.XV.101, 102).
280 THE NATYASASTRA [ XVI. 80.
the thirteenth and the last are heavy [and the rest light] is called Śikhariṇī.¹
Example :
- mahānadyābhoge pulinam iva te bhāti jaghanaṃ
tathāsyaṃ netrābhyāṃ bhramara-sahitaṃ paṅkajam iva ।
tanu-sparśaś cāyam sutanu sukumāro na paruṣaḥ
stanābhyāṃ tuṅgābhyāṃ śikhari-nibhā bhāsi dayite ॥
Your hip is like the sand-bank at the margin of a river, your face together with the eyes, is like a lotus with the bees, the touch of your body is soft and not rough ; with your two elevated breasts you look like a hill with [two] peaks, O dear one.
Vṛṣabha-ceṣṭita
- [The metre with the] feet of seventeen syllables of which the first five, the eleventh, the thirteenth, the fourteenth and the sixteenth are light [and the rest heavy] is called Vṛṣabha-ceṣṭita.¹
Example :
- jalada-ninādaṃ śrutvā garjan madoccaya-darpitaḥ
vilikhati mahīṃ śṛṅgākṣepair vṛṣaḥ pratinardya ca ।
sva-yuvati-vṛto goṣṭhād goṣṭhaṃ prayāti ca nirbhayo
vṛṣabha-lalitaṃ citraṃ vṛttaṃ karoti ca śādvale ॥
On hearing the thundering noise of the clouds the bull maddened with an excess of rut, is striking the earth with its horns and is bellowing in reply. And then, surrounded by young females of its class it goes fearlessly from one cow-pen to another and has the various sportive exploits on the green [pasture].
Śrīdharā
- [The metre with] the feet of seventeen syllables of which the first four, the tenth, the eleventh, the thirteenth,
¹ Scheme (⏑ - -, - - -, ⏑ ⏑ ⏑, ⏑ ⏑ -, - ⏑ ⏑, ⏑ -).
80 (C.77, B.XV.103).
81 (C.78, B.XV.104, 105). ¹ Scheme (⏑ ⏑ ⏑, ⏑ ⏑ -, - - -, - ⏑ -, ⏑ ⏑ -, ⏑ -). This is called Hariṇī by Piṅgala and his followers.
* 82 (C.79, B.XV.106).
83 (C.80, B.XV.107-108, 109).
.XVI, 87] METRICAL PATTERNS 281
the fourteenth and the last are heavy [and the rest light] is called **Śrīdharā.**¹
Example :
snānaiś cūrṇaiḥ sukha-surabhibhir gaṇḍa-lepaiś ca dhūpaiḥ
puṣpaiś cānyaiḥ śirasi-racitair vastra-yogaiś ca tais taiḥ ।
nānā-ratnaiḥ kanaka-racitair aṅga-sambhoga-saṁsthair
vyaktaṁ kānte kamala-nilayā śrīdharêvâti bhāsi ॥
O beloved one, by your bathing, powders, pleasently fragrant paste smeared on your cheek, the [hair-perfuming] incense, flowers set on the hair (lit. head), various clothes and many jewels combined with gold worn on the limbs, you shine indeed very much like the lotus-dwelling [one] who is the goddess of beauty.
Vaṁśa-patra-patita
- [The metre with] the feet of seventeen syllables of which the first, the fourth, the tenth and the last are heavy [and the rest light] is called the **Vaṁśa-patra-patita.**¹
Example :
eṣa gajo'dri-mastaka-taṭe kalabha-parivṛtaḥ
krīḍati vṛkṣa-gulma-gahane kusuma-bhara-nate ।
megha-ravaṁ niśamya muditaḥ pavana-java-samaḥ
sundari vaṁśa-patra-patitaṁ punar api kurute ॥
O fair lady, this elephant which surrounded by young ones is playing near the peak of the hill in the thick forest of trees and shrubs bent with flowers, is delighted to hear, the roaring of clouds and is moreover causing, like the wind, the bamboo leaves to fall [on the ground].
