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Provided by
The Library of Congress
Special Foreign Currency Program.
ol. XXI
Part I (Half Yet<
JOURNAL
DF
THE KERALA UNIVERSITY
ORIENTAL RESEARCH
INSTITUTE
AND
MANUSCRIPTS LIBRARY
•*«rii»
Dr- K- RAGHAVAN PILLAI
A-D. 1976 /M-E. 1152
^J. XXI
jj ll./L-J
Part I
f Tr^£,KERALA UNIWEttWY
ORiENT^U
f • . •
EAREM
*»"!£*♦«,
*«S£i<*
EDITOR
Dr. K. RAGHAVAN PILLAI
a»d. i97e/M.E, m a
S.E. 1698
%
Journal of the Oriental Research Institute
and Manuscripts I Lfl>nfry^ (Half Ifeariy) '
r Vol JCXI-Part I N
• Li*- * • } * *
Editor,
Dr. K Ragiumu Pilltl,
B A. (Hon). Ph.D. OffQ\ C*\ j^^
Director and Profetaof dt Sanskrit,***
O.ILI and Mm. Library. uitthityof '
Kerala^Itl4«ta*»l7. 1 . >-UA^ 3^1 ? i
Publlslicd m November IW6 ? -f .
Printed at Vijoanabhavafi Pijm p u M fwfcitm.9
Annual Subscription^. 10/
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1> ^RRRIf: 3—30
V ^IMId^<M: 48—73
PART-*
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1 Some Letters of Mm. T, Ganapatl SaMrL I—
2 Darin's Version of the Story of Kadambarf, v 1—8
Dr. Man Singh.
3 A Short Note on Telugu Prosody t-4*
N. V. Krishna Warrior.
4 The role of mathematics in Phyaics and its
absence in the Vaitefika Sutrl and the Prasas-
tap&da Bhiiya. 1-10
Dr« Kadambari Haravu,
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30
NOTE
There are three versions of the Gajendramoksaprabandha. In the
present publication, the version found in the 'Prabandaratnamalika*
t compilation of Sri. MSlputhur BhattathirTs Prabandhas is given,
as the first and the other two are included as the I and II appendices.
The materials used for the I version Is the book Prabandharatnamalika,
published by B. Kesava PUIai, (1083. Idavam 31 marked « ) and
the pahn-4eaf codex No. 15525 m. of this Library. Manuscript
No. 154 E. has been used for the preparation of the II version and
the Mss. No. MO. 612. g, for the III version all belonging to this
institution.
31
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184
T, S. S COMPLETES 71 YEARS
Mm-T- GANAPATI SASTRI'S LETTERS-A LOOK BACK-
which the late distinguished Mm. T. Ganapati s isth
(1860-1926) who started the series wrote to contemporoiy
scholars, Indian and European. He w^s the first Heiiof
the Depa tment for publication [of Sanskrit Texts an 1 stayed
as Curator for seventeen years (1908-1925). Tnese letters
throw some light on the scholarly life of that period-
These were lent to us by Sri V. S. V. Guruswami
Sastri, Eetd. Professor of the Trivandrum Sanskrit College.
SOME LETTERS OF MAHAMAHOPADHYAYA
DR. T. GANAPATI SASTRI
One
wttdHitWiMifa^ctMiw mi tt# ^iwl ^rr, 'n^rar miavihV
sfoft, qw ^n^^rr arajsinwTTO i^Hf: snf:T^r"
H«4M<bl^^ H W^V^M^I <*f iHfd^4*4|l <tflgKRMlcM4l
^ <pT: %0 *i H& wid — ' 'v&m i fa ^ «frraf qf^pmr «A^K?ij
*fa<rt «rfr*pf tflfr? %fa i faw f|[ f^ra^f^ +4<«M*mKi>wiHHi
^T^Tt for,
<r. 4i«Mid>HiHn.
To
Two
»
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ant 3 m(u*i<iO 4^d<w¥iiR*Hmi<?»4 ^ Toliyai Kovil
it i
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?mw ^1 sr *ra?r: ?pu^r?n%, 'itwRRr, frrent^n
To,
K- P. Trivedi Esq.
Ahmed abad.
Thre^
^pns^TT: faKHgtMUt
tf
1^-c-X
fad^M^Kll I cFTHRT STOW* fRft «l^«t <«Hs>Ml '^^Vr* vsoo
W™,
Professor Syloain Levi Esq.
9 Ruy Paris.
Foot
*&& ^HTr
3IW td* l 4fMdHd l *T# MlP^H ^ fNrSlrrfsPTFW^
To,
Editor,
Mitragosbthi.
Five
-f • • ... <""•
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«ref i
' '" * * ...
ftwrfTf^RT H^KM*^ -<Wtf>KH '^StRW I
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3FRRnRm^^^ Mfd^H ^MP M^H i m' *4U^«qq 1 1
ft
To
Sri Sreekantha/Sastri (Asthana VidVan) j
Sringeri Sankarach&rya Mutt.
Six
n
r-irif
*ran^p
ffTOT $F<P*;, a^Bpff ffil <F^T ?% ^j^fpT:
"To
His Hc&ndss Hariharapura Mathadhipattu
cf. fffFT^RlT^t.
*
^i4-i<«»i4^4«fl ft4Wi Trfa^for w?r ^ftr frnftsf^r rra
fo^fo+i *<^ i 4ji^d i^n- qmwyjRK aqfad i lw ' *% i
U«||4qfcit qgKM: *T^H: M*0<*fa d^M.<H<<MlPl »HI«<MK-
Wf %Oh^KM: tHKftdoti: I »IMPd ^Tf W?ft *H«HI*H+rt
* • ' * * « • %
I
. 1RETT -fa^,
-To
Sreekantha Sastri
Asthana Vidvan
^Sringeri Sankara Mutt.
'
9
Eight
1 r " ' * p!|WT»1
To,
Nine
«ft
if^d^viNNNT:,
ftfoPTH «NpTTRfI^%f^ fast I'^T: **T^far: I faRT ^
^Nt 4iunft«tui$ii«Hta stgfrro^ 'pn^ra" ^^f^r ssfarr i
' * * * '
...
L ».
lb
fST *F% hRwtIK: I -pTfwf9T5TRf#Ff Ttffocj +KHO flWItfl
5- WldHIHflil.
R. V. Krishnamachayxa
KumbaKonam. ,:f
c
41
Ten
yfd«Md «««£4«l4*ldUW#t. u
11-»-##
11
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v>--<i|iimGrajtKfl:
To;
Pandit,, Archl. Office^
Malleswaram,
re.
T
! '•■*- t..« . . I- J
— ■» I
12
«
Eleven ..-...>
r • - .
sratftrRf sRrrt spnr%^ swrcnsr PciUHg .««d«dhfVm *nRri
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+wm£ f?TFft ^nr 1
* * •
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• • . ..... *
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t^RT: ^n+xi Mfl'k'd I , '
* 3
^r. ii«wKn«iwn.
To.
Professor Jules Block,
C/o the Post-Master,
Calcutta.
Twelve
*
^v-v-IMS
'3.
f
HlfaHl ^Rrt^^TI ^s^HTR »^T^r: f3R^T fafft faM*td-
fcWlRM: TOUR »ldfi»<fl*Hd Ml fa fa si %% ^l+MlPcWW^IK
•»*■
u
>9
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#T: JlW^wiWT : ffi
To.
S .S. Setlur Esq,
sftWT f^RFTTWRTT:
'«. <
Thirteen
*
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» » r»
r St.
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« . I « <
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TFSWsrSTHT 1^<J||0 yi<-d<^l ^N<^ld I ?T *mi«T "THT?
I :-i»7iV
15
To.
Sylvan Levi Esq,
Professor an college de France
Director d etudes a T Ecole des hantes-etudes
9 Run Guy de-la-Broepe
Paris.
yourtwo
r > »
1 »-»
?ft
3TCT ^W^I^iP^ f^sj *H<4W Slr^W I % ^%T^
gferef^nrRaT ^r^ri: srf^sr ^M< W t ^r: 1
L
16
t: 5^rj ^r^rfftr ^wKd^+MPdiftd f% $r *rf<r: i
T^cftS^T TfcsPTCq" 4HHd>4 TSH^HWI+d^dl ^t ft
TO.
Brahmasri
T. R. Krishnamacharya,
Proprietor, Madhva vilas Book Depot*
Kumbakonam.
Fifteen
* *
17
apf »Hcqw i «<HMM|ft fr U$j\ hmw{ flfdma *\mV& \ M\i*\-
*wr =5T staffft *m^A fmfr £4<<#i^ -3racrrft stea-
ler fspf fwnr srfNrcre 4M*4J)dit, d«H£H£H»iN qfod^dit
r
To, k • ^
Sylvan Levi Esq.
