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CHAPTER- V
EXPOSITIONS
OF RIGVEDA SAMHITA ON METRE.
Chanda or metre is a great concern to the vedic texts particularly to
Rigveda Samhitd. Nirukta defines chandas are the so called for covering.'
The first verse of the fifteenth chapter of Bhagavat Gita lord Krishna himself
said the metrical hymns lying on the vedas are considered as the leaves of vedas.^
Chanda means veda without which the universal process will be stopped just as
without leaves a tree can not live. Vedas are reffered to by the term chanda.
In archaic vedic ritual texts viewed the existence of Vishnu in the roles
of Surya (Sungod) following the vedic view points - "surydtma jagatah
tasthuta^ca " from which the seven rays are delivered. As such the metres of
vrtta types are prominently shown in the Rigvedic text. So it can be said that
there is a mysterious roles of metres in the Rigveda Samhitd.^ Moreover it is
learnt from the tradition that Gods covered their bodies with the mantras to
protect themselves from death. And it is as well impossible to pronounce the
vedic mantras without maintaining definite metre of the mantra.*
Katyayana defines chanda or metre as - "yadaksaraparimanakam
tacchandah" i.e. metre depends on the counting of letters. The quantity of
every syllable in each line fixed all vedic metres. All the vedic treatises accept
that the vedic metres are enumerative of the syllables and padas. Though the
ordinary vedic verses contain four lines but there is not any definite rule about
vedic metres. It may be four or three or two padas. Some metres are found in
one pada, while there some padas which are contained six padas. It is a fact that
Panini accepted chanda or metre as the feet of the Veda.* It means the vedic
samhita can not move without metre which is recognized as the feet of the
Veda.
The vedic metre mainly is of two types -
1. According to the quantity of syllables.
184
2. According to the quantity of syllables ofpada.
Again a pada may have eight eleven or twelve syllables. There are
altogether seven prominent metres in veda, but according to others there are
twenty one metres in veda. But only seven metres of veda are generally available
in the vedic texts. These are Gayatri, Usnik, Anustubh, Brhati, Pahkti, Tristubh
andJagati. These seven metres again divided into five categories having the
same name. The five categories of metres are as follows -
1. Metres of Prajdpati.
2. Metres of Devas.
3. Metres of Asuras.
4. Metres of/?5« and
5. Metres of Brahmanas.
Metres of Prajapati - Prajapatis are a kind of Angels who are superior than
Gods and having the characteristics of both Rsis and devas. Therefore they are
also called Devarsis. It is containing the above mentioned seven metres viz.
Gayatri, Usnik, Anustubh, Brhati, Pankti, Tristubh and Jagati.^
It clearly explains that the metres of Prajapati are beginning with eight syllables
and each successive metre is longer by four syllables than its preceding one.
e.g.
1. Gayatri eight syllables
2. Usnik twelve syllables.
3. Anustubh sixteen syllables.
4. Brhati twenty syllables.
5. Pankti twenty-four syllables
6. Tristubh twenty-eight syllables.
7. yagarrthirty-two syllables.
Pingalacharya also admits the same number.''
185
Metres of Devas - Devas means Gods who have supreme powers. It consists
of seven metres having the same name ofPrajapati metres. The Deva metres
are beginning with one syllable and rise successively by one syllable.^ And the
succession of the syllables of the metres of Devas will be in this way -
Gayatri - one syllable.
Usnik - two syllables
Anustubh - three syllables.
Brhati - four syllables.
Pankti - five syllables.
Tristubh - six syllables and
JagatT - seven syllables.
In this regard Pingalacharya supports the view ofRigveda Pratisakhya.^
The commentary on Pingala Sutras says 'ekaksaram chando daivi gayatriti
samjnayate.'
Metres of Asuras - Asuras are equivalent to Gods having rajagunas in their
characters. It also consists of seven metres having the same names viz. Gayatri,
Ushik, Anusiubh, Brhati, Pankti, Tristubh and Jagati. And those of Asura
metres begin with fifteen syllables and each successive metre is shorter by one
syllable.'" Pingalacharya asserts the same view in his Chadasutram."
Metres of Rsis :-Rsis are the vedic seers who constructed the vedic mantras.
All the vedic mantras or hymns generally occur in the Rsi metres. It is known
from the Rigveda Prdtisdkhya that the combination of the Deva metre, Asura
metre and Prajapati metre produce one more kind of metres which is known
as Rsi metre. The combination of the syllables of the metres of Prajapati,
Deva and Asura makes the metres of the Rsis. However the metres of Rsis are
the result of the addition of the syllables of the metres oi^ Deva, Asura and
Prajapati. The Rsi metre begins with twenty-four syllables, which is the result 186
of the addition of the beginning syllables of the metres of Prajapati, Deva and
Asuras. And it rises successively by four syllables than its preceding one and
all the preceding syllables are also the result of the addition of the each
successive syllables of Prajapati, Deva and Asura metres respectively.'^
However the following presents a tabular form of the vedic metres given by
Saunaka in his Rigveda Prdtisdkhya.
Metres o{ Prajapati
Metres of Devai:
Metres of Asuras
Metres of Rsis
Gayatrr
8
1
15
24
Usnik
12
2
14
28
Anustubh
16
3
13
32
Brhati
20
4
12
36
Partkti
24
5
11
40
Tristubh Jagatf
28 32
6 7
10 9
44 48
It is mentioned above that almost all the vedic hymns are generally found
in the Rsi metres. The Yaju verses, Samans. Racs occur in the Rsi metre. One
quarter of Rsi metre is a metre of Yajus, two quarter of Rsi metres are of the
Saman verses and three quarter of Rsi metres are that of the Rgvedic verses.'^
In this respect Uvata in his commentary on Rigveda Pratisakhya remarks-
'tesamrsicckandasam caturthosa yajusam chanda beditavyam. sdmna
chanda dvaii pddau beditavyam, ream chandah trayah pada beditavya'. It
is again cleared from the following table-
Metres of/?5/i-
Yajus
Samans
Re
GayatrT
24
6
12
18
Usnik
28
7
14
21
Anustubh
32
8
16
24
Brhati
36
9
18
27
Par kti
40
10
20
30
Tristubh Jagatf
44 48
11 12
22 24
33 36
Pingalacharya supports the same view in his Cchandasutra '•*
Metres of Brahmanas:- The metres of Brahmana type are also available in the
vedic literature. The metres of Yajus, Samans, Res beginning with the Gayatri
187
and ending with Jagatfare respectively increased by one, two and three syllables
and their total constitutes the class of the metres of Brahmana, which is
increased successively by six sylables'-'' The metres of Brahmana begins with
thirty-six syllables. And the succession of the syllables of the metres of
Brahmana is as follows-
Gayatri - Thirty-six syllables.
Usnik - Forty-two syllables.
Anustiibh - Forty-eight syllables.
Brhati - Fifty-four syllables.
Pankii - Sixty syllables.
Tristubh - Sixty-six syllables.
Jagatt - Seventy-two syllables.
The following tabular form presents the number of syllables of all the categories
as follows-
Metres of Devas
Metres of ylsMrax
Metres of Prcjapati
Metres ofRsi:; 9
Metres of Yajus
Metres ofSamans
Metres of Res
Metres of Brahmana
Gayatrr
1
15
8
24
6
12
18
36
Usnik
2
14
12
28
7
14
21
42
Anustubh
3
13
16
32
8
16
24
48
Brhati
4
12
20
36
9
18
27
54
Pai l<ti
5
11
24
40
10
20
30
60
Tristubh J
6
10
28
44
11
22
33
66
agatr
7
9
32
48
12
24
36
72
Among all the metres the type Rsis is the most important and found in the vedic
mantras. The seven metres of Rsi metres have their sub - varieties.
188
The GayatrF metre and its varieties :
The Gayatrrmeire of Risi consists of twenty-four syllables. Most of
the Res ofRigveda Samhita are found in Gayatri metre. Even the first mantra
of Rigveda Samhita occur?, in this metre.'^
The same may has four padas of six syllables each. But Saunaka did not give the
example of such kind of Gayatri metre in the Rigveda Sahmita, he gives an
illustration by a Sutra itself''^ The Gaya/r/metre has its sub-varieties owing to
the differences in the quantity of syllables these are -
1. Padapankti Gayatri.
2. Bhurik Padapankti GayatrF.
3. Virdt Gayatri.
4. Atinicrt Gdyatrf.
5. Vardhamdna Gayatri.
6. Yavamadhyd Gayatri and
7. Dvipada Gayatri.
8. Ushiggarbha Gdyatrf.
In the Padapankti Gdyatrf, there are fwc padas of five syllables and if the last
pada consists of six syllables and the remaining padas are of five syllables
each then that is called Bhurik Padapankti Gayatri. It is stated in the Rigveda
Prdtisdkhya that if there are two padas of four and six syllables each and
remaining three padas of five syllables each that is also called Padapankti
Gdyatrf.^^
Padapankti has 5 + 5 + 5 + 5 + 5 = 25 syllables. or
4 + 6 + 5 + 5 + 5 = 25 syllables.
Bhurik Padapankti Gdyatrf has 5 + 5 + 5 + 5 + 6 = 26 syllables.
It is clearly mentioned in the Rigveda Pratisakhya that the two groups of
three stanzas beginning with acha hi and indra and the stanza beginning with
189
chrtam and agne tvam respectively are illustrations of the metres mentioned
in the above.'' The Bhurik Gayatri contains three padas of eight, ten and seven
syllables respectively.^" Another kind of Gayatri metre is known as Virat
Gayatri, which contains ihx&Q padas of seven, syllables each.^' The same is
called Padanicrt Gdyatrfas it also contains twenty-one syllables. This
viewpoint is also supported by Pingalacharya in his Chandasutrani"-
Therefore Birat Gayatri and Padanicrt Gayatri are synonyms. Again the Atinicrt
Gayatri is that which contains twenty syllables in its ihxttpadas which consists
two padas of seven syllables and one of six syllables. The six syllabic ones is
simply called Atinicrt" Subsequently that is called Vardhamana Gayatri if
there are three successive padas of six, seven and eight syllables." Some
scholars opine that a Gayatri with tv/o padas of eight syllables each and the
middle one of six syllables is called Vardhamana Gayatri.^^ But Saunaka in his
Rigveda Prdiisdkhya states that In some verses it is found that in the first
pada six in the second pada seven and in the third pada eight syllables are
occurred.' * Pingalacharya states that the Vardhamana Goya/rfconsists of six,
seven and eight syllables respectively in its three respective padas}"^ The
Dvipada Gavatrf consists of two padas having twelve syllables in its pada. *
That kind of Gayatri metres is called Yavamadhya Gayatri where the first and
\2iSt padas contain seven syllables each and the middle one is often syllables."