Vilambita-gati
- [The metre with the] feet of seventeen syllables of which the second, the sixth, the eighth, the twelfth, the fourteenth,
¹ Scheme (– – –, – ῠ ῠ, ῠ ῠ ῠ, – – ῠ, – – ῠ, – –). This is called Mandākrāntā by Piṅgala and his followers.
84 (C.81, B.XV.110).
85 (C.82, B.XV.111). ¹ Scheme (– ῠ ῠ, – ῠ –, ῠ ῠ ῠ, – ῠ ῠ, ῠ ῠ ῠ, ῠ –). 86 (C.83, B.XV.112). 87 (C.84, B.XV.113-114, 115),
36
282 THE NATYASASTRA [ XVI. 88-
the fifteenth and the last are heavy [and the rest light] is called Vilambitagati.¹
Example :
- vighūrṇita-vilocanā pṛthu-vikīrṇa-hārā punaḥ
pralamba-raśanā calat-skhalita-pada-manda-kramā ।
na me priyam idaṁ janasya bahumāna-rāgeṇa yan
madena vivaśā vilambita-gatiḥ kṛtā tvaṁ priye ॥
O beloved one, your eyes are rolling, the large necklace is displaced, the girdle is hanging loose, and your slow steps are faltering ; I indeed like¹ this your slow gait that you assume out of overwhelming pride due to this man's love and respect [for you].
Citra-lekhā
- [The metre with the] feet of eighteen syllables of which the first five, the eleventh, the twelfth, the fourteenth, the fifteenth, the seventeenth and the last are heavy [and the rest light] is called Citra-lekhā¹.
Example :
- nānā-ratnâḍhyair bahubhir adhikaṁ bhūṣaṇair aṅga-saṁsthaḥ
nānā-gandhâḍhyair madana-jananair aṅga-rāgaiś ca hṛdyaiḥ ।
keśaiḥ snānârdraiḥ kusuma-racitair vastra-rāgaiś ca tais taiḥ
kānte saṁkṣepāt kim iha bahunā citra-lekhêva bhāsi ॥
O beloved one, you shine very much with the many bejewelled ornaments worn in your limbs, various pleasant cosmetics rich in passion-inspiring scents, hairs clean after bath and decorated with flowers, and varied colours of your clothes. What shall I say more? To be brief, you appear like a painted picture.
¹ Scheme (◡ - ◡, ◡ ◡ -, ◡ - ◡, ◡ ◡ -, ◡ - ◡, ◡ -). This is called Pṛthvī by Piṅgala and his followers.
88 (C.85, B.XV.116). ¹ lit. Is it not dear to me?
89 (C.16, B.XV.117). ¹ Scheme (- - -, - - ◡, ◡ ◡ ◡, ◡ - -, ◡ - -, ◡ - -). This is called Kusumita-latā-vellitā by Piṅgala and his followers.
90 (C.87, B.XV.118).
-XVI. 96 ] METRICAL PATTERNS 283
Śārdūla-vikrīḍita
91-92. [The metre with] the feet of nineteen syllables of which the first three, the sixth, the eighth, the twelfth, the thirteenth, the fourteenth, the sixteenth, the seventeenth and the last are heavy [and the rest light] is called Śārdūlavikrīḍita¹
Example :
nānā-śastra-śataghni-tomara-hatāḥ prabhraṣṭa-sarvâyudhāḥ
nirbhinnôdara-pada-bāhu-vadanā nirbhartsitāḥ śatravaḥ ।
dhairyôtsāha-parākrama-prabhṛtibhis tais tair vicitra-guṇaiḥ
vṛttaṁ te ripu-ghāti bhāti samare śārdūla-vikrīḍitam ॥
The enemies have been repelled after [some of them have been] killed with various weapons, Śataghni and Tomara and [some have] their bellies, arms, feet and face pierced and [some have] lost all their weapons. Your enemy-killing exploits in battle comparable to the tiger's sports and characterised by virtues such as, patience, energy and valour, are splendid.¹
Suvadanā
94-95. [The metre with the] feet of twenty syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the sixteenth and the last are heavy [and the rest light] is called Suvadanā.¹
Example :
netre līlâlasânte kamala-dala-nibhe bhrū-cāpa-rucire
gaṇḍôṣṭhaṁ pīna-madhyaṁ sama-sahita-ghanaḥ snigdhāś ca daśanāḥ ।
karṇāv aṁsa-pralambau cibukam api nataṁ ghoṇā surucirā
vyaktaṁ tvaṁ martya-loke varatanu vihitāsyêkā suvadanā ॥
91-92 (C.88-89. B.XV.119, 120, 121 . ¹ Scheme (---, ᴗ ᴗ -, ᴗ - ᴗ, ᴗ ᴗ -, - - ᴗ, - - ᴗ, -).