Sixteen - ''■
<IHMI«IWIMMcMI^KfcMH«K"'IW^IW<'>dltf^lld > *4MPl*Ad4JM*Mc'jHI-
^r^^J ) ^<^<l«MN^VHMRlMK+^r<+Hl4M^ta4d<^*^d^fl-
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)
*8
Seventeen
«ffa*Hnr: m i<u>{ {
' rt-t r?
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«ltfiw*rifiPTc* ^Mf^: MH<M : AWW& faftdW PlPwi+K-
<W+^fl q^tfaWc^H +k4d ^T 1
** "7 • ^ • «f •* •• ( -2.''*
*r, <rfoft 4rerrcf *#ffr 3T «^**h ifa^idi^nwitowiKi-
+wf«d <<^W ^fi^ldRi W TTtrR^r fo?P^ SP^tT:
¥W <H^£Pd I fsnTOfWr: V*&t £<¥IHi ^^Tt «WmVm-
Cfiavali
Yajneswara Somayaji Sarma,
Jjtillakarru*
Via, Kottapet Post
Godavari Cist.
22
Twenty
fos£TT fa <4^«t>1s i $«W4M ' 4KlMcqH«flH for ^
44Ich)vi^i w£ *ggx$ srf^sst snrfsprpft *d*c*rt ^f*-
4U>H<feA*H4MMi PK«dUfdM^t.£ : M^oUfadi : *f Pm»K«r-
5RTRTT: £*f ^ 5RTTW ^H^HMflKiq I «4«ll£«l a^FR-
*d4M&H I 3PT ^ Tl% *n*r%5FWTftaT% qflnflmmnwfr
*rnr 5*f Jrd14^idi*g<wH«HNd i
33
WH i mtH»r ^fedfofa 5F5^T^T «$jP{; fa^ Hl^llfH cR
^ifr^dw^ i WfjTORrmt hi«ii(<i^«i: ^n%^r«ft «n*tan«n<i
H$i< \ \ nfinkflfd ** \ft fsR?F*T: I '*fa% *T5Tftr <mfir' I
To,
Professor Sylvan Levi Esq.
22
Twenty
f^rr fr<M<£<^<fts; $<jWPimK i M<*i i *KtPN for ^
■HJIc^l^ TOT? fffT^ STf^st SprfrSPTJsft t>d*c*fl' ^ f3T-
c c
23
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<fc«lk^TK Sift" $ifad/lK^ I guftri M$W<M'(\MM<*\-
m*\wm ^fstdf^Ri ?PjgT^r «j<pj; fa*§ TRrrfr ere
«<fil<«ld>fy I «I^KM+I¥ft HIHlfafa^: *n%*TCF*ft ifN^pftrT
H$4< \ \ qfamdTd ** ^5t fWWT: I 'sfcpj irerfir <FPrf¥ I
To,
Professor Sylvan Levi Esq.
24
Twenty one
-Tnrr^ft (In the free distribution list) ffifr. ^ r frrcrnH i ^M^ r
.^cKlfoM^ffft - f%f*f$ ^TRJ 3T5nf*Rf TTC3T: ^FTfft
5T. <l"IH(d«MK*fl.
to,
Ramakumar Misra Esq,
C/o Munshi Jagamohan Lalji,
Thajmin Sardar,
lthihasakaryalaya, Alwar City,
Rajputana.
25
Twenty two
W-'V'W*.
44toK<HH<l<td I
• • • •
To
, B^m33W.ami Esq,
Pratapgarh, Alwar,
Rajputana.
26
Twenty three
%0^'dl TMT: firagfT:,
'flW^t fFITfoft'
3T% «!4ai«ll40 flrcnftflr: JTCTCaffir *r ^T *T «**W: 5Rq*T: I
«fif*qfe£c*taTf*r, cTTftr ^ft"** £4 1 fad I ft T^f fo>Pf S^ I
%mt 9%hw art? «n wiN^gtltctHnttiii ^i.fyjfri «m%i fcnfts
qgrrat srft^r 4i<jt<wi«iifrui:, ?rr: u'tt&dMftiitanro ***
*
fosjSTT $ «rC£: €^%fl"1: Sf Tf^T Stfff Sss^RT: 1
To
Dewan Bahadur
V. Anantha Raw Pantulugaru
Sri Alaka Rajeswari Prasad,
Vizianagaram.
«ft
Tweotyfour
V-Vim
«frR! f%S|rRT! BHlPidqgMHl!
sjft: •hHlwjuid, ^sqftrapflf favuftMiW : I <ll*ifd+l*>HI^
28
si«ftf*r
To,
ProfessoY
Sylvan Levi Escf,
Paris •
/
m*
<«*NWN'« *Wt9*ON tST WEfeTOfcY**"
• •
*ADAA4BAttI*
" i
*. »
Dr. M*N SINGH, MUA^ Bb-JDi*
Assistant Professor of Saarikiite
Centre for Post-graduate Studies,
H F- tMfceril*, SMfc.
In Us Avantiiui^dtrT, Pangia *aa put the fwpatjff of ..{be
epfepde of K|dai9hari into the month «f Mamdakipi, ^awhfpr
of WwwA. One a}gbt, when Prince ftajfivaiitwe, *e : beeo *f
thejpaae Romance* wat gtaylng wfth Mr eompauions ^P &e
YMfy* foopt while on Iris advcwture fee wprld nenquest* *
Brabraa?a cajfed Melange took him away from tfs eleepiftg
ftuqpanjow #nd set out. as advised by. lord Siva, 1 to the netyefr-
W*rl<fo Proceeding through a cbai m m iaatructed in books m
bilatatypv they jaw a beautilU city swrqndad by a fort autfo
of 6Qppea» M&Uyriga. bathed ia a pool; and reypestipg the Prince Jo
wafd* off obstacle* began: to offer oblations in the eacred fiqp,
Md finiftr **w hioawelf of fcto the Oaipes. Soon eflwv he
**e ftpm t^a Ore horned with & word in his hand, bracelets
[In bis a*msfind a rceopra on hie head and soft*! in, a %y
fftaifttf. Xb«n a.diwe damsel; of ^finite beauty qppeoecbtd bjyft,
MMkm* VwPS took at* him. ft* thanked the Piiqce for his
Jffcdneis* Sh* toot them fo her patace and related her atoqj
Sfm weft fA*Bf&ki*U dgpgbtor of Namuti. Once on her way to
worship god Visnu, she saw a young man and fell in love with
Mm. Mb at' aodr planted? into) ther sea and watf transformed
taper jwd hrtte Oassleal Sanskrit SeeOoo, All Mia
«ejnjg< rnnfayfiq^ XXVH frssi^tontohelra, 1974-
11
jnto^aw. XteQpf fip$ig,tor,fe pro* «jd;4u* ttowsni
man would certainly become her husband. Mah&veta and other
Gandharva maidens wire her : friends! Once MahaSveta and her
husband paid a visit to her and she cheered her up by telling her
the long tale of her life- Then as desired by MahaSveta, her
husband Pundarfka narrated to her the story of his life and
also that of KSdamfaar?. 2
• ......
After narrating (fop story the hapty couple left her* She
then went to worship God Mukunda, who said to her not to
grieve, as she would be united with her husband of divine origin
^abonP Uiie god also told her that once his son Samba tow a
swan in a 7 lake 'that was none other than sage Jaritari sporting
ttrtre in tftat< form; and Catching hold of it, fettered its feet with
the 1 fibre* of lotus stalk; the sage inflicted on him the curse of
J^being fettered in another birth- Samba, the god reiterated, was
T born as Prince Rajav&hana for the destruction of the Asuras
' land her hi&baiid who had taken many births on the earth would
fr be delivered from his mortal lift by him- The god furthur tdld
-that her -husband WouM obtain a fiery chariot with his aid and
'fatild be known as Agniratha; informed that Yajnavmtl, wife of
Uimba, wrfs born as Princess Avaotisundarf and instructed her to
offer Rajavahana with a crest jewel bestowing upon the wearer
Immunity from the ills of man. With this message of the god
she rtturtifed ' her hime and was biding her time* Having related
her story, she took out the God-given gem from a casket and put
it ori the tuft of hair of the Prince. Mandakta! and Agiratha
were extreatnely grateful to him and took leave of him. Rajava-
hana ' then set out in search of his friends and reached UJjiyinf. 3
Taei stories of Mahi^veta and her hesband Pundadka .and
Candrapida, related in the Avantisundari to Macangaand Raja»a-
Ma* by /MagdaJciai as narrated to her byPundarika himself are
based, as is 'obvious enough, on B&nlte famous prose Romance
Ill
Kadambari. Dandn's version follows the episodes as contained in
Bana's own text bat differs from the continuation by his son
on many points. Unfortunately. v Dandin's text emboding the
episodes is lacunic and incomplete;, only a small pinion is
available. 4 His text begins abruptly and breaks off without
completing them. But luckily we have the summary of these
stories in the Avantisundarikathasara, 5 which renders us valuable
help in gleaning Dandin'i version of these stories. Dandin's
version differs from the continuation by Bana's son 6 on the
following points:
' (i) According to the Uttarabbaga, (continuation by Ban i's
son) of the Kadambari, VaiSampayana was turned into a parrot
by Mahasveta's curse; CandrapTda came to know of it from
Maha£veta and died of sorrow; and Kadambari resolved on
following her lord in death by self-immolation; but she was
prevented from the rash act by an aerial voice and was instructed
to preserve his body*
In the available text of Dandin's Avantisundari as well as in
its summary Avantisundarikathasara, Vaxsampayana's birth as a
parifot has nowhere been accounted for, though we are told
through sage Narada that Pundarlka, proud of his personal beauty,
was killed by the jealous god of love, making Man a£ vet a an
apparent cause and consequently, when he took birth as
Vaiaampayana, he was again killed by him. 8 In Dandin's version.