One more kind of Gayatri metres is UsniggarbhdGayatri, which contain six,
seven and ten syllables in its three successive padas.'** These are the different
kinds of GdyatrT metre enumerated in the Rigveda Prdtisdkhya by Acharya
Saunaka.
Apart from the some other varieties of GayatrTmetvt are found in the
Pingalachanda Sutram. They are
1. A tipadanicrta.^^
2. NdgT. '2
190
3. Bar a hi. ^^
4. Pratistha.^*
5. Dvipadahirat. ^^
6. Tripadabirat. ^^
The above are the varieties of Gayatri metre found in the Rigveda
Prdtisakhya and Pingala Chanda Siitram.
Usnik metre and its varieties :
The Usnik contains twenty-eight syllables in three padas, the first two
padas contain eight syllables each and the third pada consists of twelve-
syllable.^'Pingalacharya gives almost the same view in his Chanda Sutram.^^
Pingalacharya intends to mean that the two padas of Usnik metre contain eight
syllables like Gayatri metre and one pada of twelve syllables like Jagati metre.
In the commentary on the above Sutra remarks- 'yatra Gayatravastaksarau
padau jagatascadvadasaksarah evam tribhih padairusninnama chando
bhavati, atra ca bramo na bibaksitah padasamkhyamatram bidhiyate' The
same text again says that the Usnik metre contains fonr padas of seven syllables
each.^'But Rigveda Prdtisakhya clearly shows that Usnik metre of Rsi contains
twenty-eight syllables in three padas. Where the first two padas consists of
eight syllables each and the third of twelve syllables though some verses of
Rigveda Samhita contain fowr padas of seven syllables each.'*" The verse under
reference (40) is regarded as an example of Usnik metre as it consists of
twenty-eight syllables total but this kind of mantras are rarely found in the
Rigveda Samhita. The Rigveda Prdtisakhya adds that the mantras having four
padas of seven syllables each are Anustrubh according to padas, but Usniks
according to the syllables.'" It observed that these kinds of mantras are
Anustubh hy padas but are Usnik by according to syllables. The Vedic metres
mainly depend on the counting of letters, this kind of mantras are regarded as
Usnik by the vedic scholars.'*^ 191
Uvata in his commentary on this Sutra explains 'saptaksaraiscaturmih
padaih dve rcavusnihau bhavatah padairantustunau janiyat, aksaraih krtva
usnihau bhavatah nadam ca odatinama, mamsimahi tva bayam' etc.
According to Rigveda Prdtisdkhya Usnik has following varieties.-
1. Pur a - Usnik
2. Kakubh Usnik.
3. Kakumnyarikusiranicrt Usnik
4. Pipilikanadhya Usnik.
5. Tanusira Usnik.
6. Anustubhgarbha Usnik.
Pura Usnik contains twelve syllables in apada in its beginning. And the
rest two padas contain eight syllables each then that metre is called Pura-usnik
metre. Pingalacharya gives the same view in his ChandaSUtram.*^
Again in the Kakubh-Usnik metre the first and last pada contain eight
syllables each and the middle pada contain twelve syllables. The same is also
found in the Pingalachanda SUtram.** Rigveda Prdtisdkhya states that when
the first two padas contain eight syllables each and the last pada contain twelve
syllables then it is called Usnik metre.'*-'' That is however Pura-Usnik metre
when the tv/elve syllabic pada is in the beginning and kakubh when the same
twelve syllabic pat/a is in the middle as follows
a) f/5«/^ =8+8+12=28 Syllables.
b) Pura-Usnik =12+^+^=^2^ Syllables.
c) Kakubh Usnik = 8+12+8 = 28 Syllables.
The Kakumnyarikusira nicrt Usnik contains twenty-seven syllables where
the fust pada consists of eleven syllables, the mxddle pada consists of twelve
syllables and the last pada consists of four syllables.''^ The Pipilikamadhya
192
Usnik contains two padas i.e. the first and the last of eleven syllables each and
the middle pat/a consists of six syllables."*^ Again that is called Janws/ra Usnik
ifapada of six syllables follows those tv/o padas of eleven syllables each.'**
The last but not least is the Anustubhgarbha - Usnik of which the first pat/a
consists of five syllables and the following three padas consists of eight
syllables each. It is generally found in the hymns belonging to the seer Agastya.*^
It can be summed up as follows-
Kukumnyarikusira Usnik^ 11 + 12+4 = 27 syllables.
Pipilikamadhya- Usnik = 11+6+11 ^ 27 syllables
Janusira Usnik = 11 + 11+6 = 28 syllables
Anustubhgarbha-t/s«/A: = 5+8+8+8 = 29 syllables
The above six metres are the different varieties of Usnik metre Saunaka
classifies all Ihese in the aforesaid manner.
Anustubh metre and its varieties.
The Anustubh metre consists of thirty-two syllables with four ti\\ia[ padas
of eight syllables each.-""' In the Pingalachanda Siitram it is stated that the
Anustubh metre contains four padas of thirty two syllables.^' Instead of four
padas Anustubh with ihxtQ padas are also available in vedic texts." ^ Different
kinds of Anustubh metre are-
i) Krti Anustubh.
ii) Pipilikamadhyama - Anustubh.
iii) Kavirat -Anustubh.
iv) Nastarupa - Anustubh.
v) Virat - Anustubh.
vi) Mahapadaparikti - Anustubh.
The krti Anustubh has two padas of twelve syllables each and the
following one of eight syllables." That is Pipilikamadhyama -Anustubh of
193
which the middlzpada consist of eight syllables and the first and the lastpadas
consists of twelve syllables each. "*
The metre of Kavirat -Anustubh consists of two padas of nine syllables
each and one of twelve syllables in the middle and therefore contains two
syllables less than the number required for an Anustubh metre.^^ This Kavivat
-Anustubh contains thirty syllables instead of thirty-two syllables of which the
first and the last padas contain nine syllables each and the middle pada contains
twelve syllables respectively. Kavivat -Anustubhl = 9+12+9 = 30 syllables.^^
Again that is called Nastarupa, if the last two padas contain one more
syllable each than the syllables mentioned in the last two padas of Kavirat
metre." That is the Nastarupa Anustubh metre which contains one more syllable
each in the last two padas than the syllables found in the last two padas of
Kavirat Anustubh. It is therefore found that the first pada consists of nine
syllables, the middle pada consists of 10 syllables and the last pada consists
of thirteen syllables. It is better known from the following calculation-
Nastrarupa Anustubh = 9+10+13 = 32 syllabls.
The Nastarupa Anustubh contains two more syllables than the Kavirat
Anustubh. If there are thvte padas often or eleven syllables each it is Birat
Anustubh.^^ Therefore it can be said that Birat Anustubh has two types -
i) Dasaksara Birat
ii) Ekadasaksara Birat
The examples of Dasaksara Birat Anustubh and Ekadasaksara Birat
Anustubh are quoted in the following respectively -
Dasaksara Birat
^^mi cti^-xim W^llRg. VII.22,4
194
Ekadasaksara Birat
sm^TMwJ^llRg.III, 25, 4
As such in the case of Dasaksara Birat thirty syllables are found and in the
case of Ekadasaksara Birat Anustubh thirty-three syllables are found.
Lastly the Mahapadapankti Anustubh consists of six padas where the
last pada contains six syllables and the beginning five padas contain five
syllables in each fi\e padas.^^ Mahapadapankti Anustubh = 5 + 5 + 5 + 5 + 5
+ 6 = 31 syllables.
Brhati metre and its varieties :
The Brhati metre mostly consists of four padas of thirty-six syllalbes
where the three padas consists of eight syllables each and the third has twelve
syllables respectively.*" The same is supported by PingalachandaSutram.^^ In
the commentary on the same Sutra it is remarked - 'yada ekojagatahpadah
trayascagayatrah tada brhati noma chando bhavati. '
According to Saunakacharya if the fxrsi pada of Brhati metre is of twelve
syllables then the metre is called Purastadbrhati, if the last pada consists of
twelve syllables then the same metre is regarded as Uparistadbrhati and if the
middle/?(3£/rt consists of twelve syllables then this kind of brhati again divided
into three parts -
i) Nyankusarini brhati.
ii) Skardhogrivi brhati.
Hi) Uro-brhati.
The celebrated teacher Kraustuki regards that the Skandhogrivi and
Nyankusarini are synonyms. Acharya Yaska, however thinks that Uro-brhati is
Nyankusarini. Though Saunaka gives different names of the Nyankusarini,
195
Skandhogrivi and Vro-brhati but their distribution of syllables regarding their
padas is equal for which reason the other teachers regard Skandhogrivi and
Uro-brhati as Nyankusarini brhati. Then comes Virat urdhabrhati metre,
which has three padas of twelve, syllables each. In the case of Virat
Urdhabrhati metre it consists oiihr^t padas instead of four padas. According
to Pingalacharya the metre that consists of three padas of twelve syllables
each is known as Mahabrhati}^ The seer Tandi regards it as Satobrhati" The
Vistarabrhati is that which has two padas often syllables each stands between
two padas of eight syllables each." Again if there are two padas of thirteen
syllables each and one pada of eight syllables in the middle that is called
Pipilikamadhyama brhati.^^ The last kind of Brhati metres shown by Saunaka
in his Rigyeda Prdtisdkhya is Visamapada brhati. If the \dLS,tpada is of eight
syllables and the other of nine, eight and eleven syllables respectively then it is
known as Visamapada brhati.^^ The kinds o^Brhati metre found in the Rigveda
Prdtisdkhya may be summed up as follows -
i) Brhati = 8+8+12+8 =36 syllables,
ii) Purastad Brhati = 12+8+8+8 =36 syllables,
iii) Uparistat Brhati = 8+8+8+12 =36 syllables,
iv) Nyankusarini = 8+12+8+8 =36 syllables,
v) Brhati urddhabrhati = 12+12+12 =36 syllables,
vi) Bistarabrhati =8+10+10+8 =36 syllables,
vii) Pipilikamadhyamabrhati = 13+8+13 =34 syllables.
\\\\) Bisamapadabrhati = 9+8+11+8 =36 syllables.
It may be mentioned that the hymns of the seer Agastya has four padas
of nine syllables each.*'' Uvata in his commentary on the R. Pr. VIII.50 clearly
cites - 'Agastasya rsau annastutisu kte antya navaksarapada bidyate.' It
is also supported by Pingala.** Pingala has mentioned one more kind of Brhati
metre which is known as pathya Brhati of which the third pada consists of 196
twelve syllables and the remaining threcpadas consists of eight syllables each.*'
But Saunaka recognises it as simple Brhati.