93 (C.90, BXV.122). ¹ B. gives an additional example of this (B.XV.123).
94-95 (C.91-92, B.XV.124-125, 126). ¹ Scheme (---, - ᴗ -, ᴗ ᴗ ᴗ, ᴗ ᴗ ᴗ, ᴗ - -, - ᴗ ᴗ, ᴗ -).
96 (C.93, B.XV.127).
284 THE NĀṬYAŚĀSTRA [ XVI. 97-
Your eyes are like lotus-patals, beautiful with the bow-like eyebrows and their ends are playfully lazy ; the cheeks and lips are plump in their middle, the teeth are all equal, in a line, thickly set and shining, the ears are hanging down as far as the shoulders, the chin is bent and the nose is beautiful, O fair lady, in this mortal world you are indeed the only fair-faced woman whose face has been [carefully] fashioned.
Sragdharā
97-98. [The metre with] the feet of twentyone syllables of which the first four, the sixth, the seventh, the fourteenth, the fifteenth, the seventeenth, the eighteenth, the twentieth and the last are heavy [and the rest light] is called Sragdharā.¹
Example :
cutāśokāravindaiḥ kuruvaka-tilakaiḥ karṇikāraiḥ śirīṣaiḥ
punnāgaiḥ pārijātair vakula-kuvalayaiḥ kiṁśukaiḥ sātimuktaiḥ ।
etair nānā-prakāraiḥ kusuma-surabhibhir viprakīrṇaiś ca tais tair
vāsantaiḥ puṣpa-vṛndair naravara vasudhā sragdharêvâdya bhāti ॥
O king (lit. best among men), due to the many and various sweet smelling vernal flowers such as, Cūta, Aśoka, Aravinda, Kuravaka, Tilaka, Karṇikāra, Śirīṣa, Punnāga, Pārijāta, Vakula, Kuvalaya, Kiṁśuka and Atimukta, this earth looks today like a woman wearing [many] garlands of flowers.
Madraka
100-101. [The metre with] the feet of twentytwo syllables of which the first, the fourth, the sixth, the tenth, the twelfth, the sixteenth, the eighteenth, and the last are heavy [and the rest light] is called Madraka¹.
97-98 (C.94-95, B.XV.128-129, 130). ¹ Scheme (---, - ᑌ -, - ᑌ ᑌ, ᑌ ᑌ ᑌ, ᑌ -, -, ᑌ - - ᑌ - -). 99 (C.96, B.XV.131).
100-101 (C.97-98, B.XV.132-133, 134). ¹ Scheme (- ᑌ ᑌ, - ᑌ -, ᑌ ᑌ ᑌ, - ᑌ -, ᑌ ᑌ ᑌ, - ᑌ -, ᑌ ᑌ ᑌ, -).