Vaisampayana accompanied Candrapfda and his parents to
kadamari's svayamvara. Mahasveta fell in love with him* When
she heard a rumour that he was killed in the fight that followed
the <svayaihvara, she felt deeply distressed. Her father, thinking
her .an unchaste girl, cursed her to take birth as a Cand&la
woman; and consequently, she at once fell down and died.
Vai^mpayana returned safe from the battle. When he saw his
beloyed lying dead, he, too, died of grief. Candraplda and
IV
Kadambarl could not Hear to see the disaster that has befallen
their friends and began to fast themselves to* death. Sage Narada
appeared on the scene, prevented them from doing so and consoled
them with the assurance of ttuir future reunion with their friends
after some time 9 .
(ii) According to the Ujttarabhaga of the Kadambari, the
marriage of Candrapida and KadmabaxT took placer after Valsarapiv-
ana's revival and Pujidarlka's return from the skv. In Dandtn's
version, Kadambari had put the wedding garland of celestial
flowers round the seek of Candrapida at her svayamvara, which
took place before the curse on MahasvetS. by her father arid
Vaisamp$yana's death pn account of grief at ithe? disasttr • that had
befallen his beloved.
(iii) According to the Uttarabhaga, of the Kadambai, the
parrot vatearopayana was asked by Kapinjala, sent by its father
Svetaketu and mother Lak^mi who were engaged in a sacrifice
that was to work its bliss, ndt to leave the hermitage of sage
Jabali for some time; but when it fouad that its wings were
grown, it one day secretly flew away from the .hermitage towards
the north where Candrapida's body was lying and where it could
see Mahaiveta- Soon it felt exhausted .and fell asleep on the
low boughs of a tree. It awolfe, to. find itself caught in a net
by a Candala, who took it as ordered, to his mistress, the
Cand&la princess- She clapped it in a wooden cage and after
some days' placed it in a golden cage. .She afterwards took it
to Sftdraka, king of Vidisa.
According tp Dandin's » version, sage JablH asked hfs pupiT to
take the parrot to Mabasveta who had taken? bHh ad h Ctndala
maiden, tell her tnat it was the object of » her chdrfshedf deflrt'
and ask her to take it for the realization of her dettres' r t$ (
Sudraka, King of Mal^va, originally N*ndike§*ara{ the" chief
attendant of $iva. born as * king by; the curse o£ "goddess '
Bbav&ni, who after listening to the story of Candraplda a* T told
by the parrot would give up his passion for the conquest of
the regions and would follow the path of trivarga with his four
wives* The pupil accordingly took it to the Candala maiden
and she, in her turn, to king $udraka. 10
(iv) According to the Uttarabhaga of the Kadambari, the
Candala lady who caire to Sudraka's court was the parrot
Vai£ampayana's mother Laksml, who had been asked by her husband
Svctaketu to imprison it so as to save it from further degradation;
for it had disobeyed the injunction of its father to stay. ttU the
completion of a sacrifice, at the hermitage of Jabali* She assumed
the form oT a Candala woman in order to avoid the contact of
people.
Dandin's version,, on the other hand, tells us that the
candala maiden who took the parrot <o King Sudraka was none
other than Maha£veta, born in that form by the curse of her
father. 11
(v) According to the Uttarabhaga of the Kadambari, Sudraka,
who. was Candraplda in his. previous birth* was originally the
moon-god who took birth on the earth by Pundarika's curie
while according to Dandin, Sudraka was Nandike£vara, the chief
attendant of Siva, in his former life and was cursed by goddess
Bhavani to be born as a king 12
fyf) According to the Uttarabh&ga of the Kadambari. Sudraka
came to know through the words of the Candala woman, that
he was Candraplda in his past life and was again full of longing
for Kadambari. Afflicted by the torment of love, he gave up
his life, as Pundarika's curse was fulfilled. It was only after it
that Candrapida came back to life by Kadtmbari's touch and
Pundarika descended from the sky.
'in Dandin's version , Sfldraka, WaodJkeSvara in his past life,
was to give up his passion for the conquest of the regions and
fo follow the rath of trivarga with his fotir wives after listening
to Oandtapfda's story from the parrot. As soon as the parrot
finished its story, there came down through the rays of the moon
its original t>ody and also ttat of M a ha4veta. Shuffling of their
accursed bodies, the parrot and the Canda'a maiden assumed
their original form* as pu^darika and Mahasveta respectively,
Afterwards they ca.me tp pay a visit to M and akin I. 1 *
(tli) That Sudraka had four wives, 14 is Dandin's own Invention
(viil) Df iidio wnoectt tho , sfcwrj of Kadamban with the
narrative of his own prose Romance by making kapinjala t*ke bit til
finally as the Brahmana Matanga, afterwards known as Agniratha,
fend Pundarlka relate his tale to cheer up Mandakini, daughter
of Namucl and bride of Matafiga.
Thus Dandin follows Batia's text in his version of the storied
of PundarTka and Mahaiveta and Candrapida and Kadambari;
but differs from the continuation by his son. He has moulded
the stories in accordance with the needs ofhiaovn narrative*
REFERENCES'-
1. Avantisundarikatbasara (ed. Q. Harihar^ $&§tji, Kuppuswatoi
Sastri Research Institute, Mylapore # Madras, 1957), V. 83-4.
Tbeorigiqa.1 tgrt ip |h« AWKieuadan (ed* Trwwlwn Swskrit
snm No. 172, Txtettffuijk 1954) in ntrofcg-
3, Avantisundarikatbft9a.nl, V. 86-111. In the Avantiauodarf, tfce
banning, is lost and the avaHabU text Is full of lacunae, FB.
241-49.
3. Avantisundaf Ikatt&^ata. V. 1 50-61 .
4. Avantisundari, pp. 243-46.
vii
VidcV. 112-49. A fragment ofthh work was first published
in 1924 by Sri M. |t- Kavi from Madras (Daksinabharali
series N& 3). ft is again published from the Koppncwami
Sastri Research Institute, My.lapote, Madras by O Harihara
Sjsstriln 1957. tn the present paprr', we have made use of the
new editltfon- It Contains more t^xt running to the eighth
pariccheda, although it, too, is incomplete as ft brciks of
iiftcr VIII 125. CTverin-the full story in the available extent
of the Avanttoundarl, it earrie* ft further up to Upaharavarman's
intrieue with Ka'pasundarl In the third ucohvasa of the
pa£:ikumarcirlta proper (up to p, 150, line 4 el. Naravana
BaTiaAcarya, Nirrjaya Sagara Press, 15th edition, Bombay,
195]). Not only does it represent the original story of the
Avantisundarf and the DaJakumaracarita proper (up to the
middle of tin third ucchvasa); but it a'so borrows numerous
©ridrtai m previous and dtei all tha original verse*. It
provide* us with ih. sa vtnm, too, which should have existed
in the missing text of the Araatisundari, e. g., IV. 212; VI.