Pankti metre and its varieties :-
The Pankti consists oi i\\e padas of eight syllables each.'"' Sometime
it consists offoxxrpadas often syllables and it is known as Virat Pankti P^ And
if the two evenpadas are of eight syllables each and the two odd ones of twelve
syllables each and the two odd ones of twelve syllables each it is called
Satobrhati. Uvata in his commentary (R.Pr.XVI.57) says- 'Yasya yugmau
dvitiyacuturlhau padavastaskrau bhavatah ayujau, prathamatrtiyau
dvadasaksarau, sa panktih satobrhati nama beditavya'. And again if the
position of the padas is reversed it is also called biparita Pankti. Uvata on the
Sutra (XVI.58) explains- 'Tesam biparyaye yugmau
dvadasaksaravayujavastarau. Sa biparitapanktirnama beditavya'. And that
is called Astarapankti, if the two padas of eight syllables each are in the
beginning. That is known as Prastarapankti if the two padas of eight syllables
each are at the end. Again if the same are in the middle it is samstarapankti.
And it is called Vistarapankti if they are in the outside i.e. one at the end and
one in the beginning. As such Saunaka gives the illustrations of the above
metres.''^ The following prepares a list of the classification of the various
varieties of Pankti metre found in the Rigveda Pratisakhya -
Pankti =8 + 8 + 8 + 8 + 8 = 40 syllables.
Virat Pankti = 1 0 + 1 0 + 1 0 + 1 0 = 40 syllables.
Satobrhati Pankti= 12 + 8 + 1 2 + 8 = 40 syllables.
Viparita Pankti = 8 + 1 2 + 8 + 1 2 = 40 syllables.
Astara pankti = 8 + 8 + 1 2 + 1 2 = 40 syllables.
Prastara Pankti = 12+12 + 8 + 8 = 40 syllables.
Sanslara Pankti = 12 + 8 + 8 + 1 2 = 40 syllables.
197
Apart from this PingalachandaSutram referred some more kinds of
Pankticchands they are-
i) Aksara Pankti.
ii) Alpasah Pankti.
iii) Pada Pankti.
iv) Jagati Pankti.
v) Panchapada Pankti etc.
vi) Pathya Pankti.
Pingalacharya also admitted the varieties of Pankti metres given by
Saunaka in the third chapter of his chandaSutram.
Tristubh metre and its varieties :
The Tristubh consists of forty-four syllables. It contains four padas of
eleven syllables each.''-' The Tristubh metre consists of forty four syllables.
Regarding the syllabic position Saunaka classifies the varieties of Tristubh
metre in the following way.
1. Tristubh =11 + 11 + 11 + 11= 44 syllables
2. Abhisarini Trisubh = 10+10 +12+12 = 44 syllables three conditions
of Viratsthana Tristubh
3. i) 9+10+10+11 =40 syllables,
ii) 9+9+10+11 =39 syllables,
iii) 9+10+11 + 11 =41 syllables.
4. Viratpurana Tristubh = 10+10+8+8+8 = 44 syllables.
5. Viratrupa Tristubh =11 + 11 + 11+8 = 41 syllables.
6. Jyotismati Tristubh = 12+12+12+8 = 44 syllables.
7. Mahabrhati Tristubh = 12+8+8+8+8 = 44 syllables.
8. Yavamadhya Trisubh = 8+8+12+8+8 = 44 syllables.
And if three padas consist of eleven-syllable each and one of eight
syllables then it is called Biradrupa Tristubh, though which is not according 198
to the required number of syllables. Though it consists forty-one syllables in
total instead of the syllables referred to the Tristubh metre. In this regard Uvata
in his commentary on the (XVIII.69) clearly views that the metre of which the
three padas consist of eleven syllables each and the another one consists of
eight syllable is called Biratrupa Tristubh- 'Yasya trayahpada ekadasaksara
ekasca aparah astaksarah sa biradrupa nama'-
Tristubh beditavya. yadyapi aksarasampat nasti. uktamhi -
Tristubho ya biratsthana biradrutastathaparah.
Bahuna api ta jneyas tristubho brahmanam tatha. iti
However in some cases there are three padas consists of twelve syllables
each and one of eight syllables that is caled Jyotismati Tristubh metre. If there
are fonr padas of eight syllables each and one of twelve syllables it is called
Mahabrhati Tristubh metre.^'' Pingala in his Chanda Sutram does not define
the metre Tristubh clearly though he refers its varieties where it is clearly
showed that Tristubh metre consists of forty-four syllables. It there are two
padas of ten syllables each and two of twelve syllables each it is called
Abhisarini Tristubh. And if one or more padas are of nine or ten syllables and
one or more of eleven it is called Viratsthana Tristubh. However that is called
Viratapurna Tristubh if the first fwo padas contain ten syllables each and the
next of three padas contain eight syllables each. This is also known as
Paniktyuttara Tristubh.''^-
According to PingalachandSutram Jyotismati Tristubh metre contains four
padas of eight syllables each and one pada of eleven syllables.^^ The
Mahabrhati Tristubh metre according to Pingalacharya belongs to Jagati
metre.'''' Uvata in his commentary on R.Pr. XVI.71, clearly explains - ' Yastya
astaksarascatvarah pada ekasca dvadaksarah sa Tristubh Mahabrhati noma
beditavya'. Though Pingalacharya regarded it as a variety of Jagati metre but
199
in general it may not be a kind ofJagati metre as it contains forty four syllables
in total which is the figures declared y all the vedic scholars. It it is a Jagati
metre then it would have been near to forty-eight syllables in total. But in total
forty-four syllables are not to be declared as a disposition of Jagati metre.
Therefore it is better to go with Saunaka in this regard where vedic metre mainly
depends on the counting of syllables of each mantra or hymns. It is however
Yavamadhya Tristubh metre, \fi\\e pada of twelve syllables is in the middle
i.e. the first i^o padas consists of eight syllables each and agan the last two
padas also contain eight syllables each but the middle pat/a consists of twelve
syllables then this kind of Tristubh metres is known as Yavamadhya Tristubh J^
It can be said that the iwo padas often syllables each and two of twelve syllables
is caled Abhisarini Tristubh. And if one or more padas are of nine or ten
syllables and one or more of eleven syllables is called Viratsthana Tristubh.
That is called Viratpurna or Panktyuttar a Tristubh if the first two padas contain
ten syllables each and the next of \hxcQpadas contain eight syllables each. But
in this regard Pingala does not agree with Saunaka as Pingala regards all these
as the kinds of Jagati which consist twelve syllables in a pada like Jagati
metre instead of Tristubh which contains four padas of eleven syllables. But
regarding their total figures they are not the part of Jagati but they are the
parts of Tristubh metre. However Pingala in his ChandaSUtram does not
mention or give the classification of Tristubh metre. But regarding their syllabic
position Saunaka classified the above varieties of Tristubh metre. However the
following tables will clear the classification of Tristubh. Saunaka tries to
express that here in Tristubh pada does not determine its disposition. It depends
on the reckoning of letter. Since the syllables define its disposition it is Tristubh
metre no Jagati though most of the mantras of Tristubh metre contain five
padas.
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Jagati metre and its varieties :
The Jagati metre contains forty-eight syllables with four padas of twelve
syllables each .'''' In this regard Uvata in his commentary on R.Pr.XVI.74 states
- 'Dvabhyabhunani pancasat aksarani sa Jagati nama bhavati. Catvarah
pada dvadasaksara bhavanti tad brttam, bahumamasyah prayena bhavati.''
It goes thus 12+12+12+12 = 48 syllables. According to Saunaka Jagati metre
consists of two varieties - One is Mahapankti Jagati and the another one is
named as Mahasatobrhati Jagati. The Mahapankti Jagati consists of six
padas of eight syllables each or it contains two padas of eight syllables each
and the remaining one pada of seven, one of six, one often and one of nine
syllables respectively.^" Uvata's commentary on R.Pr. XVI.75 runs a s - 'Yasya
satpadah astaksarah bhavanti Jagati mahapankti ityucyate. Dvau padau
sadaksarah ekah dasaksarah anya navaksarah sa va Mahapankti.^ Saunaka
views regarding the counting of the syllables states that the padas without
spliting words one may ascertain the padas of a metre."' Uvata is more expliciy
on the point and states - 'Chandasam padato yam yam sampadam manyeta
tam tam samyakpurvam abhisariniksyapadamsca pascatpadanamabhedena,
padanam bibhagah kartavyah yadyapyuttaraih padajnanahetubhirbirodho
bhavati, yathamadhyamdinasya sabanasya brtrahannanedyam ityetayoh
padeyoh padabhedenastaksarayoh kriyamanayoryadyapi
prayabrttasampad bhavati, anadrtya tam madhyamdinasya sabanasya
bibhagah kartavya. Tatha - ekaralasya bhuvanasya iti bibhagah kartavyah'.
Therefore the above mantra quoted from the Rigveda Samhita has been
considered as an illustration oiMahapankti Jagati metre which of forty-eight
syllables in its six padas. Here the first two padas consist eight syllables
each, the fourth fifth and ?,\\ihpada contain seven, six, ten and nine syllables
respectively. Therefore this hymns is an illustration of Mahapankti Jagati
metre.
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MahasatobrhatilJagati metre contains two padas of twelve syllables
each and three of eight syllables each. Pingalacharya divides Jagati into two
parts (i) Jyotismati Jagati and (ii) Purastajjyoti Jagati. The Jyotismati Jagati
consists of four padas of eight syllables each and one pada of twelve syllables.
On the other hand in this Purastajjyoti Jagati metre the first pada consists of
twelve syllables and the last four padas consist of eight syllables each.*^ The
counting of letters of Mahapankti Jagati and Mahasatobrhati pankti is as
follows-
Mahapankti = 8+8+8+8+8+8 = 48 syllables.
Mahasatobrhati pankti = 8+8+7+6+10+9 = 48 syllables.
