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.

201

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,

207

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

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