169 It also gines ui the stoty after the available extent of
the Avantitondari and before the start of the Deiaktunarocarita
proper- Both these texts hive been summarized under a single
head Avantisundar'kathisa'ra . which clearly shows that both
of them are originally two parts of a singl* book-
AVANTISUNDARl. The orlgtatl name of ft* complete work
ought to have bom AVANTIgUNDARJ, as it obvious enough
from tha tttla A,vanthuqd.arikatbasara as well from the author's
declaration in its beginning to summarise the story of the
Avantisunarl
■KMWfltfSfVaT HWtft avtjqrca^ef |
■rpam^FJaqfBtrf: arafmg fafaa T Wt it (1. 10)
According to S- Kupptuwaml Sastri, tha author of the
Avantisundarikathasara Is one Pancafiikha- In the last stanza
of its each canto, the author uses the word &nanda as a disti-
nctive mark (except in the eighth canto, which li incomp ete )
From Bboja's Srlngaraprakas'a (XI, Josyer ed. II., p. 674) and
Hemacandra's KivyaasaSsaiia- (ed. R. C. Parikh and V. M.
w w m
Vill
Kulkarnl, Sri. Mahavira Jain Vidjalaya, Bombay, ed. II
P. 457, Viveka: HfrHl^dl *m — aFRpn: fwreftfr, <TO OT15H
OTTO: q*wftre^3*m>«frara vffi - we come to know that it was
Pancai£kha who used such a distinctive mark. They have
mentioned his Siidiakakatha, where the word ananda been
used in the last stanza of eacti canto as a distinctive mark; but
not his Avantisundarikatba>ara.
On the Avantisunarikatbasara and also on the original unity of
the extant Avantisundari and the Dasakumaracarita. Proper
(excluding the Piirvapithika and the Uttarapithika) see the
Doctrol thesis of the auther of these linesj A Critical and
Comparative study of Subandhu and Dandin (Banaras Hindu
University, 1966). pp-89-112; dm fa ^ Of 3*1 TOJTOsrftcT-- ^
$ $ far % *t UTT srftfTO STOW in Pracya Prajna, ALigarh Muslim
University, Afigarb, 1974.
6. According to Biihler, the name of B ana's son was Bhu§anabana
(Peterson's Introduction to the Kadambari, p« 40)* In some
manuscripts of the Kadambari, the son is called Pulinda or
Puhna (Vide S. R. Bhandarkar's report on the, Search of MSS ,
1904-5, 1905-6, p. 39; see also Stein's catalogue of Sanskrit
MSS. at Jaromu, p. 299), Dhanapala, while praising E ana in
his introduction to the Tildkamanpri (verse 26), seems to
suggest that Palinda was the name of the son:
pp j?f: *H2TOran*gfa?w(** ? ) fraHfafcr: n (verse 26)
7. Ed. P. Peterson, Bombay Sanskrit Series. No, XXIV, Vol.,
(Sanskrit Text), Bombay, 1889.
8. Avan f isundarikathasara, V- 187-40.
9- Vide Avantisundari. pp. 243 ff.; Avantisundarikathatarat
V. 130-41.
10. lbid-.V. 143-47.
11- Ibid., V. 134-142.
12. Ibid., V. 145.
13. lbid.,V. 146-49.
14. lbid.,V. 145.
-? .p. *• »
.inscriptions, however, are available from the, 9th century AD
Some of these contain verses wtuch give us information regardny
f ' PRQSiQD.Y > v » ,»j si
'"■• ' ; " ky.'pfstoA ^Att^fbi' t;UJ " r: " M
,. 1. , PBimetceg ip.,Tefrgfl jpefore ff ayo^a Bha&a. , t ,
. The earliest known litercry work in Telugu is Nanfcaya
' • rT ' f* r - • ' ' ' «>< «■ • f * lit"! '.-.< i /i m if if-ij ri in
Bhatta's Mahabharata composed in the 11th cemury A D. Telugu
■,V V . : ::■ ;* ■; - v,t v • " » *• > ..-a - o-^ •>*' 7v * u : ; ** t ^*«fY
^ , give us information regarding
the metres that were current , in Telugu T before the great Nannaya
came .to dominate the Odd of Telugu poetry.
' ' The Addahkr inscription oF ihtf eastern <Jh51uky(t' king CtaQdja
1 VijaySLditya (A. IX 848^892) eontafas arTelugu terse iii TAMJVdM
mitre 1 This tnetre, Which i is <rf ifioik "origin/ ' is isi»ployedB in
Dam pu 11a Patalu, which are songs sung Kby >iilage women wffle
busking paddy.
, .The. K^andffktttulasCTJptpn^A. D ;# 848 ) §49) contains a f finfn^pt
L ora ye W iq §fsa met^e, ^llo V ed^by <? vyrb^in Teta^^mety,
which is also . incomplete. r Now there is a convention in Telugu
that a verse m Sisa, will be Considered complete only when
[ followed by a ycJrsI either C7 in J 'Aiavcftacfr j or & r Te6igiii. r[ f tte
provision of a verse fn te{agTti metre following SffsA' in the
Kandukuru inscription" shows 'the "anffquity of 'tfafs coive^ot.
The re is a verse in STsa metre followed by one in Ataveladi metre
n in the bWmavaram' 7 ihs^iptioa"YA^.^97i " 7 m ' :rM, ' v0
,..,fopr wsen.^iOiMadlwakltar^ ji?tfftt Nojv„five y^^tje^ o^ t tlwj.^ljjija
o'?. etR ?',r iz ' W»^*«^ > D pF?y-* k ¥ ara c; ^^P^e. K . Edfy^««
and Ktriyakkare have been defined aadillustrated by Nagavarma, the
;iv
r Ate erieeptfon -to the role inetinncd above is Ranganatha
l (A D. 12th ceriturfr) wtto tom£ose;d life Raffrayana entirely ft
Dvipada metre. PalkurukI Somanatha (A- D. 12th century) who
'carried on this Irddttion by combing his ^Basava Puranfc and
Panditaradhyacaiitra in 'Dvipada metre thought it necessary fo
defend his. (adoption of - tWs f jme&re ff r his < classics- JJftfifcandfa
Dvipada by Gaurana (A. D. 15th century) also is, as the name
signifies, in the Dvirada metre. The Dvipada poets show their
.attachment to. this metre by sticking to it even jn their colopbones
f r'
which are usually- eompopod in prose aqd are called. ASvasaata Gadya.
In addition to the above metres, nine varieties df RagSadaH,
which are most probably adopted from ApabbramSa poetry, afe
described by Telugu prosddists. Some of these Ragadas are tttfcl
by poets like. Srinatha (A. D. 1 5th century).
Prosddists have f alscr described stVcrkl varktWs df Daiidak*,
and some of them have been employed by Telugil poets 1Q
compositions like Bfroginidanqlaka- (by Potana, A^D. 15th wntury),
Vidyavatfdandaka (by Veokatakavi, A. D.~ IStH century) and
1 Bfojanadandakai ! '*"' r ^ ' : i :, '. T'
4. Metres in modern Tehtgu 'paetry.
i . * . • r\
n <
Rayaproiu ^ 3tibb4ra6, who initiated the Ronrffttic ttfotemetit
in Telugu poetry with his A ndhr avails made use<df classical arfifes
(Prabaridhavrttas) atoog' with some foik tubes which were termed
Musical ^metres (G^y a Vrttas). One M tfese folk , tunea Came 'to
be called Mutyala Saramu as it was Exclusively uied by GurzaHa
App§. Rab in his wbrk of that name- Sri ; Vitanfctfik S^ariartyafca
who composed his 'magnum uptis Srimiald R^mayai^a K^pavrksatou
in classical metres composed his ' collection of lyrics called
fcinharasadf Patalu 'in "folk metres. wi ' ' v fi ^
5. Yati and Prasa in Telugu prosody:
The word Yati in Sanskrit prosody means a caesura or a*
pause for breath, where the word or the morpheme should ' end.
Such Yatis occur at the end of the second line and the fourth
l<ne of a quatrain and also at certain specified places within the line in
different metres. Of these, the Yati at the end of the second and
the fourth lines is strictly observed, while the Yati within the line
h sometimes violated by Sanskrit poets, though such violations
are considered blemishes of poetry.
In Sanskrit metres adopted in Telugu there is no pause at
the end of the second line in a quatrain, the second line beipj.
made to run on to the third line-
r
Yati in Telugu prosody means the alliteration of the initial
sound at specific places in the course of the line. This is either
absolute identity of the initial consonant (Tulyaksara Yati) or
agreement in respect of certain charecteristics of the same consonant
(Samaoaksara Yati). The initial vowel also is a factor to be
considered in Yati. Yati, thus conceived, corresponds broadly
with the Polippu Monai (Monai between alternate feet in the line)
>
of Tamil prosody in metres like Dvipada, Taruvoja, Sisa and
Ragadas and with the Oruu Monai (Moaai between the first and
the fourth foot in a line) of Tamil prosody in metres like
Ataveladi, Tetagfti, Madhyakkara, Madhurakkara and Kanda. Yati.
is als> called Vadi or Vali in Telugu prosody. .