There are the seven varieties and their sub-varieties of Rsi metres
enumerated in the Rigveda Pantisakhya. Apart from these seven varieties and
sub-varieties of vedic metre some other varieties are there place in the vedic
literature. After the Jagati metre there are long metres Atichandas which are
rising by four syllables each. The first of them is Atijagati which consists of
fifty-two syllables, then Sakvari which consists of fifty-six syllables the
Atisakvari contains sixty syllables, the nexi Asti consists of sixty four syllables,
Atyasti then contains sixty-eight syllables, then the Dhrti which consists of
seventy two syllables however /ic/^rr/ consists of seventy six syllables. As such
Saunaka comments that all these long metres, are found in the of ien-mandalaP
Besides these seven long metres the of Rigveda Samhita, Krti which consists
of eighty syllables which is the successive metre of Adhrti. The Prakrti metre
consists of eighty four syllables, Akrti contains eighty eight syllables, the Vikrti
contains ninety two syllables, the Samkrti consists of ninety six syllables, there
is another metre named Adhikrti consists hundred syllables and Utkrti consists
of hundred and four syllables. However these seven long metred krti type are
found in the hymns belonging to the seer Subhesaja.^*
202
It is to be noted that the vedic metres are divided into three classes and
each class contains seven metres each. However the three classes are divided
into the following way-
First class - Seven metres
i) Gayatri (24 syllables)
ii) Usnih (28 syllables)
iii) Anustubh (32 syllables)
iv) Brhati (36 syllables)
v) Pankti (40 syllables)
vi) Tristubh (44 syllables)
vii) Jagati (48 syllables)
The 2nd class contains seven metres,
i) Atijagati - (52 Syllables)
ii) Sakvari - (52 syllables)
iii) Atisakvari-{6 syllables)
iv) Asti - (64 syllables)
v) Atyasti - (68 syllables)
vi) Dhrti - (72 syllables)
vii) Adhrti - (76 syllables)
The 3rd class also consists of seven metres,
i) Krti - (80 syllables)
ii) Prakrti - (84 syllables)
iii) Akrti - (88 syllables)
iv) Vikrti - (92 syllables)
v) Samkrti - (96 syllables)
vi) Adhikrti - (100 syllables)
\\\)Vtkrti- (104 syllables)
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Among these three classes of vedic metres the second and third classes belong
to the Aticchanda or they are known as Aticchandas. ^^ Where the first class
i.e. the seven metre of first class Gayatri etc. Are regarded as most popular
and common at all three seven metres almost are found in all the vedic metres.
Almost all the vedic metres are applied in these seven metres though some
mantras are found in the metres too.
Apart from the general metres shown in the Rigveda Pratisakhya, certain
other metres are also found in the Atharvaveda Samhita such as
sakvarigarbha, purah sakvari, brhatigarbha, tripadagayatri,
tripadmahabrhati, jyotitristubh, purah anustubh, jyoticchanda, kutummati
anustubh, biratjagati are available in Atharvaveda Samhita.
After defining the seven metre, their varieties, sub-varieties and the
measurement of syllables in the sixteenth/7a^a/a, Saunaka has delivered some
important facts about the metres. In the six teenth patala the syllabic
measurments of all the vedic metres have been determined. Saunaka has
contributed on some techincal devices to ascertain the naming of the chandas
which falls with short or long in number of required syllables.
Saunaka views that a Stanza may be short or long by one or two syllables,
if short by one it is called Nicrt but if long by one in is called Bhurik}^ Uvata in
his commentary on the aforesaid Sutra clearly explains - Ekena una nicrt
bhavati. Ekena ya rg ahika sa bhurikbhavati yah sukra iva suryoh iti nicrt.
Rg 1.43.5. Pari dhamani yani te iti bhurik. Rg IX. 66.3
The twenty three syllabic stanza is regarded as 'nicrt Gayatri' as this
stanza is less by one syllables. It is regarded as Bhurik gayatri as this stanza
consists of twenty five syllables which is one syllable more than the determined
twenty four Gayatri syllabes.
204
On the contrary those stanzas which with two syllabes stand in the sphere
of a following metre are called virats of that metre, and if same stanzas with
two syllabes in excess in the same way occur in the sphere of a preceding metre,
they are called swarto of the same. In this respect Uvata in the commentary on
R.Pr.XVII.3 explains - Dvabhyam aksarabhyam ya rcodhika nyuna ba bisaye
madhye sthita uttarasya purvasya ca cchandasah, birajasta ahuruttarasya
svarajah purvasya. Yatha-sadbimsatyaksara rco gayatripraye svaraja
gayatryo hhavanti. Usnikpraye biraja usniko bhavanti. Yatha- 'Josa
sabitaryasya te, iti svarad gayatri 'Atithi manusanam' iti biradusnik.
Uttaratrapi yah kascavamgata rco bhavanti.' However it should regard all
Gayatris which have more than two padas and are short by more than two
syllables as Virat Gayatris as there are no other metre before Gayatri which
contains more than two padas. Therefore the metres short by more than two
syllables may be taken as Virat Gayatri}"^
Before Gayatri there are five more metres which beginning with four
syllabes which rise successively by four syllables each. Again the Harsika,
Sarsika, Marstka, Sarvamatra, Virat-kama beginning with two syllabes are
said to be the Virats of Ma etc.** Similarly the seven metres Gayatri etc. have
their Virats which are two syllabes less than the seven parimary metres
respectively. The Tarad, Virat, Svarat, Samrat, Svavasine, Paramesthin,
Pratistha which with two syllables in excess stand in the sphere of other metres.
Subsequently the two class of long metres also hae their respective Virats which
are successively preceded by two syllabes more or less. viz. Pratna, Amrita,
Vrsa, Sukra, Jeera, Payah, Tripta, and Amah, Amsa, Ambhah, Ambu, Bari,
Apah, Udaka etc.^^
The above conception would be better comprehended from the following tabes
205
The pre Gayatri class figures of
Name of the metres
Ma
Prama
Pratima
Upama
Noof
4
8
12
16
syllables NameoftheVirats
Harsika
Sarsika
Marsika
Sarvamatra
No of syllables
4 - 2 = 2
8 - 2 = 6
1 2 - 2 = 10
1 6 - 2 = 14
The first class
Name of the metres
Gayatri
Usnih
Anustubh
Brhati
Pankti
Jristubh
Jagati
No of syllables
24
28
32
36
40
44
48
Name of theVirats
Tarad
Virat
Svarat
Samrat
Svavasini
Paramesthi
Pratistha
No of syllables
24 - 2 = 22
29 - 2 = 26
3 2 - 2 = 30
36 - 2 = 34
4 0 - 2 = 38
44 - 2 = 42
48 - = 4 6
2nd class (long metes)
Name of the metres
Atijagati
Sakvari
Atisakvari
Asti
Noof
52
56
60
64
syllc ibles Name of theVirats
Pratna
Amrita
Vrsa
Sukra
No of syllables
5 2 - 2 = 50
56 - 2 = 54
60 - 2 = 58
64 - 2 = 62
Atyasti
Dhrti
Adhrti
68
72
76
Jeeva
Payah
Trpta
68 - 2 = 66
72 - 2 = 70
76 - 2 = 74
206
3rd class (long metres)
Name of the metres
Krti
Prakrti
A krti
Vikrti
Samkrti
Abhikrti
Utkrti
102
No of syllables
80
84
88
92
96
100
104
Name of the Virats
Amah
Amsa
Ambhah
Ambu
Bari
Apah
Udaka
No of syllables
8 0 - 2 = 78
84 - 2 = 82
8 8 - 2 = 86
92 - 2 = 90
96 - 2 = 94
1 0 0 - 2 = 98
104-2 =
After defining the metres, their varieties and sub-varieties Saunaka speaks out
the divinity of the metres because without knowing the daity of the metre the
knowledge of vedic mantras can not be complete. Each and every metre has its
respective deity. However Saunaka views that the two stanzas beginning with
agnergayatri distributively speak of the divinity of the seven metres.'"
Uvata on R. Pr. XVII.6 utters the following lines -'Taradadinam
chandasamuttaram gayatryadinamaticchandasam ca daivatah kathyante.
Agnergayatryabhavatsayaugva ityata arabhya dve rcau chendasam bhaktya
daivemahatuh saptanam. Tasmadagnergayatri bhavati sabiryusnik.
Somyanustubh, barhaspatya brhati, maitrabaruni birat, aindri tristubh.
Baisvadevi jagati, chandasam devatajnane dharmah prayojanam bhavayeva.
Samsaye chandasam daivatenadhyabasayo bhavati. Yatha tava svadista,
siva nah sakhya ityusniganustubhormadhye drtam na putam, iti sad
bimsatyaksare dve rcau daivatena svarajau gayatryavadyabasiyete, na
birajavusnihau'.
Here it clearly speaks out that the Gayatri metres belongs to the Agni
God, Usnik belongs to Sabitri, the Anustubh metre belongs to Brihaspati,
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Tristubh metre belongs to God Indra where the Jagati metre metre praises
Visvadeva. But in this particular Sutra Saunaka does not referred to the Pankti
metre. However in the subsequent Sutra he views that the Pankti belongs to the
Vasu.^' Moreover the long metre atijagati etc. belongs to Prajapati.'^ And a
stanza which consisting of various metres (Aticchanda) has Vayu for its deity
biccand also kins of metre which are take generally after the long metres
(Aticchanda). In this regard the Upanidhan Sutra clearly views that the syllables
of biccanda metres are determined after the aticchanda or which are more
than those syllables aticchanda.^'^ Therefore it is learnt that the metres which
contans more than one hundred and four syllables are regarded as vicchandas.
Hence the same vicchanda metres belong to Vayu devata.'"* It. is for general
information that the dvipada metres belong to purusa and onepada is however
belongs to Brahman.
In the same order the metres are also distributed according to colour.
For instance. The colour of Gayatri is white, the colour of Usnih is dappled
saranga i.e. the mixture of black and white), then the colour of Anustubh is
raddish brown pisanga, however the colour ofBrhati is black krisna, the colour
of Virat is blue, the colour of Trustubh metre is red and the seventh metre
Jagati occupies the golden colour suvarna. On the contrary the colour of
Pankti is bright-red aruna, the colours of long metre i.e. aticcanda is dark
syam, where the colour of Vicchanda is whitesh gaura, then the colour of
dvipda metres is brown babhru and the ekapada accupies gray colour nakula.^^
Virat assumes the variegated colour. Here a question does arise that since
the colour of Virat metre is already been mention, then why does Saunaka again
referred the colour of this metre. As such Uvata in his commentary replies -
'Prsnivarnam bahuvarnam citram vairajam. Atha kasmadvairajasya
dvivarnopadesah kriyate? tatra kamenaika nilatvam siddham, na sidhyati.
Katham ? Etastisro. Virajonustubeka panktireka dvabhyam nyuna caikatatra
208
purvayornilovarnah. Asyah prsniriti beditavyam. Evamapi
kathametadadhyabasiyate purvayornilah asyah prsinritih, nicrt
bhurijornyunadhikayoh sahopadesadasyah prsnirbhavati.