-XVI. 105 ] METRICAL PATTERNS 285
Example :
udyatam eka-hasta-caraṇaṁ dvitīya-kara-recitaṁ suvinataṁ
vaṁśa-mṛdaṅga-vādya- madhuraṁ vicitra-karaṇânvitaṁ bahu-vidham ।
madrakam etad adya subhagair vidagdha-gati-ceṣṭitaiḥ su-lalitair
nṛtyasi vibhramâkula-padaṁ vivikta-rasa-bhāvitaṁ śaśi-mukhi ॥
O fair lady (lit. moon-faced one), you are dancing to-day in accompaniment of sweet sounds of flutes and drums the Madraka¹ dance with one of your hands raised up and another bent, and your feet are restless in a hurry. And you are making happy, clever and graceful movements in pursuance of many and various Karaṇas, and this dance is imbued with a distinct Sentiment (rasa).
Aśvalalita
103-104. [The metre with] the feet of twentythree syllables of which the fifth, the seventh, the eleventh, the thirteenth, the seventeenth, the nineteenth and the last are heavy [and the rest light] is called Aśvalalita.¹
Example :
vividha-turaṅga-nāga-ratha-yaudha-
saṁkulaṁ alaṁ balaṁ samuditaṁ
śara-śata-śakti-kunta-parighâsi-
yaṣṭi-vitatam bahu-praharaṇam ।
ripu-śata-mukta-śastra-rava-bhīta-
śaṁkita-bhaṭaṁ bhayâkulam idaṁ
kṛtam abhivīkṣya saṁyuga-mukhe
samîpsita-guṇaṁ tvayâśvalalitam ॥
[Even after] seeing this completely assembled army consisting of many horses, elephants, chariots and fighters, the manifold assaults spread by hundreds of arrows, darts, javelins, clubs and swords, and the foot-soldiers terrified and afraid on account of the
102 (C.99, B.XV.135). ¹ See NŚ. IV.
103-104 (C.100-101, B.XV.136-137, 138). ¹ Scheme (UUU, U - U, - UU, U - U, - UU, U - U, - UU, U -).
105 (C.102, B.XV.139).
286 | THE NĀṬYAŚĀSTRA | [XIII. 106-
noise of released missiles, and the terror-stricken directions, you have practised in the forefront of the battle the sportful movements of a horse, the merit of which is very much desired [by people].
Megha-mālā
106-107. [The metre with] the feet of twentyfour syllables of which the first six, the eighth, the eleventh, the fourteenth the seventeenth, the twentieth and the twentythird are light [and the rest heavy] is called Megha-mālā.¹
Example :
- pavana vala-samāhata tīvra-gambhīra-
nādā balākāvali-mekhalā
kṣitidhara-sadṛśôcca-rūpā mahānīla-
dhumâñjanâbhâmbu-garbhôdvahā ।
sura-pati-dhanur-ujjvāla-baddha-kakṣyā
taḍit-dyota-sannāha-paṭṭôjjvalā-
gagana-tala-visāriṇī prāvṛṣeṇyā
dṛḍhaṃ megha-mālā 'dhikaṃ śobhate ॥
The sky-covering mass of clouds of the rainy season, having deep and piercing sounds, wearing a flight of cranes as their girdle, carrying in their womb water of deep blue colour comparable to that of smoke and collyrium, girding the waist with the rainbow as the belt, having their armour-plates illumined by the flash of lighting looks indeed very beautiful.
Krauñca-pādī
109-110. [The metre with] the feet of twentyfive syllables of which the first, the fourth, the fifth, the sixth, the ninth, the tenth, and the last are heavy [and the rest light] is called Karuñca-pādī.¹
106-107 (C.103-104, B.XV.140-141, 142). ¹ Scheme (∪ ∪ ∪, ∪ ∪ ∪, – ∪ –, – ∪ –, – ∪ –, – ∪ –, – ∪ –, – ∪ –).
108 (C.105, B.XV.143).
109-110 (C.106-107, B.XV.144-145, 146). ¹ Scheme (– ∪ ∪, – – –, ∪ ∪ –, – ∪ ∪, ∪ ∪ ∪, ∪ ∪ ∪, ∪ ∪ ∪, ∪ ∪ ∪, –).