Etukai or the alliteration of the second syllable is called'
Prasa in Telugu pro&ody. Prasa is considered abosolu tely e ssential
in all metres adopted from Sanskrit and Prakft into Telugu and r
in a few De£i metre* like. T^niY&a, Dvjpada, Akk^a, £%«#» aod
Ragadas. These Deli metres which have Prasa are called JATULU
(Jatje), while DǤi cneUes without Fiasa sue* a* Sfsa. Ijaveladi
a.«d TeJ%gUi aw e«tf©d UPAJ&imU (UoajaifeX
Unlike Yati which is an internal alteration among tho feet
within the same line, Prasa is observed compulsorily only among the
lines of a verse. Prasa within the line and among the feet
constituting the same line is left to the option of tha poet. As
in Yati, the repetition or agreement of the vowel lu the syllable
is not insisted upoi in Prasa. Even in the matter of the repetition of th.
consonant or consonants off the second' syllable absolute identity h not
insisted upon, the desired objective being similarity of sound
only. For this purpose several groups of voweh and consonants
\yitk mutual relationship arc ^sspjgi^d, and apy. on? lettei; ^ithin
the group may stai>d for any otfyer letter in tyfi spine group, so
that the, demand for prasa may, be satisfied-
6 Scanning of Desi meties.
Influenced by Kannadi prosody, pro3odist& of Telngu also,
defined three sets of Matraganas for scanning De3i metres. However
the Brahma, Visnu and Rudra Ganas of Kannada wer$ respectively
called Surya, Indra and Candra Ganas in Telugiv The bas'c
units in these feet are respectively two, three and four Gurus
The initial Guru in all these Gagas may be substituted by two
Lagbus, while a Guru in other places may be substituted by a
singly Ltjghu... This giyes us, three sots with 4, 8 and* 16 varieties
ap shown below; but the ffcst two . Gagas In each group are not
used in Telugu.
Vll
Sfirya Ganas
India Oanas
Candra Ga^as
, i p
IIP*' 111* PI H
. t *
1.
2.
3.
4.
5.
7.
8.
9.
10
11.
12.
13.
Mt
1$
G
LL
*
G
LL
(4.G&JMS)
t
ft
a
J
a
LL
o
LL
G
LI>
G
LL
G G)
G Q\
L
L
G
O
L
L
G
L
L
L
L
n
o
t
e
G
LL
G
L&
(8 Ganas)
a G
%>LL(
e G
dLL
G
LL
G
LL
G
LL
G
LL
G
G
L
G
G
€*
L
L
G
G
L
L
G
G
L
E
G
G
G
G
L
L
L
L
G
G
G
G
L
L
L
L
G
G
*
G
O
G
a
G
G
L
L
L
L
L
L
L
L
}
n
o
t
u
s
e
d
•»
tftmmm
W+
(16 Ganas)
Among the Telugu works on prosody, KiavrfaWaSrayamu
(A. D. 1100) and Kavyalartfcatacudaniant (A. D. 1402) criamcrate
all these 28 varieties. But €hand§dar pana am oP Anantanratya
(A. D. 1435) deletes the first twp Ganas in each set «tf ^cognises
only the remaining 22 Ganas- All later prosodists in ToI#gu have
followed Cband5darpapamu in this matter. The Candra Oanas are
used* oat?* in Aftl&m a*d $a*padt metres which are non-existent
in Telugu poetical works, but oral tradition hap sojqft vetses
composed in these metres.
Note w^miy J* briefly define and illustrate the D^si metres
q*4j>ar.1frluafr litwfijh Compositions, > }
I, Ty raysja .
A verse in Taruvoja consists of four lines (Adugu), each
Ik*, consisting of two hemistfebs of three Indra Ganas and one
Vlll
Surya Gapa (a total of eight Ganas in a line). Yati has to be
observed among the first, the third, the fifth and the seventh
feet in each line, find prasa, between the lines. Example:
Iraju nandana hrdayambu tavili yeppudu nunduna nnitadu garamn
itarunya munabriti galayatlu cucu gamalaksi bhargava kanyada
netulu
GoriyT tanidana kunubati jesi koniyena tulayenu gorilS kaika
Bbaradhu randharu barahita dharma paranatal §atmaju bat'.jesi
kondu*
Nannaya Adi. 1.172
2. Dvipada*
Dvipada is a couplet, one line of which consists of one
hemistich or half a line of a Taruv&ja verse, viz.. three India
Ganas and one Surya Gana. Yati is to be observed between the
first and] third Ga^a. and Prasa between the lines of a couplet. Example:
Bhaktapa radhinu bhaktani dhanu
Bhaktasa aadhanu bhaktava dhanu
************
Manmand ramyunir malabhava gamyu
Cinmayu saumyubha jincikir tinci
t i
Palkurikki S&manatha, Basava. P- 1
3- Ataveladi.
A verse in Ataveladi metre consists of four lines, the first
line and the third line having three Indra Ganas and two Surya
Ganas and the second and the fourth line having . five Surya
Ganas. Yati is observed between the first and the fourth foot in
each line. Prasa is not observed. Example;
Vividha vedata tvavedi veda vyasu^adi munipara£a ratmajutjdo
Vispusa nnibhundu Vi£va Janl namai .
Paragu cunda Jese bhara tambu.
Nanriaya, Adi 1.32
4. Tetagiti
Each line in a Tejagiti quatrain consists of one * Surya, mo
Indra and two Surya Ganas in that order. Yati is observed
between ttie first and the fourth foot in a line; Prasa is not
observed-
Kanni yalatSda naducu nuana dan!
Pada roardka maiyokka panna gambu
Karace ganniya landaRu veRaci paRaci
yaracu cundapra madvara yavani drelle
f v
J .
Nannaya, Adi, r l • 147
5. Akkara, (a) Madhyakkara.
Each line of a Madhyakkara quatrain consists of two Indra, one
Surya, two Indra and one Surya, a total of six Ganas. Yati is
on the fifth Gana. Prasa is obligatory. Example:
Dharanija racara bhtita samghambu damavisa vahni-
Nuiagambu lertsucu nuniki kaligipa yoruha garbhu-
Duragavi sapeta Jiva sanjiva nopade §ambu
Garurjaga §yapunaku niece nakhilal5 kahitambu ponte.
Nannaya, Adi. 2.185 f
(b) Madhurakkara t
r i
A verse in Madhurakkara metre consists of four lines, each
line having one Surya, three Indra and one Candra , gana (five
Ganas in all). Yati falls on the fouth Gana and Prasa is
obligatory Example: v
» • - »
Tanara janakundu nannapr* datayu oubbayatrata-
Yununa naganintu lakumuvvu r6ginagu ruvulovira-
Lanagha yupnneta maRiyuni ran tar a dhyapakundu
nkilftga burasdna kiyyevu ranayambu nugoruvulu.
Nannaya, AdL 449
Each line pf Sf$a quatrain consists of %n Indira Gapas followed
by two Surya Gapas (eight Ganas in a line)- Yati is observed between
the first and the third Gana. Prasa is not observed Illu tration:
Dharmata tvajnulu Dhcamla strambao* yadhyatma - yMuluv? ^anta
. maniyu
Nitivi caksa^ul jthiSa strambani kavi«»f$a Wwdumaha kavya
maniyu
L&ksani kulusarva lak^yasam grahamani ya'tiha sikuliti hasa
maniyu
Paramapau ranikul bahupura nasamucca ya mbaai --aahigom
yadu cunda.
Nannaya, Adi 1 32
7 Kanda,
Kanda is a Matra metre. A verse in this metre is a quatrain
having two hemistichs of equal length* and composed of feet hav-
ing four Mat r is each. The first line and the third line consist of three
and the second line and the fourth line consist of five such feet.
In th£feet any combination of Gurus and Laghus to make four
Matras may be used, but jagana or the foot with one Guru in
the midst of two Lagbus should not be used in odd places and Jagana
(LGL) or Nagagp (four Laghu$, LLLL) alone should be used in
tjta sixth place in both the hemistichs. The second and the fourth
lines shuld end in Guru resulting in having either gaga (GG) or
iSagdua (LLG). ttasa Isibsefved.
) ^f
Example:
Eyadl bfdyama purvam-
Beyadi ye<Maai Vinlua NeRakai* MagtatA~
Briyu ttfunashaai . bajfafta-
Meyadi >akkatha yavinaga nJ?t&ma m&kun.
Nannaya, Adi f 1.30
8. Utsaha-
A vcwr* m Uteaha . metre it a qaartain, eaeh line consisting
of sp*cn Sutya {fagas jufcd pae 43am The firet letter of the
fifh foot is the place of Yati- Pr&sa is observed. Example:
Balimi bitta kaligi pa£u p4UUDa~ifadug& neti ka-
Ggalika muluka k&ya kertn gallu gonaga nela mu-
Nfieluka veta kuruma tindi yela nlku naluga g&-
Dafamu galade nanna baiqpu daksu batti teccedan.