Parisesaditarcyornila ityadhyabasiyate. Tayo rapyeko kramat panktereva
virajo nilatvam manyante.' Moreover the Nicrt assumes dack brown and the
Bhurik assumes speckled colour. On the contrary Saunaka clearly views that
the colour of Ihe metre of Brahman or Saman or Re or Yajus is held to be
yellowish -brown in colour. The metre of Brahmana etc. defers from that of the
metre of Rsis which has been already discussed though they bear the same names
Gayatri etc. However the following table will clear the conception about the
metres, their duities and colours -
Name of the metre Figure of Syllable Deity Colour
Gayatri 24 Agni White (?%T)
Ushin 28 Sabitr Dappled (^TRf)
Anustubh 32 Soma raddish-brown (ls5(i- -)
Brhati 36 Brhaspati Black (^5^)
Pankti 40 Basu Bright-red (3T5TIT)
Tristubh 44 Indra Red (eftflcT)
Jagati 48 Visvadeve Golden ( ' 5 ^ )
Viral Anustubh 30 (10 x 3) or Mitna-Varna Blue (iteT)
Virat Pankti 33(11 x 3); 40(10x4)
I 22,26,30 102 Not refered Variegated ( ^ )
Nicrt (Bayatri, 23,27 31 103 Not referred Dark brown (" 'TM)
Usnik. Vkkrti)
Bhruik (Gayatri 25,29,33....104 Not referred Speckled (Y^^)
White)
Ek pada (Gayatri 8 12 Brahman Gray ('^T^)
...Jagati.
209
Aticchandah 42,46,50,54...104 Prajapati Dark (? TFT)
(Atijagati.... Urkvti)
Vicchanddh 108 above Vayu Whitish (ffk)
Metre of Brahman, 36..,\2.., IS..,6 Does not Yellowish Brown
Saman, Re, Yaju mentioned (chPMcrl)
In the Rigveda Prdtisdkhya it is clearly expressed that for the sake of the
perfection of the metre one should resolve the coalesced combinations mpadas
which are incomplete.'*
Conjuctions with semi-vowels, however one should seperate by means
ofcorresponding vowels, e.g. in the place of>' andv the corresponding vowels
iy and uv taken place or pronounced. In the line tryambakamyajamahe instead
of eight syllables seven syllables are found. Here for the sake of the perfections
on the metre Anustubh the word tryambakam may be pronounced as
triyambakam." The same thing is applicable to the cases oiGayatri etc. metre.
This particular Sutra is applicable every where e.g. in the case of the most popular
Gayatri mantra for the sake of the perfection of the Gayatri metre the word
barenyam may be pronounced as bareniyam so that the twenty three syllabic
stanza would became twenty four syllabic stanza which is the deternined
syllabication oi Gayatri metre. As such the pronunciation bareniyam instead
barenyam is also accepted. Similarly in the case of other metres too the theory
is equal.
Pada plays a very important rale in the vedic metre. However the majortiy
or prevalence prayah , sense artha and rythm vrtta are the means for
ascertaining vedic pada. Without these three materials one can not ascertain
the vedic metres and their dispositions. Uvata in the commentary on XVII. 25
clearly explains - ' prayortha vrttamityete padajnanasya hetavo bhavanti .
Tristubhah prayoh- gornaparba bi rada, itiprakrtya prakrtyaikadasaksarau
bikarsena dvadaksarah kriyate. Vrttadeva , aryo giroh sadya a jagmusira
210
iti padantah' i.e. jwhen these three peculiarityies viz. majority , sense and
rythm occur together then the preceding should be considered first and the
succedng afterwords i.e. majority should be preferred to sense and to rythm,
and sense to rythm.
Apart from these accent also plays a vital part in the treatment ofpada.
In the metrical treatment there is no unaccented word which occurs in the
beginning of a pada in the Rigveda Samhita. However theother unaccented
words which occur n the beginning of ^. pada are mentioned in the Rigveda
Prdtisdkhya by Saunaka that the only word iyaksasi is an unaccented word
which occurs in the beginning of a pada found in the hymns of seer Vasa.'"
Moreover in the thre stanzas beginning with abhiste, all the words preceded by
na are unaccented. Also the word rtabrdhau is alos unaccented word which
occurs in the beginning of the hymns belonging to Madhucchand. Again the
word adhayi which occurs in the begining of a pada is also unaccented but
only if the word stoma follows, e.g. adhayi stomah (Rg. VII.34,14) And
stridhat, when the word rt follows. However the first word in the line hube
turanam is also unaccented e.g.priya bo namam hube turanam. Rg. VII.56,10.
Again the following word in trpanmarut is also unaccented which occurs in
the beginning of pada. Moreover in the hymn predam brahma etc. in the six
stanzas the whole fifth pada is unaccented and also fourteenth from the beginning
e.g. the fifth line goes thus brtrahannanedya (Rg. VIII.37.1). However the
above are the some examples of unaccented words which occur in the beginning
of a pada though generally in the vedic mantras the unaccented words occur in
the beginnin go a pada is rarely found. However Pingalacharya states that the
one fourth part of every metre is caWcdpada. e.g. the one pada of twenty four
syllabic Gayatri metre is consting of six syllables.'^ As such Saunaka speaks
out that the padas consisting of eight and ten syllables are respectively called
Gayatra and Vairaja. One the other hand the padas consisting of eleven oand
211
twelve syllables are called Traistubh and Jagata respectively.""' As such the
Paribhasa also supports the above view."" In this respect Pingalacharya accepted
the viewpoint of Saunakacharya.'"^
About the lightness and heaviness of the syllables of the Pada Saunaka
however views that in the longest i.e. Jagata and shortest i.e. Gayatri of same
padas the penultimate syllables is light, but in the others i.e. in the case of
Vairaja and Traistubh padas, the same syllable is heavy. This is called vrtta of
the metres in the mantras or hymns, or stanzas by the vedic teachers and scholars.
For instance the penultimate syllables of the Gayatrapada agnimile purohitam
and Jagata pada pra devamaccha madhumanta indabah become light i.e.
the a of / and a of J are light respectively. The same thing is applicable in the
case of Vairaja pada and Traistubh pada. In this regard Uvata in his commentary
clearly explains (Rg. XVII.39).' Esampadanam astaksaradvadasaksarayoh
padayoh upottamamaksara laghu bhavati. Yatha Agnimile purohitam Pra
devamaccha madhu menta indabah iti. itarayoh dasaikadasaksarayoh,
upottamam guru bhavati, srudhi havam bipipanasyadreh, piba somamabhi
yabhugra tardah iti, chandasamrksu tadvrttam, ahuh acaryah. The Naradiya
siksha asserts the same view.'"^
After dividing i\vQ padas in four parts Saunaka views that all the metres
consists of these padas viz. Gayatras Jagata, Traistubh and Vairaja, a few of other
padas than these four padas, but the other are only the modifications of these
four kind of padas. Hence the stanza consisting of one of these padas is called
ekapada and the stanza which consisting of two padas is called dvipada.
However both these are named after that very metre to which they are similar
according to the padas. For instance the stanza consisting of one pada if it
contains eleven syllables then it is called ekapada tristubh i.e. it is named
after the tristubh metre which contain four padas of eleven syllables. Or the
dvipada hymn consists of eight syllables each in its two padas is named as
212
dvipada gayatri i.e. it is named after the Gayatri metre which contains eight
syllables each in its three padas. Ekapadas are appendages to the preceding
stanzas occuring by themselves. On the other hand some o thers make the
addition of the five more verses to that mentioned by Yaska and call them
Ekapadas, even though they may be adhyasah '•''*
However it should be know that in the Rigveda Samhita in a very few
cases the application of Ekapada stanzas are found. The stanza belonging to
seer Vimada is regarded as Ekapada. '" But about the dvipada jmetres definite
rule is discussed by Saunaka the author of Rigveda Prdtisdkhya}^^
After defining all types of metres Saunaka finds out the longest and
shortest hymns in the Rigveda Samhita. In this respect the following mantra
is regarded as the longest mantra in the Rigveda -
^Wfw i^r ^: ^ Tf Hiifdjf^i
37^^^^?^ 3Tmkr W^H f^^W^: ^ m^^: II Rg. 1.133,6
But as per the number of syllables and according to the padas, the following
stanza is to be the longest e.g.
iH^dll^^ilfhltePl
<lcfilfh^'tefi: I
3^i<i<^o^!MKR 4wM c ( <;/w
IT: ^^ 7 ^P«fl^IIRg- 1.127.6
On the other hand the following stanza of seer Bharadvaja is the shortest
one -213
W^V'^wmPlllRg VIA5.29.
Again it is said that the stanza belonging to seer Saurabhi is shorter than
the above stanza.'"^ The stanza belonging to Saurabhi consists of nineteen
syllables where the preceding stanza consists of twenty one syllables.
Since the vedic metres depend on syllables hence it is very much
necessary to know the actual meaning of syllable i.e. aksara according to
metrical interpretation. As such Saunaka clearly view that a vowel with a
consonant, or with anusvdra or even pure i.e. by itself is a syllable or Aksara.'"*
The consonants belong to the following vowel, but a final consonant belongs to
the preceding vowel. Where as the visarjaniya and anusvdra belong to the
preceding syllable.'"''
Again the first leters of a conjuct consonant is optionally belongs to
the preceding syllable, yasya, tasya, asya etc. are the examples of conjunct
consonants which belong to the preceding syllable. Similarly when the second
letter of a conjunct is doubled, that which is the result of the duplication together
with that which is duplicated optionally belong to the preceding syllable . e.g.
arkkah, urjjam etc. After defining the dispolition of syllable and determined
whether the vowels consonats, anusvara and visarjanaiya belog to the
preceding or following syllable Saunaka tries to find out the heavy and light
syllables and ascertained them. He clearly views that a syllable is heavy."" And
guru aksara though Saunaka views that an syllable is heavy but by the words
aksara one should know that aksara here means the dirgha aksara i.e. long
syllable other wise Saunaka would not mention the next Sutra about the short
syllable. As such Uvata in his commentary on the above Sutra explains -
Dirgham aksaram gurusamjnam bhavati, a rukmairayudha narah.
214
On the other hand a short syllable is light one if a conjunct consonant or
an anusvara do not follow. It means that a short syllable is always light i.e.
laghu. But if it is followed by an anusvara or a conjunct consonant it becomes
lighter.'" For instance-
fmwt 3JWmcll:Rg.IV.4.25
3jf^WtWt3M:^: Rg_ Vin.94,4. etc.
As such Naradiya Siksa clearly views that the laghu aksara becomes hrasva if it
is followed by a conjunct consonant."^
A discussion on conjunct consonant sound :
Saunaka however gives the definition of conjunct consonant in his text.
He defines that coming together of consonants is called conjunction."'' It is
however said that a long syllable is heavier if it occurs with a consonant, e.g.
rastri. But a short syllable with a consonant is light, e.g. ka, ki, ku, na, ni etc.