-XVI. 114 ] METRICAL PATTERNS 287
Example :
111. yaḥ kila dakṣaṃ vidruta-somaṃ kratuvaram
a-camasam apagata-kalaśaṃ
pātita-yūpaṃ kṣipta-caṣālaṃ vicayanam
a-samidham a-paśukam acarukam ।
kārmuka-muktenâśu cakāra vyapagata-
suragaṇa-pitṛ-gaṇam iṣuṇā
nityam asau te daitya-gaṇârīḥ pradahatu
makham iva ripu-gaṇam akhilam ॥
Let Śiva (lit. the foe of the demons) who by arrows discharged from his bow quickly spilled the Soma-juice, threw away the Camasa, broke the Kalaśa, felled the Yūpa, dislodged the Caṣāla, put out the fire, destroyed the fuel, scared away the [sacrificial] animals, spilled the Caru and put the gods and the Pitṛs to flight in Dakṣa's great sacrifice, always destroy all your enemies like the same (sacrifice).¹
Bhujanga-vijṛmbhita
112-113. [The metre with] the feet of twentysix syllables of which the first eight, the nineteenth, twentyfirst, twentyfourth and the last are heavy [and the rest light] is called Bhujanga-vijṛmbhita.¹
Example :
114. rūpôpetāṃ devaiḥ sṛṣṭāṃ samada-gaja-
vilasita-gatiṃ nirīkṣya tilottamām
prādakṣiṇyāt prāptāṃ draṣṭum bahu-vadanam
acala-nayanaṃ śiraḥ kṛta-vān haraḥ ।
dīrghaṃ niḥśvasyântar-gūḍhaṃ stana-vadana-
jaghana-rucirāṃ nirīkṣyā tathā punaḥ
pṛṣṭhe nyastaṃ devêndreṇa pravaramaṇi
kanaka-valayaṃ bhujaṅga-vijṛmbhitam ॥
111 (C.108, B.XV.147) ³ B. gives one additional example (B.XV.148) which occurs in Halāyadha's commentary to Piṅgala.
112-113 (C.109-110, B.XV.149-150). ¹ Scheme (---, ---, -- u, u u u, u u u, u u u, - u -, u u -, u -),
114 (C.111, B.XV.151).
288 THE NĀṬYAŚĀSTRA [XVI. 115
Seeing the beautiful Tilottamā created by the gods with the gait of an elephant in rut, while she came to circumambulate him, Śiva fixed all the eyes on her and kept his heads and mouths motionless. And then the lord of gods (Śiva) on seeing her who was beautiful on account of her breasts, face and the hip, sighed silently and put away on his back the golden bangles set with the best of jewels in which snakes were yawning.
The uneven and the semi-even metres
115. These are, O the best of Brahmins, the even metres I mentioned [before]. Now listen about the uneven and the semi-even metres.
116. The metres of which the feet belong to different metrical types and are dissimilar, are called uneven (viṣama).
117-118. The metres in which the two [alternate] feet are similar while the two [contiguous] feet are not similar, are called semi-even (ardha-sama). And the metre in which all the feet are dissimilar is called uneven. The semi-even metre is to have its even and odd feet dissimilar and the first of such groups of feet may be shorter or longer than the rest or one of them may be longer and the other shorter than the rest.
Even metres
119. An even metre is defined by defining one of its feet while uneven metre requires the definition of all its feet. And from a definition of the two feet the semi-even metre is known. This is the division of feet [in different semi-even metres].
120. I have described the even metres with reference to their divisions of feet. Now I shall describe the characteristics of the uneven metres in terms of triads, (i.e. gaṇas).
114a, (C.112, B.XV.153). ¹ According to B. it is spurious.
114b (C.113, B.XV.154). 115 (C.114, B.XV.155).
116 (C.115, B.XV.156).
117-118 (C.116-117, B.XV.157-158).