Naonec5da, Kumarasambbava, 2.60
9.
Hftyapmo&ra,
A verse in Ragada is a poupJet with Prasa of the second as
well as the final Syllable. Nine .varieties of Ragadas are defined
and illustrated by A oat arc at ya (A. D. 1435) and prosodists after
him* Appakavi has prescribed the Gati (rhythm) and Tala (beat)
"tor eacfr of these varieties.
. A Jine of . Hayapracara Ragada consists of four feet of three
Matras each (Surya Ganas), the possible combinations beelng LLL
(Nagaan), LG (Vagana) and pL (JJagaija). This metre has
Tryagra Gati and Rupaka Taja. Example:
Pagae* 4a§ta ja^b* tfcila
Janita jwftnla jffagu gtfula
Jaauha jfapra c^ra, j^gada
Vinuta ^i»tru qldylu v VAn4t«
Anantamatya, Gtymdodarpaaamai &5B
xii
(b) Turagavalgana.
This it a doubling of Hayapracara, each line consisting of
eight feet of three Matras (Surya Ga^as), Gad and Tala being the
same as for Hayapracara. Example:
Sri sft~tl£u parama pwusa citta munada lamcu varu
Vasavadi nikhila divija vandyu ca£ra yimcu vaiu
Nitaja nimpa ranaga nanva yintsu duraga valga nambu
Patudi ne£a laghuvi iama hbanu madga gasta kambu.
Anatamatya, Chandddarpanamu, 3.54*
(c) Vijayamangala.
s
This is a doubling _ of Turagavalgana or quadrupling of
Hayapracara with sixteen Trimatraganas (Surya Ganas) in each fe.t,
Gati and Tala being the same. Example:
Sridha raya Sista janani sevi taya bhakta loka jfvi taya garvi
t5ru sindhu, raja bandha naya
Gadhi putra yajna vighna karama basu rima hogra kaya saila dalana
nipuna ghanasu radhi payu dhaya
Ke£a vaya tena mostu krsna pahi pahi yanucu kelu mugici mauli
nunci kfsnu balike nanucu sitlu
De§a bhasa namula jeppa dviguna turaga valga namuia teru vijaja
manga lambu tfya ceraku rasamu natlu.
Anantamatya, ChandOdarpanamu, 3.55
d) Madhuragati.
i+mm
One line of this metre consists of four feet of four Matras
each of the possible combinations, two Gurus, (GG), fourlaghus
(LLLL), Bhagaga (GLL) and Sagapa (LLG) are permitted, but
Jagana (LGL) is excluded. This variety of Ragada has CaturaSra
Gati and Eka Tala.. Example: ^ .
• ••
Xlll
Srfvani tadhipu jeribha jimpudu
Bhavaja janakuni bhaktida lampudu
Anigaga nalabhasa la nun a 1 gitagfti
Janugaja laghuvi Sramamuma dhuragati
Anantamatya, Chandodarpanamu, 3.58
(e) Harigati
This is a doubling of Madhuragatl, each line having eight
feet of four Matras each. Gati and Tala are the same as of
Mad h ura gat i. Example:
Srira makuca kunkuma pankamu cebolu paguvipu lorah
phaJakamu
Taratu sarapa Jfrasa mano dakava hiniyoda vinapada kamalamu-
Natisaya maiyala vadune devuni nanavara toda rat an a harigati
Itarula kalavada daninrpa laghuyati nibhanala gagabhasa
Lanagunn harigati.
Anantamatya, Chand6darpa^amu, 3.59
f) Dviradagati.
Oae line of Dviradagati metre consists of four feet of five
Matras each, the permissible compositions of the feet being Naga
(LLLG), Nalala (LLLL), Bhala (GLLL), Sala (LLGL), Ta (GGL),
and Ra (GLG). Yagana (LGG) and Jala (LGLL) are excluded.
This metre has Khanda Gati and Jampa Tala. Example:
Sriyuvati nijayuvati jesiyentayumifici
Kayajuni danatanayu ganelami batinci
Sakalade vatalabari januiuga Jmanninci
Prakajtagati Srutulanuti pathakula gavinci
Hariyoppu nananoppu navatara laghuvirati
$aradhinga nalabhala salatarala dviradagati* - -
Aoantamatya, Cb^idSdarp^aipu, 3 56
(g) Jayabhadra-
I ~. ..it.
This is a doubling of Dvjradagati, and has eight feet of five
Matras &cfi per line. Gati and tala are the same as in the
previous metre. Example:
Siklnoda yandanaga cittajuni gurudanaga sesasaya nundanaga
l4 i jetuvd gajaturbhujudu
1 Nakauka solanela liamucfeu daoupQja nadumada gaikonna
naddago patmajuda
Itapigpl ci^agaai itytparam bglugaluga vitawue vatoatnaga flesa*
gunlvvibhud ansu
Jaturamatu. Ipnarimpa jayab^dfa ragadalittt s^dyfradagatitenta
jatimpu lambpDCU-
Anantamatya, Chapdrodarpqpamu, 3-57j
(h) Harinagati.
One line of Harinagati consists of two feet having seven
Matras each. The combinational permitted are Surya plus Nala
(LLLU/B&a (GLL/Sa (LLG)/ Gaga (GG) This and the following
yariety haVe Misra Gati and Triputa Tala. Example:
SrTnivasabha jintunSnani
! Puhikujanula pontabonyii
Bhanuyutanala bhasagagambula
Looanifuda lunanalambula
Niravugagaau yedulaghuvula
Nuruvumfraga noppunelavula
Viratulinuga vimpanimmula
Harinagaticelu vagujagammula.
Anatamatya, ChandSdarpaflamut. 3.61.
t r-- '
#) VrsaMiagatk
This is a doubling of EUvri^agatf, eack line havk*g four fest
of seven Matras each- The combinations permitted are Surya
plus Bha (GLL) / Sa (LLG) / Nala (LLLL), Surya plus Gaga (GO)
b excluded. Example:
- »
SrimanSharu nambujddaru jittajpta gurundalamoeda
Gamitartha vidbayinirjita kaliyahini nasrayinceda
Nanuvugabhasa nalalubhanusa man vi tad vita yamulunilugu
Nanimisadhipa laghayatioi^aga nalaruvjrgabhaga manamumejagu.
Anantamatya, Chandodarpaiiamu, 3.60*
10. Layagfahi,
Layagrabi: is a quatrain witb 30 syllables and 39 fyUtras in
each line. Example:
UfVara caHmpagufa parvata cayambadara barvibhu vinambunidhu
laurva€i khiyadan
BurvasU ranagasura parvadi gadbT£ayama varvibbu dhane£vanila
garvamula damgan
; Sajrvagk nanrofcbyalonu, sarvaga nabhfttamul u n arvana hibhuganamu
lurvadisalangam
Dharvata tivadaga purvana tanadiguru sarvaga tusarvamayu
sarvu nu tiyintun.
Nanfiacoda, KumarsanibhavBt 2.100.
H. Layahari.
One line of a Layahari quatrain has 37 syllables and 3£ Mat i as.
Example: <
Katanikira tniiravitapa vatamttlana garatalamu larunaruci
; , dalirulana garajamulu pu?po-
I
'» ,' 7
x i
, . NOTES
-J ." iKL.i
•p »
- 1. Jattambfli ^ttipt pratktmambu nedu balagarva moppaga
bafleci sena
r «
Patfcambu gattifid ptabbupancja rangu pancina samanta piduvato
boya
Kottwnul vadregdu gonivegi natigo ralciya tribhuvanatn ku&abana
li hi ,<;y.} v'- v .-.■;. nilci
Kattcpu durgambu gadubtyal* «Asi- kaodtxk*^ gaviooe
2. DhavalagUQ5 dhavalaya£5
Dhavalitadinmandalo vadamitfratlfr
Bhavnbhakt5 bhavakaruno-
dbhavabhavabh5gan^5 vibh&l sukirtih.
3. Arinrpajivarna padatimahibhravirSLmamlrutah
Varakarikarasusthitanlbhapravir asit ibhanusannlbhah
Gorutaradinabhagavatamanasamanitakalpapada pah
VarakarigallabhumlpabhujasJrihaji bhuvi prabhsatS.
THE ROLE OF MATHEMATICS IN PHYSICS AND
ITS ABSENCE IN THE VAISESIKA SUTRA
AND T HE PRASASTAPADA BH ASYA,
Dr. KADAMBARI HARAVU
Pool Officer
Introduction."