But it is however lighter without the consonant."'* It is clearly found in the
Rigveda Pratisakhya that all that is heavy by nature is related to heavy syllables
and it should be know that Tristubh has heavy syllables. "^
On the contrary all that is light by nature is related to heavy syllables and
aJagati is regarded to has light syllables."*^ Regarding the metres Tristubh
and Jagati it is said that all beigns, mind, motion, contacts, odours, all the
tastes, sounds and colours al these belong to the tristubh anA jagati owing to a
common attribute."'' In the Rigveda Pratisakhya by the above Sutra Saunaka
praises the glories of Tristubh and Jagati metres only where the other metres
are not magnitudes by the author. It proves that Saunaka gives priority to these
two metres most. It is how that in the Rigveda Samhita the infantile meaning
of a word is specially described mainly by the Tristubh and Jagati metre. Most
of the mantras are represanted by these two aforesaid metres.
215
A discussion on prasna :
Apart from these the conception of prasna is also found in the Rigveda
Prdtisdkhya. The three stanzas to gether is cdWtdprasna. Saunaka clearly views
that amon the stanzas of the Parikti metre only two or three stanzas are becoming
prasna. However the metres containing more syllables than Pankti, in such
kind of metres the two stanzas make z.prasna. If threr is only one stanza make
a sukta then the only stanza may ht prasna. It is also to be pointed out that if
the ending portion of the sukta is a little less than the ^VQCtdmg prasna then it
obtained the position of the preceding/7ra5«a. It the same consists of two stanza
then it optionally becomes the part of the preceding pra^wa. However at the
time of the reckoning the two dvipadas are recognized as one stanza. Generally
in one chapter •&\xXy prasnas are found. Before complation of the sukta if the
sixty cexisantA prasnas are accomplished then in such cases more than sixty
prasnas are also occured in a sukta. In Saunaka's words it is thus stated i.e. the
whole conception is attributed by Saunaka in a single Sutra."* Since the
discussion on stanzas is going on hence it should be known that in the vedic
stanzas avasana i.e. pause plays a very important role. However it is learnt
from the Prdtisdkhya that in stanzas having three padas, one should first make
a pause after two padas and then after the remainingpofia, sometimes this rule
is reversed " '
By the word kvacidanyathaitat it means that sometimes the pause may
exist after the fixslpada and then after the X^opadas. It is better known from
the commentary given by Uvata on the above Sutra here he explains - Tripadasu
rksu dvabhyam padbhyam purvamabasyetpadena. Agnimile purohitam,
kvacidetadanyatha purvapadena pascat dvabhyam, drteriva tebrkamastu
sakhyam iti.
216
The role of avasana in the metrical treatment:
Avasana or pause plays very important part in vedic mantras, avasana
or pause generally meanspadaccheda i.e. by which the vedicpadas are separated
is caUedavasana or pause. All the joint padas and words of the hymns should
clearly be disjoined by avasana. Again the consideration of the accents in
padapatha is limited within the pada or word separated by an avasana or
pause. However a vedic learner should trace the acute accents first in the words
separated by avasana in pada texts and then he should place Anudatta and
Svarita immediate after the Udatta. It is however abvious that the words of the
Samhita text should be separated distinctly by avasana. Under the boundary of
the avasanas insertion ofiti to the pada and the separation of padangas by an
avagraha should distinctly be shown. However the acute accent or accents within
the boundary of the avasana should clearly be known or found out respectively
watching the acute accents in the Samhita text. Since avasana is very much
necessary in the vedic mantras hence one should know that where and when the
avasana take place in vedic mantras or hymns. However without placing
avasana between the padas it is almost impossible to utter the vedic mantras
or stanzas correct. Therefore for the sake of the learners the vedic scholars
considered to place the avasana between the padas. As such Saunaka in his
Rigveda Pratisdkhya cleared that where and when to place the avasanas in
the vedic stanzas. In stanzas having three padas one should first make a pause
after two padas and then after the remaining pada. And again in stanzas having
four padas, the pause or avasana is in the middle. Sometimes it is either after
the first three padas take together or after the last three respective padas. ^^
However the examples of both kinds are availabe in the Rigveda Samhita.
Though stanzas of all three kinds are considered but generally the avasana
exists in the middle is found vividly in the Samhita text. However the following
three stanzas are the illustration of the three type where the avasanas are 217
taken place or where one should make the avasanas in the middle or after the
first three padas or or after the last three padas which are found in the
Rigveda.'^' In the case of Pankti metre the pause or avasana exists after every
two padas and then after the following i.e after the \disipada or sometimes the
first pause or avasana takes place after two padas and next after the three
following jf7 (3'a5, or otherwise the first pause is after the ihxQQ padas and the
next after the remaining two padas. It is as because in Pankti metre more than
io\xxpadas are found.'"
However in stanzas having six padas, the pause is after every ivjo padas
or every this or the first pause is after two padas and the second is after four
padas. In Some verses of Rigveda Samhita in the stanzas the pause exists after
every two padas, in the second stanza the pause is after every three padas i.e. in
the middle while in the third stanza it is found that the first pause is after two
padas and the second is after four padas ' "
In the stanzas having seven padas, the first pause is after padas and the
next is after every tv^o padas or the first pause is after three or Wo padas and
the nextpada is after all the remaining pada i.e. after four or five padas.'^'*
A discussion on pragatha :
In the eighteenth Patala of Rigveda Pratiskhya Saunaka highly dealt with
the conception. Pragatha The word PragathaVm\n\y carries to two meanings
i) With a particular motive after recitation of particular parts of two
stan2as one makes three stanzas of these two stanzas. There for this in
the Brahmanic texts of Samaveda the word Pragatha^as been used.
ii) When two or three metres are combined together then the word
Pragatha is applied in the vedic stanzas. Sounaka applied the word
Pragatha tracing the second meaning in his Rigveda Prdtisdkhya.
218
As such Sadgurusisya in the commentary on Rg. Sarva. IX. 1 states-
pragathyate sammelyate chandasa chanda iti. Pragatha
However the Barhata Pragatha begins with a Brhati and the kakubh
Pragatha begins with kakup and both of these two Pragathas ends with
Satobrhati, consist of two stanzas, e.g.
Barhata = Brhati + Satobrhatic = (8+ 8 + 1 2 + 8 ) + (12 + 8+12 +8)
= 76 syllable Kakubha = kakup + Satobrhati = (8+ 12 + 8 ) + (12 + 8+ 12 +
8) = 68 syllables Pragathas are generally available in the Samavedic lores.
But sometimes the treatment of^Pragatha also found in the Rgvedic stanzas
also. Moreover a huge number of Pragathas are found in the vedic Samhitas.
Apart from Barhata and kakubha Pragathas the reference of so many
Pragathas am found in the Rigveda Prdtisdkhya. The Anustubh Pragatha
begins with Anustubh metre and ends with two Gayatri metres which is
becoming equal to two viratas with regart to both its padas and its syllables.
However the Anustubh Pragatha consists of ten padas, while the figure ten is
regarded as the symbol of Virata metre.
Anustubh = Anustubh + Gayatri + Gayatri = (8 + 8 + 8+8) + (8+8+8)
+ (8+8+8) - 80
Therefore Anustubh Pragatha total contains eighty syllables while
Virata contains forty syllables. Hence it is noted that one Anustubh Pragatha
equals to two Virata.
A Pragatha beginning with a Gayatri followed by a Brhati in called
Gayatra-Barhata.
However a pragatha proceeded by Gayatri and followed by a Kakup is
generaly Gayatra-Kakubha.
Gayatra Kakuha = Gayatra + Kakup.
= (8+8+8) + (8+12+8)=52
219
And if a Pragatha begins with Usnik metre and ends with Satabrhati
then it is caUcd Ausnika.
Therefore Ausnika = Usnik + Satabrhati
= (8+8+12)+ (12+8+12+8) = 68.
The Pankti kakubha Pragatha begins with kakubh and ends in apankti.
As such it is thus distributed-
Pankti-kakubha = kakuh+Pankti
= (8+12+8) + (8+8+8+8+8)=68
As such it is found that the syllables of Ausnih Pragatha and Pankti-
kakhubh are same. However Saunaka with a particular Sutra gives the illustration
of the above four Pragathas viz. Gayatra-Barhata, Gayatra-Kukubha,
Ausniha and Parikti kakhubha Pragaths}^^ Where the stanzas of the first
three pragathas are available in the first, seventh and eighth mandala of Rigyeda
Samhita.
A part from these Pragathas the other Pragathas like Maha-Barhata
begins with Mahabrhati and ends in a Mahasatabrhati consists of ninety-two
syllables viz.
Maha-barhata = Mahabrhati + Mahasatobvhati
- (8+8+12+8+8)+ (12+8+12+8+8) = 92
The another Barhata which begins with a Brhati and ends in a Jagati.
There is one more Barhata Pragatha found in the above which consists of
seventy-six syllables where this Barhata consists of eighty four syllables which
is the combination of the figures of Brhati and Jagati metre viz.-
Barhaia = Brhati + Jagati
= (8+8+12+8) + (12+12+12+12)
= 84 syllables.
220
There are mainly four Barhatas in the vedic stanzas. Besides the above
two Barhatas there are two more Barhatas. However these four Barhatas begin
with the same bvhati metre but followed by the Gayatri, Jagati, Atijagati and
Janamadhya metres espectively. Moreover the all the four Pragathas begin
with Br hat i and ends in thse four respective metres are called Barhata. The
Pragatha begins with Brhati and ends in Satobrhati are called Barhata.
Similarly the Pragatha begins with Brhati and ends in Jagati are also called
Barhata. Again the Pragatha begins with the same Brhati metre and ends in
Atijagati are also called Barhata and also Yavamadhya calls that Barhata,
which proceeded by Brhati and followed. As such total four types of Barhata
Pragathas are available in the vedic metres. However the distribution of the
figures of these four Barhatas will go thus-
i) Barhata = Brhati + Satobrhati
= (12+8+12+8) = 76 Syllables
ii) Barhata = Brhati + Jagati
= (8+8+12+8) + (12+12+12+12)
= 84 Syllables
iii) Bar hat i = Brhati + Atijagati
= (8+8+12+8) + (12+12+12+8+8)
= 88 Syllables
iv) Barhata = Bvhati + Yavamadhya
= (8+8+12+8) (8+8+12+8+8)
= 60 syllables
Besides the aforesaid Pragathas there are some more stanzas are found
in the name of some other Pragathas. The Biparitanta Pragatha begins with
Brhati and ends in Biparita metre viz.
Biparitanta = Brhati + Biparita
221
= (8+8+12+8) + (8+12+8+12)
= 76 Syllables
This Pragatha consists of seventy-six syllables, which are equal to the
syllables of the first Barhata, but Xhtn padas differ from each other.
The another Pragatha is Kakubha-Barhata which begins with kakubh
and ends in Brhati which consists of sixty four syllables viz.