119 (C.118, B.XV.159). 120 (C.119, B.XV.160)
-XVI. 124 ] METRICAL PATTERNS 289
Pathyā
121. If [in Anuṣṭup], the first foot contains sa, sa, ga, ga, and the second sa, ra, la, ga and such will be the remaining even and odd feet¹, it is called Pathyā².
Example :
122. priya-daivata-mitrāsi priya-sambandhi-bāndhavā¹ ।
²priya-dāna-ratā pathyā dayite³ tvaṃ priyâsi me ॥
You respect the gods and the friends, you love the matrimonial relations and the kinsmen, you are disposed to make affectionate gifts and you are agreeable, O beloved one, you are dear to me.
Uneven Pathyā
123. [The Anuṣṭup metre of which] the first foot contains ma, ra, ga, ga, the second ya, sa, la, ga, the third ra, bha, la, ga and the fourth ja, sa, la, ga [is called an all-uneven (sarva-viṣamā) Pathyā]¹.
Example :
124. naivâcāro, na te mitraṃ na sambandhi-guṇa-kriyā¹ ।
sarvathā sarva-viṣamā pathyā na bhavasi priye ॥
O dear one, you have no [good] conduct, no friend and you have no good action towards the relatives and are in every way very rough ; so you are not agreeable.
121 (C.120, B.XV.162). ¹ C. gives the correct reading yugmāyujakau 'even and odd' (feet).
² (I & III) ᴗ ᴗ —, ᴗ ᴗ —, — — and (II & IV) ᴗ ᴗ —, — ᴗ —, ᴗ —
122 (C.121, B.XV.163). ¹ C. daivata for sambandhi.
² C. varā for ratā.
³ C. yadyapi for dayite.
123 (C.133, B.XV.164). ¹ (I) — — —, — ᴗ —, — —, (II) ᴗ — —, ᴗ ᴗ —, ᴗ —, (III) — ᴗ —, — ᴗ ᴗ, ᴗ —, (IV) — ᴗ ᴗ, ᴗ ᴗ —, ᴗ —.
124 (C.134, B.XV.165). ¹ B. priyā for kriyā.
37
| 290 | THE NATYAŚĀSTRA | [ XVI. 125- |
|---|
Inverted Pathyā
125. These are the characteristics of the first and the third feet¹. They being inverted i.e. the second and the fourth being of this description, the metre will be called the inverted Pathyā.
Example :
126. kṛtena ramaṇasya kiṃ sakhi roṣena te' pyartham ।
viparītā na pathyâsi tvaṃ jaḍe kena mohitā¹ ॥
What is the use of this anger shown to your beloved one ? [It seems that] you are foolish and have been deluded by somebody and have been upset, [so] you are not agreeable.
Capalā
127. [The metre with the feet of eight syllable of which] the fourth, the fifth and the sixth [in the hemistictis] are short, is called Anuṣṭup Capalā.¹
Examples :
128.
na khalv asyāḥ priyatamaḥ śrotavyaṃ vyāhṛtaṃ sakhyā ।
nāradasya pratikṛtiḥ kathyate capalā hîyam ॥
[He] is not this girl’s dearest one. This [information] to be heard [privately] was proclaimed loudly by the female friend. This fickle woman is indeed [to be] called an image of Nārada (the deity of quarrel).
Vipulā
129. [If a metre with the feet of eight syllables has] the seventh syllable short in its second and the fourth feet, it is
125 (C.122, B.XV.166). ¹ A passage before this seems to be lost. C. reads yugmayor—of the two even (feet). B. has ayujor—of the two odd (feet).
126 (C.123, B.XV.167). ¹ We adopt B's reading. (I) ∪ - ∪, ∪ ∪ -, ∪ -, (II) ∪ ∪ -, - ∪ -, - -, (III) - ∪ -, - ∪ -, ∪ -, (IV) ∪ ∪ -, - ∪ -, - -.
127 (C.124, B.XV.168). ¹ C. vipulā for capalā.
128 (C.125, B.XV,169). 129 (C.126, B.XV.170).