Man finds himself confronted by a mass of cou using obser-
vations. In physics these observations must be contemplated and
concepts formed, in order to construct a theory, in terms of the
universal language of mathematics.
The ancient Greeks believed that there is a mathematical
order in nature, that can be uncovered. According to Pythagoras*
one of the early Greeks, number is the very stuff of the universe.
("There is some suspicion of Pythagoras 1 being influenced by the
Sankhya thought ,, -p.298 l The Complete Workspf Swaml Vivekananda).
It was, perhaps, this deep-rooted belief in a mathematical design
that led Galileo to introduce the mathematical approach to the
study of nature. As M Kline says (M. Kline 1962, pp. 315-316):-
•
"The scho Jars who fashioned modern science, Descartes, Galileo,
and Newton, approached tie study of nature as mathematicians.
They proposed to find broad, profound, but also simple and clear
mathematical principles either through intuition or through crucial
observations and then expected to deduce new laws from these
Principles, entirely in the manner in which mathematics proper had
constructed its geometry and algebra."
Physical The tries'
A physicist observes natural phehomena in terms of a theoretical
framework that is already present. He con emplates the observations
he has before him and sets out to solve the problem of finding a
11
theoretical description in a mathematical framework that will describe
aftdprtedict the$e observations It inay happen in a'certain situation,
that there is no fundamental theory to describe ti *6t of observations
but only sdtfi-^empMbal approaches to 4uch phirtdmena- Jn such
a case, the theorist can only attempt to fit the data to a mathematical
expression, arrived &t by trial tfhil tfrror. Such ah expression usually
has a broad framework (that iffcuxtes the semi empirical mode's and
accepted mathematical techniques) as a point of reference. Let us notv
consider the method followed in constructing a theory in ph'ysfcs.
A theory is a system of cttodepft that is created fhfbagh the imaginative
insight tof a theorist, after contemplating the obsWved date. It is
constructed according to th9 formal pfaft^rn set forth ! by thfe achcietrt
Greek theorist, Euclid- That is, the theofy sfarft wltti a bfee 6f
axioms and definitions, from which it ts constructed by logical
deduction in a chosen framework. The conclusions arrived
at by the theory may then be compared with observations- Jf the conc'u-
sions following logically from the axioms of the theory match obser-*-
vations, then *he axioms are accepted as a possible set. Bqt if
the conclusions of a theory do not agree with observations, then
the axioms have to be revised and the logical conclusions of the
revised theoiy tested again and «o on, in eycles of axi<~mato-
cum-pragmatic strokes. (F A. Matsen, 1970, p. 112), uotil the
thetty cofrrectly predots the observations. It fe thus, ttiat an
acceptable theory of a physical phefroinetadn Is ddAstrftcted ancl the
important of m&thefcatfct \i Nearly s^eii frerfe. Lfet us Aow
cortsiflttr the nature 6f physical concepts aid l&ws.
Physical Con cepts:
The first step in the study of a phenomenon is t o form
concepts. A concept is an idea that is mentally conceived bf
abstracting from particular observations and is put in mathematics
fonii by the physicist. For instance, by observing a variety of
motions, such as the motion of a tenuis bail in the air, amovingl
Ill
* t •
, • i . r *♦••/.• „ '
car. etc., one is led tp the concepts of position, velocity and
acceleration. The concept of position is abstracted from the notion
of the different locations of a moving object in space, at differ-
ent instants of time. Position is generally denoted by a variable*
x, that fakes on different values at different, tiroes t The concept
of volociiy comes from the notion of the rate at which distance
is traversed by a moving' object. Speed has Magnitude alone (such
as 20 miles per hour, for a moving car), but velocity, denoted
by a variable v, has direction also ' (say, 20 miles per hour, east).
One is familiar with acoeeleratthg objects in our everyday world,
such as a child sliding down a sl<de, airplanes taking off on a
runway etc- In both cases the speed st&diiy increases. The concept
of accelration denoted by a, is defined as the rate at which velocity
changes. Any physical concept is quantitative, That is, it can be associated
with numbers, by means of measurements. Even concepts that seem
to have no such' numerical significance are found to be related
with measures* For, ex^njiple* the concept of equilibrium may strike
oqe as having no measure associated with it. But it is not so, since.*
3, body is said to be, in equilibrium when its acceleration is zero.,
The importance of measurement in connection with th* definition 1
of a concept is Indicated by H- Poincar© (G. J. Holton and D. H. D.
Roller 1958, P. 220):
4
"When we say , force is the cause of motion we talk metaphysics*
and this definition, if we were content with it, would be absolutely •
sterile. For adefiniyop to be of any use, it mu?t teach, us to measure
force, more over thpt suffices, it is not necessary that it teach what
force is in itself nor whether it is the cause, or the. effect of >
motion."
One may ask next "How is it that certain concepts survive, while
other possible, o&eadon't ?"The survival of any physical concept depends
on how useful it is in the description of a phenomenon. Some-
times it also, depends on * whether it recurs in a large number of
IV
of descriptions and laws, even in areas other than that of its original
formulation. It must a 1 so be remembered, that a successful concept
is one that has evolved over a long period of time.
Physical Laws:
A physical law is a relationship between concepts. It is a
postulate that is found to hold and that can be expressed a* a
mathematical relationship. That is, it may be stated in the following
way: that a variable x i* related to variables y, z by such and such a
mathematical function. For example, for a heavy object falling from
rest/we have the relation-
S = *gt*
That is, the distance through which the obiect falls is
related to the time of fail t, as given above, where g is the acceleration
due to gravity, taken as a constant near the surface of ths earth.
There are some relations that show that a given function of
certain variables, under given conditions, is always, cons-ant. The
constancy of the acceleration of freely failing bodies is one such
relation. All conservation laws, such as those of energy and
momentum, are of this form-
One can speak of different kinds of laws, keeping in mind that
the distinctions may not be sharp. There are empirical rules which
summarize a large amount of observational data in a simple and
concise manner, although the rules are not deduced from a ntt of
basic principles. Kepler's laws of planetary motion are examples
of empirical rules, that were later deduced from Newtonian
mechanics
Another kind of law is one that is ba»ed on an induction that
Is not seen to follow necessarily from direct observation. Newton's
laws of motion may be quoted as examples. For instance, the first
law states that a body continues in its state of uniform (that is,
unaccelerated) motion unless acted on by an external fores. This
implies that unaccelerated motion is "natural" to the body. But
wh?re do we see natrul, unaccelerated motion in our familiar world?
A situation where no forces are present is an idealization that is
not in our experience. Yet, since Newton's laws are most useful in
describing a large variety of phenomena, they are considered to
be the fundamental principles of mechanics.
Inspite of the connotatons of the word "hw M , no physica
Jaw is absolute* One can only say that it holds, as far as we know
from various experiments and observations. Secondly, it may have
a restricted range of applicability. The laws of Newtonian mechanicsl
for instance, could deal with several observed phenomena. But
when tbey came to regions where very high velocities were to be
considered, relativistic laws bad to be introduced.
The Inte*pl*y Between Mathematics and Physics:
The discovery of laws of nature does not follow a logical path
It may be a kind of Inspired creativity that proposes new laws.
It is believed that Galileo first postulated that the acceleration of all
freely falling objects is constant. Then, it was from this postulate
that he deduced the experimentally confirmable behaviour o
falling and rolling bodies.
In the process of theory construction, the theorist not only
creates the concepts, but also the mathematics that may be needed
if the existing concepts and techniques are insufficient. Newton
bad to invent much of calcolus for the construction of his
mechan cs- On the other hand, a theorist may use mathematics
that has already been worked out. Kepler, in trying to fit the
observed data on planetary motion to a curve* used the ellipse,
whose properties were known to the ancient Greeks. Thus, there
is an interplay between mathematics and physics that reveals
itself in different ways*
VI
An outstanding example of the interplay ft m modern physics,
,.»*■'■ - •
is Dirac's theory of the position- When Dirac ^formulated and
- • ♦■, «
then solved the relativistic wave equation for the electron, he
found that there were two sets of solutions, one belonging to
positive energy states and another to negative energy states These
negative energy solutions posed a problem. Dirac proposed a
solution to the problem, by showing that the negative erergy
solution* rqpraspt the igotipn, of a npw ppr^cle. having, the mass
of an ekctrq^ but the opposite cjiage, collect th^,- positrpn,
Shortiy after, this hypothesis, the positron was experimentally dis,
covered. Th^ a mathematical problem of unwanted, solution?
turned out to represent physipal particles.
Ihe Problem of Consistency:
Inspite of the glory of mathematics in the construction of
physical theory, tfjtere : is a problem of the consistency of the magie;
matical structure Hilbert tried to establish consistency for the
formal equivalent of our classical mathematics. The initial steps
had be^n proving, but the programme had to be abandoned:
becaus? of a ^ifrcoyery made by K. Godel.