Kakubha-Barhata = Kakubh + Brhati
= (8+12+8) + (8+8+12+8)
= 64 Syllables
However the Anustubhausniha Pragatha begins with Anustubh and ends
in Usnik consists of sixty syllables which is the combination of the figures of
Anustubh and vsnih metre.
Again the Barhatanustubha Pragatha is preceded by Brhati and
followed by an Anustubh metre which contains together sixty-eight syllables
which come out after the combining the sylables of Brhati metre and Anustubh
metre.
And that is Anustubhpankta Pangatha which begins with Anustubh and
ends in pankti and contains seventy two syllables viz.
Anustubh Pankta = Anustubh +Pankti
= (8+8+8+8)+(8+8+8+8+8)
= 72 syllables.
The Kakubhetnaistubh Pragatha however contains seventy four
syllables.
The Anustubh-Traistubh Pragatha begins with Anustubh and ends in
Tristubh metre which consists of seventy six syllables which is the addition of
the syllables of both metres.
222
The Barhata-Tristubh pragatha is preceded by Brhati metre and ends
in Tristubh metre which consists of eighty two syllables
Barhata-Tristubh = Brhati +Tristubh
= (8+8+12+8)+(12+10+12+12)
= 82 syllables.
The Traistubh Jagata however begins with Tristubh metre and end in
Jagati metre and it contains ninety two syllables, which is the result of the
addition of the syllables of both Tristubh and Jagati metres.
However the Anustubh-Traistubh Pragatha begins with Anustubh and
ends in Viraipurna Tristubh which consists of seventy six syllables which is
similar to the aforsaid Anustubh-Traistubh Pragatha. But here the only
differnce is that here the padas are different from the former Pragatha where
the Tristubh metres contains four padas of wleven syllables each white in the
later Pragatha the following Tristubh contains five padas of total forty four
syllables which is regarded as Viratapurna tristubh. Viz.
Anustubh-Traistubh = Anustubh +Tristubh (Vnatpurna)
= (8+8+8+8)+(10+10+8+8+8)
= 76 syllables.
After then the three types of Pragathas are followed. The first of them is
Jagatatristubhnuttaratubh begins W\\h Jagati and ends in Tristubh and consists
of ninety two syllables.
Jagatatrisubuttara= Jagati +Tristubh
= (11 + 11 + 11 + 11)+(12+12+12+12)
= 92 syllables.
However in the metrical treatment more than twenty Twepragathas are
found. Generally the forms of the names of the Pragathas are based on the
metre of the first stanzas viz. Barhata, Anustubh, Kakubha etc. '" Though some
Pragathas are named after the name of the following metre and also some
223
names of the Pragathas are based on the both metres of both stanzas viz.
Gayatra-Barhata, Gayatra-Kakubha, Barhatanustubh etc. Hence it is learnt
from the above that the conception of Pragatha is also as important as the
other metrical usages.
Therefore it is cleared from the above discussion that in the metrical
treatment the syllables took a very important place. Moreover in the vedic metre
the most necessary things are syllables and pada. Because these two can
deternime the actual metre of the hymns or stanza. As it is an obvious fact that
none can cite vedic hymns without mentioning its particular metre of that stanza.
As such Saunaka clearly views that one who knows the special feature of the
metre as well as all the beings and forms belonging to the Tristubh and Jagati
metre which are stated above owing to their common attributes Bhaktitah wins
heaven as well as immortality.'"
Therefore it is found that all the techniques of metres are enumerated in
the chanda patala of Rigveda Pratisdkhya. Saunaka down and clears all the
conception of metrics viz. The various metres and their varieties and sub-
varieties the conception of syllables,the conception of heavy and light syllables,
the concern of Prasna and also the conception of Pragatha which are very
essential for the vedic learners who are seeking for proper vedic knowledge. It
is also heard that one should placed Brahmanas in Yajna by Gayatri metre, to
ksatriyas by the Tristubh metre and by the Jagati the Baisyas should placed, or
otherwise the performance will not be fruitful. Therefore one should uttered
the vedic hymns after knowing the metre of each mantras. A man can not uttered
the vedic mantras without mentioning their definite metre, seer and devatas, if
he utters the mantras without knowing their metres etc. then it will be very
dangerous for him. However Saunaka taciss his best to give a proper knowledge
to the readers so that metrics would not be unknown to the learners, but the
only thing he does not refer is the distrinction between vadic metres and classical 224
metres as it is learnt from the tradition tiiat metres are divided into two parts -
(l)Vedic metres
(ii) Classical metres
Vedic metres are enumerated in the vedic mantras only while the classical
metres are treated as the metres of classical languages.
X X X X X
Notes and references ;
1. tF^^ncPfTcl^Nir. 7.1.
2. t - lP^ ilwqTJff^B.G.XV.l.
icT: W ^ ' < ^ T T R 5 LiKI^^TTPRT: IIN.S VI. 1
4. tF^^^RfcTNir . 7/1
5. ' ^ ^ : " ^ ^ ^ ^ F T R S
^TckiR-: ' MJIdl ^ 'HklT ti' ir^ cnf ll¥ 3TOTWTf^fftf^R.Pr. XVI. 1
7. TRTWTTS-^Pin.S.II.S
8. ^ciMifM^^^p^
chlTKlPl - TPft dl-^^-^+il RT^^ I R.Pr. XVI.3,5,
9. T]TZf^^o^r^lPin.S.II.2,3.
10. iJ.*WHI"M'ti<FTt^: M«l<J II TOcI lR.Pr. XVI.6
11. 3Tr^TT^^f:Pin. S.II .4
12. ?TTf 5ftf ' rFTJ 'HHIHirH^?HmcTci;i
TT^ qcfc jfrr-.5t5 ^ ?TT "TT jf "^TWiII R.Pr. XVI.7
13. cT?^^27^ t5^ :^ f rF^ l?J f^ ' f^ : iR.Pr. XVI.IO
225
14. ^?T^-TC
^ii^f^ Pin S. 11.6,7,8
15. ^ll^^lR'^Mc^TlAcbfe^iir^gcTcI^I
3 |tfc|TjoHHI <1 TOt^: "q TTT: IIR.Pr. X V I . 11
16. 3HRHH1O^ ;i<lf^dH,
?tcTTtTer^T?m^lRv. l . I . l
17. "f^r^T^fcTC
^M^^Wf^lR.Pr.XVI.l?
#"^"qT^~^^fg^^7r5r"EfH^rrt^TfcR^^: iiR.Pr. x v i . 1 8
19. 3Tm W^^^dl'fs^W "^^rR^':fr: I
T8ft%FTcf^^'»j?TII
^ f ^ ^ ^ T : ^giT^ 3rft#r: I
3 n f ^ STW " frTOTi ^pqi: ii
3TFT g TF ?5n#T ^ ^ f : gcfreft 3 T ^ 11
^ ^ ^ {ItJlPuH I ^ ^JRH ^ rfcPf I
t^^^'>J54^?T^"?T^^#TTWII?n. ^ A. Sr. IX.5.2-4
" ^ ^ ^ c T ^ ^ : ^ %TSTT^ I
cTcI% ? ^ ^ f t ^^ J ^TM: II Rv. IV. 10,6
226
l 21TTn"cT3itt: iRv. IV.10,1
20. f^l[RTTf^^^: Y ^
^ f ^ i T ^ 3^ II Rv. 1.120.2
21 . ^!J^fF-?r#Tf
•g^'g^dlniH,!
9 j^^^<MIH, l lRv. I. 17.4
22. ^ ^ r m Pt RT:
^•qr^f^cl^lPin. S. 9,10
23. •J^cTR^g lt
wi^uii pciciirxi ^T^^cifvjiijciiH^ Rv. VI. 45.29
24. r^TTT^^!?^^
I M f^^^^iffcl: I
^ W j ^ ^ l l Rv.VI. 16.1
25. 3T^^-RWW:-^Z^^%'^Tgqf^^lR.Pr.XVI.25
26. JTRtrTfFT: -qi^: •^^H^^TPerMT ^^: I
TTFrat «f^Tl^ c^TF^ T IHTMcf 11 R.Pr.X VI .24
27. Md'+yklchlt^i^^^-MHI iPin. S. 14
28. ^^cUv^tejf^dl^^citi:
•JTt^PMTiT^T^^^^'gaf^ll Rv. VIII,46,13
29. • ? T ^ " j f t ^ ? ^
•2Tt<WIHI <TT^ dMIH,l
^?M^: ^^^Tcft^ll Rv. IX. 108.13
227
30. 'cTi"^ 3;T?^TRT
FNT iHdIVlHI
^^fn^^qHi^^TW^ 11 Rv. VIII. 25.23
31. ^ich^HklcbiH^^StdwRiilKrH^^liPin. S. III. 11
32. # T ^ ^ ^ ^ & ^ r F f t Pin. SIII.12
33. PcmOdl^RTft Pin. S III. 13
34. f T tm irffT^ Pin. S III. 15
35. -^^ feHloj||JMJ|N>4l«TF^ Pin. S III. 16
36. f 3 n # ^ : P i n . SIII.17
37. 3T^Tft?lr [ ffrf il 'm H\M<^^ W'^: 1
•"J^f^^^t -^ g?M ?J^WW: 11 R.Pr.XVI.26
38. ^fwim^it SfFTcfU I Pin. S. III. 18
39. Ef TT M I: Pin. S. III. 22
40. "^ "^ssft^^ri
^ ^ iidcllHIH,
^IHlPH^g^llRv. VIII. 69.2
41. ^rar^gjgW:^ ^ H lH IPd ^ 1
•qi^T5^*qt fsRn^^'UrwJi^irciA i R.Pr. XVI. 32
42. ^roWt c r ^ ^ 1
•f SfPft ticfT^II Rv. X.26.4
43. -^tf^-qr^rl lPinS. III.20
44. -^^^jTif^^Et^^: PinS.II1.19
228
45. ^ dPkuictj -g TTT clPw-ysf^ "R^^ -^T^ R.Pr.XVI.30
46. ^"^cf"i^F^ <r<cfy
< M - ^ ^ x j ^ ^Tf^T^ II l ^ « f Rv. VIII. 46.15
47. ^ " fFT ' ^ ^ rcl5ldl %^
3#xn3'5tqT
^ ^ T^ft % f ^ x ^ f ^ II Rv. X. 105. 2
48. Tf •^•Eik ' • i 'MI" l"^#^
t ^ f ^ ^ l l R v . I. 120.5
49. f^ ^ Wl f
•i#^TiH "(1 pel 41H, I
^ f ^ ^ T ^ ^ l l R v . I. 187.1
50. ^Tf^m^yTrj^^igc^5^^RI: W^: II R.Pr. XVI.37
51. 375^TTr£rt: I Pin.S.III.23
52. i^qT?I^*P^^|J|dl«7TWI Pin.S.III.24
53. MI+fA qTclH< PMpi>Jl " t
^5<pn^ S^^m^: Rv. I. 120.8
54. ijWl cci |?iKr f??^ " ^ PMHlPdHWTTTT II R. Pr. XVI.59
55. ^ T ^ I T ^ f t ^ ^
^ Pclgi Pd <=hlPc|<ld I R. Pr. XVI.40
56. cTT Pclgi l t'^^W^ ^TH;
•JTT^ [ TqT=fr ^ 3 ^ : Rv. 1. 120.3
229
57. ^Nl^chir^chid^l Hte^MI f ^T^IPH I R.Pr. XVI.41
58. -^^^RR^ft f^ne ^ ^^n^W^W: I R.Pr.XVI, 42
59. N^H^N^il^f+d^ ^7^5^?^: M^gi i*!: I R. Pr. XVI. 43
60. ^i^<\ ^ ^ ^ WT: t<<Ri;K^RT I
ST^^RI^^: MKI^d14l ? : R ^ W : II R. Pr. XVI. 45
61. -^W^^l'M^M^-wm: I Pin. S. III. 26
62. fy^^Plr|i46l^6d1 Pin. S. III. 35
63. ^dl^^dl cnf^i^: Pin. S. III. 36
64. ^UT^^fTf tT^
•qm ^ ^^KiMI-ii): II Rv. I. 120.7
65. STT^ •^T^^rat f ? ^ fTFT
^ ^ rm ? ^ " TTf ^ «TT I Rv.VIII. 46.14
66. ^ef^:^#W^
^ • ^ j T j o j f q iRv. VIII. 46.20
67 . iJ.chHI'k^ PMciWlA T^SH^M l- HI iR.Pr. VIII.50
68. •^^^f^l^^a^^R:Pin.S.III .33.