-XVI. 135 ] METRICAL PATTERNS 291
called [Anuṣṭup] Vipulā. According to some¹ the seventh syllable in all the feet will be short in [such] Vipulā.
Example :
- saṁkṣiptā vajravan-madhyā hema-kumbha-nibha-stanī ।
vipulâsi priye śroṇyāṁ pūrṇa-chandra-nibhānaṇe ॥
O dear one, you are thin [in body], your waist is slender in the middle like a Vajra, your breasts are like golden pitchers, your hips are large and your face is like the full moon.
- gaṅgêva tvaṁ meghâgame āplāvita-vasundharā ।
kula-vṛkṣān ārujati sravanti vipulâcalāt¹ ॥
You are like the Ganges at the advent of the rains, flooding the earth, destroying the trees on the bank and flowing down from a high mountain
-
The feet of Pathyā are thus of various types ; in the remaining [types of Anuṣṭup] even and odd feet may be made up with other triads (trika)¹.
-
In this metre a triad ending in a heavy syllable (i.e. ma, ra, ya, sa) or consisting of light syllables (i.e. na) is never to occur (lit. desired) after the first syllable while after the fourth syllable a short syllable must occur (lit. is prescribed).
-
If in the feet of a Pathyā there are three heavy syllables at the end it is called [Anuṣṭup] Vaktra.
Example :
- danta-kṣatâdharaṁ subhru jāgara-glāna-netrântam ।
rati-sambhoga-khinnaṁ te darśanīya-taraṁ vaktram ॥
O fair lady, the lips being bitten by teeth, eyes being languid due to keeping awake, your face has become more charming, after its exhaustion in love's enjoyment.
¹ Saitava—mentioned in Piṅgala and Agni P. See CSS. p. 38.
130 (C.127, B.XV.171).
131 (C.128, B.XV.172). ¹ B. C. vanāt for calāt.
132 (C.129, B.XV. 174). ¹ We follow B. 133 (C.130, B.XV.175).
134 (C.131, B.XV.176). 135 (C.132, B.XV.177).
292 THE NATYASASTRA [ XVI, 136-
136. These are all-uneven metres of the Anuṣṭup class. The authorities differ from one another as regards [the arrangement of] the triads and syllables.¹
Vānavāsikā
137. The metre which has its feet consisting of sixteen Mātrās as parts of Gāthā to be divided into four sections in terms of triads and the part of a triad, is called Vānavāsikā.¹
Example :
138. asaṁthita-padā suviḥvalâṅgī
mada-skhalita-ceṣṭita-manojñā ।
kva yāsyasi varoru surata-kāle
viṣamā kiṁ vānavāsikā tvam ॥
O fair lady, your gait is unsteady, limbs are agitated, and your faltering movements due to ardent passion are charming. Where are you going at the time of love’s enjoyment ? Are you a perverse woman of Vanavāsi ?
Ketumatī
139. The metre of which the first and the third feet consist of sa, ja, sa, ga and the second and the fourth bha, ra, na, ga, is called Ketumatī.¹
Example :
140. sphuritâdharaṁ cakita-netram
rakta-kapolam ambuja-dalâkṣam ।
kim idaṁ ruṣâpahṛta-śobhaṁ
ketumatī-samaṁ vada mukhaṁ te ॥
Your lips are throbbing, the eyes which are like lotus-petals are trembling and the cheeks are red. Tell me why has your face robbed of its beauty by anger, become like Ketumatī (flame) ?
136 (B.XV.178). ¹ C. omits this.
137 (C.146, B.XV.179). ¹ Piṅgala calls this Mātrāsamaka. His Vānavāsikā is simply a variety of this. See CSS. p. 21.
138 (C.147, B.XV.180).
139 (C.140, BXV.181). ¹ Scheme : (I & III) ᴗ ᴗ -, ᴗ - ᴗ, ᴗ ᴗ -, -, (II & IV) - ᴗ ᴗ, - ᴗ -, ᴗ ᴗ ᴗ, - -
140 (C.141, B.XV.182).