69. -qs^TT^^gcft^:?!!!. S.III.27
70. 44 =k1<t<ir RT: -q^ IR. Pr. XVI.54
TT^ C^^ST^ H-ci|dHIM,l
230
:iTT^c^^^T:jfcfu|]HH4^llRv. VIII.8.96,4
72. "PP "c^T^ ^ TNTf^^ ^ I ^ 3 # ^ - R ^ ^ I
%^^cT^cTT^i^5^rH^vJHH.ilR.Pr.XVI.63
iJ.ct,|<vil^: ^ : llR.Pr. XVI.64
74. ^ r TTS-EJT RT: "^1^ ^ ? J ?T^^W: I
^^R?T^5^^TFf llR.Pr.XVI.71
75. " ^ ^ ^ a ^ ^ T T ^ ^ S ^ a j ^ J ^ F ^ :
Pcjil 'icif ^ Hl£|b|| r t 4 Lick TAcj ^ i|lR.Pr.XVI.68
76. i3:%^f^§^^4ird>^d1 lPin.S.III.50
77. '"cT2TT'5rrT?ft'
'!i<WI^'-iird:-R?T^l'Pin.S.III.51,52
78. ^2T^?2TTgT^?27^llR.Pr.XVI.72
79. M«)l< l Md') ^ ^ ^^\i\ SJ^WW^:
TT^F^n-^f^-f^lR. Pr. XVI.74
80. H^NTCW: tjaJf chi
3T^^^P<T^: •^rs^^^^=T^^?J^R.Pr . XVI.75
81. • q ^ ^ - q T ^ f ^ ' » T F t 5 f q ^ ^ g i
W^: JJM cTT cTt ^ ^ ^ T ^ ^TT^: II R.Pr. XVI.24
82. cI?TT^STWrPin.S.III.51
83. ^ <l^ld41>^dl: iR.Pr. XVI.87
84. -dTl<l^^i^h^R.Pr. XVI.88
85. 'g|c^rd^K^i«^^lUT^<'l^c|^T^<1'R.Pr. XVI.79
231
86. TQ:^^S5^r?;f^^f¥f^^T^^ft^llR.Pr. XVI,2
87. ^ : chlPif^^^MKI-f:^ MI<M>Ml " f t ^TKn :
3T^ i ^^^WI^J |W>M^^m^ l lR .P r . XVI I .4
88. "RTTT-g-fdHlMHI W^^^^RTcl^Mi^Tl<^^r'd"q^T,c$'<iRHcTTf^^ll
^ ^ R T ^ ^ T T I ^ ^ < H M J T : | ^ II R.Pr.XVII. 19,20.
89. cTRT t TZ^^5T¥TZWcir iHl M^AMI
(^klHuJI^^STtTTST^^Frfq^Jl^chtlTlHH^iiR.Pr.XVI.S
90. • ^ t5^HFT3 f^8F^^TcRH, |
H THt tF TTf llR.Pr. XVII.6
91. W^^Wc(tR.Pr.XVII.8
92. UNNc^l^Trird^^llR.Pr. XVII.9
93. rc |^ '< l : ^ ^ < M R M | U | | : ^BfJicT-SfiJc^^^-f^^: U. S. 6
94. pciT^Kii-^i^^oidilR.Pr.VXII.lO
95. " ^ ^ ^ ^ K ^ - H d : P^VI^'<^t^lAc<^
37^-^^mffft ^ ^ ^ ^ ^If?i cT?m R.Pr. XVII. 14
96. c^^^chj^d^jciHi^t^:)^ - ^ II R.Pr. XVII.22
97. ^y^iJ^t^IP^T^^TTc^: ^ : I R.Pr.XVII.23
98. ^5 -?#T?H^1 r i I chH ,^^^T^^c^ I Pdiiflirui Md{\\b\
'R^-^'<^_<:\\<i'^ WIHV^^ " 5%TTf ^ J T T ^ -eft f i f ^
^c[l:l<N: "TC^^^^nf^^^ei^: iiR.Pr. XVII, 26-36
232
99. ^TK^^tfTTPin.S.IV.lO
100. ^ ^^^^<Nlcjt^l^R^?n^
^=f,ic;rvi KrvHl f^in?i;t^'q^3iFrat i R.Pr.XVII.37,38.
101. cT <!?W.KVI KVII KFJ]T ^<l^^t^"M^NMIff^WTI Prb. III. 10
102. U\Mpm oRT : WWm 3TTf^:
f^TM f ?T: I f ^ ^ ^5^: I Pin. S. III. 3-6.
103. "^^^^^^<^M1T1H-qT^Fr^^rrot•^: i
•?^aA=hKVII^li^«lTll^lN.S.I.l
104. ^ <l^ldii|=h4<| chlR^wlRlt^JTrf^: l3q^3T7tTTin:^^^ f^^pRfr f5RRII
3 T T ^ ^ ^ 3 T f ^ T ^ ^ t ^ ^ : t ^ T ^ ^ : II R.Pr.XVII.42,43.
105. ^ ^ ^ ^n?T : : I Rv. X,20,1
106. # ^ t q ^ r ^ l R . P r . X V I I . 4 1 .
107. aHrcich^ui^mt ^t^^lR; ^^MM\ iR.Pr. XVII.49
108. 'HoilslH: THI WK: ^J,4\ iPM W<l5^KT^llR.Pr. XVII.32
109. o^s^HI' rK'L^ci W<W't^'g-'j^'qT^||R.Pr. XVIII.33
Pci^v^Hl^lj^ld n^TJ^^R^I I R.Pr. XVIII.34
110. -JI ^RH, R.Pr.XVIII. 37,42.
H I . • ^ 1 ^ ^ ^C>H41M TR: I
3 7 3 ? ^ ^ IjR.Pr.XVIII.38,39.
112. 3 T ^ R M t c ^ ^ l ^ ^ ^ f t % m ^ l
dc>Hi|l'i)Ti< Pcl^lc^tiKlHl^wfq IN.S. 7,2.
113. ^d^f^g?J^WmH:IIR.Pr. XVIII.40
114. ertM^T3RmcnR.Pr.VIII.44.
233
115. ^^RFr i 'X^'=fx\ ^
T J ^ ^ t ^ ^ T ^ f ^ ^ l R . P r . XVIII. 60
116. eTK RFTT d c pTl ^
c^?^^^1|J|d^cjfginci;iR.Pr.XVIII.61
•9T^a?^ff^^ yofAd Rt -M'Ic ill ^Rg^ "iJ^R^ llR.Pr. XVIII.58.
118. W T ? ^ : - q f ^ ^ ^ ^ 1 1 ^ " ^ ^ * T ^ ^ I
5 5TTTrFr % ?TTTTT<n: R.Pr. XVIII.58
119. ^«Tm^^r^i^<iy"^"qT^^?JlccWr^<'^^llR.Pr. XVIII.48
120. ^«^5^^4^^^giEq^HTH,l
M^: W^^^: it^ II R.Pr. XVIII. 47-48
121. 1) TFTf c^ MliinHuf] 54t^cf)Hr4)U|: I
• ^ W T R ^ ^ T C T ^ ^ ^ ^ ^ T P T ^ ^ ^ M I RV. I. 10.2
2) TTct'^i^FfteTFT^^
•^T^^nirfw^i
^km ^^cn II Rv. X.93.11
3) 3??^ ;^pf^?T^^^e^^ I
TTlit1^[f^tTFra: iRv. X.93.15
122. • W t f ^ t ^ ^ ^ r f ^
M^: -qt^ f^qrtcT^II R. Pr. XVIII. 49
1 2 3 . 1) Pc^VcH-^cii^cjiH^
234
f^?3TT'HlHL|1d^llRv. VII. 10.14
2) ^ m: " ^ ^ R ^
^^T^-IH-^^^llRv. VIII. 41.3
3) t^T^^^fuWc^
^pKf^^^JcPT: II Rv. Vni.47.15
124. 1) ^" in iJIdHPs r
#fTRft-RoFRT^I
3TT ^ 5THT WsTPJ^n
37W5fT TRrg^ " r I
#^:-?I3^JMir^K: llRv. I. 137.1
2) ^^ i c | 9 j i im^
235
fFTcJciH^ldil
^ ^ I I H ^ ^ ^ II Rv. VIII. 40.2
3) "Rt-K^-^dr^
fH^PT"?JW^I
3TFlT%^?:T-c|ir<dl
5?TRn ^?T ? T ^ II Rv. X. 133.1
125. cTfiR^\5^?TIJi^HlMmTJ:^^
3 T ^ Tqt^^cvW^ en W^Sif PHcivfHH il R. Pr. XVIII. 8
126. 3 |< rdc4'-I IHi WT 3TTf «(Tf^: IR. Pr. XVIII. 4
127. ^JT^^J^^t^t^^t^Rct^JcTTf^^^^^nTTcnf^l
^ B ^ W=f\f^^ -ilf^^"^T: ^^Jrq^^m^^li^d^H,IIR. Pr. XVIII. 62
t * T * *T* TT "W
236
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