- K. Godel showed, that in Hilberfs formalism or in any format
system Mthat is not too narrow, two things happen: (a) One can
point out arithmetic propositions <J> of comparatively elementary
naUre that are evidently true* yet cannot bei deduced within, the
formalism, (b) The formula. _q_ that expresses the consistency o(
M is itself not deducible within M; th^t is to say, a deduction,,
of O or _Q_ within the formalism M would lead to a contradiction,*
in M* This questions the ultimate founddtion of mathematics and
as Godel says (H. Weyl 1949, p. 235):
Many, symptoms show only . too clearly however, that ttPo
primitive concepts need further clarification.
Thus, no absolute statements can,, ta made a theory since .its 1
consistency is itself not deducible within the . formalism,. .i
vu
The importance of the role of mathematics i/x physics is,
however, indisputable. It lies not only in the unambiguous,
quantitative precision it brings into physics, but also in the structural
basis it provides for physical theory,
4
The Absence of Mathematics ih the Sutra and the Bhasya.
i i «■ i n tx ■ilii i.
1 ft. € k. i
As tire title of this section clearly suggests, there is no common
ground for comparing the mathematical approach to nature as seen
In physics with the theories in the Sutra and the Bfcasya. The
quantitative approach Is the most important element in the study
of physics as discussed earlier. But it must also be remembered,
that it entered physics at a later stage, after generations of qualitative
physics. From this point of view one need not entirety condemn
the physics of the Vaisesika texts. On the other hand, it is
adotirafbte that fhey even attempted to observe nature and the
phenomena it reveals and tried to account for a variety of processes.
In the Sutra and Bhasya, moion for example, is classified
into five types. The first four are classified according to direction,
that is, upward and downward motion and expansion and contractor
The fifth is motion in an unspecified direction. These motions are
in turn analyzed according to the forces involved. In taking up
specific examples of motion such as the motion of an arrow or a
javelin, theito is a general theory underlying che dercrlption. It is
briefly as follows. Motion is ntdtrced In an object due to an
external force and it is due to the quality of foertik (samskava)
that the successive motions take place, until the object is brough
to rest by other contacts. We see here the precursors of the two
classical concepts of force and inertia, though not defined quantitatively
as in Newton's scheme (so that a prediction can be made of other
similar events). But what is important is, that there is a beginning
of the formation of physical concepts such as inertia, force and
work.
vm
Theie h no mention of measurement of any quantity except the
intervals of time in terms of units. Vai^esika mathematics stopped
with counting. Number (samkhy&), the beginning of mathematics,
is a quality for the Vai£e§ika School (I, 1). There is, however, a
qua'ity of measure (parimana) which is basically of four kinds:
minute, large, short and long. These are rather ambiguous measures*
since there is no common unit with reference to which any meas-
urement can be determined.
No sign of the development of geometry is seen, in either one
of the texts. Tttere are ten fixed directions in space which coutd have
suggested the notion of symmetry, the figures of a ci'cle, triangles
and cones; but these were apparently not made a subject of theoretical
study by the Vaidesika school as by the Greeks.
The quantitative approach to nature first arose in Western
science, even though now, one does not speak of such a division
between Eastern and Western science. One may well wonder
why such an approach did opt make its appearance In India, even
though pure mathematics did develop there t > a certain extent (B. Datfa
and A. N. Singh 1962) In f*ct quoting from Vedic Mathematics
(Sankaracarya of Govardhana Matha, 1971, p- xx)"the conscientious
(truth-loving and truth-telling) historians of Mathematics (of the
lofty eminence of Prof- De. Morgan etc ) have not been guilty of
even the least ex iggeration in their candid admission that "even
the highest and farthest reaches of modern Western mathematics have
not yet brought the Western world even to the threshold of Ancient
Indian Vedic Mathematics."
If this was thecase, why was the mathematical appraoch not applie
to the study ofnaiure in India? Could it be because there is n<
such belief in a mathematical design of nature in the Indian tiaditior
as there is in the Greek ?
All Correspondence regarding this journal and
for review may be sent tot
THE DIRECTOR & PROFESSOR OF SANSKRIT,
Oriental Research Institute & Manuscripts I
University of Kerala, P. o. Karyavallom. Trivandrt
.kii nil
of
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and
Manuscripts Library
"*i3S»*'
Vol XXI
licence do. 664, dated 3-9-1949
.„ t . Part Q (Halfytarly)
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EDITOR
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AD. 1977/M. E. 1152
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Bhaskara Raya
Born as the second son of Sri Gambhira Raya
ac d Srimatl Konamamba in the town of Bhaga in Andhra
Sri Bhaskara Raya became famous among tantriks
through his efforts to establtsh the greatness and correct-
ness of sakti worship- He flourished in between 1680
AD and 1768 AD* This savant has to his credit
the authorship of about fortythree works in
various subjects like Veda, Tantra, Smrti, Vedanta,
Mlmamsa, Njaya, Vjakarana and Sahitya. He is said
to have attained meny superhuman powers through
SriVidyasadhana* the highest path in gakti worship.
He shed his mortal coil at a ripe old age in the place
called Madhyarjuna (Tiruvidaimarudur)
The present work Nathanavaratnamala and its
commentary Manjusa are also the products of his
pen- In these works he explains the concept of Guru
in SriVidya philosophy-
The edition is based on Ms- No. 9598 avail-
able in this institute*
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anT^sfq 1 T^ft ^rt «rrj fj^fa *r*tct: i
*r M^ftsqr: TOT: «rre ?rer ftcfrti II
1. fcfa sr-sr, t. 2. <f^ i m>U^ 3 mfiiflq : 1 5^^, «r.
3. ^tsNt-^. 4. ift fa-*, ?r. 5- u^pf-*, *. 6. *rroMr.
7. T^n^ MlfV^kM F, w; Portion upto 'feffa ^m 9 is also omitted
in these Mss- 8. omitted in Ms. sr. a. From "q^Mum^"
to "*r?T5TOsrre ?%" (Page 90)is-missing in Ms *. 9. *-*,*♦
so
MiH i fd t^w ^t 4re »wKd«iiM<M u
UdMft ^f|Rri% TfTlft STfospi^ I
$4
1 2
*fa I ^fa^+WM^dW *Hd4lfa*l4\ ^HHI^WcT t HM«lfir
s
f * - * , »
!•• *t?ra-sr. 2. ft-^r. 3. <rrf^Mr.
tl
1
2
« Anils sfoftsFr gWHc^mfa M
arRpf *fr *fte*r wtm pi ?wi i
3
^T HHK<snQvb<«l SKM4l4«l«l«lld I 1>TO %
^hi^«ii<I^A*m4m^' cwt i
MMlfd T^ Sr*T «TRf «MHiSM £Hi«H<l II
^r *iwifftM«HHi<i i u*nn% ^^f: i
4i$ii<M) Tpef: ^n^smret w i
t# fr^ ?tst «f# ^trt: tt% fs^ n
a 4
1% I *Tffif cKTf^sfsRT^ rRT J|>l+I^ Mim^ H£MM-
*l WWlc**lT«lf*lc«l l^l-*RT **cf*ft 3*S3*PT I f^M<«lM«l*ll<^ 3
1. CTr-sp. 2. ^ fe#sfa tt-jt. 3. of 5T— T- a. This sentence
is omitted in Ms« ^. 4. fg% m-*P.
92
1
b
2
«n^tsfq" "^i>iPd^ i wty (t|UiPj4M"ii«4^" f% i yNfaratafr —
3
TR^fOTPT^5 fScfar *rf? HT«^ri
^tftaT^fiklKlfasrffcIT jrf^PRTft^: II
4
HWI»w | >nil 5 ^>it Hld^d: I
5
fcTT «J*& 5^lt: *dwr Mfcflfodl II
*J>HKlPui*l<H?«>< cGT$*^ I
Oft I 3T#^ 'f^TT^ MrtlfdWl:' *fa faufal^d I s*i*fr *rp**& i
^SWtlrf frf^ ^#%£T: SRT^ I
a.This sentence is omitted in Ms. ^. 1. «n?"T— w. b. portion from' ^
fW to " PfriMil l ^ , ^r" is omitted in Ms. w. 2. jp#spj-sr.
3. wmmaw-r. 4. g^rr <rrar-sr. .5. m 3 «r-^r.
93
1
a
b
^mM^Md TTs^r^fcT Tnr^tB^g ^ a^ftasftsrrafafa
2
c
3
^T?TPTt f^ ^ JT^WrthW TOT 1 1
1- csqfa~«r, it. a- *3RnPl ^qift': -omitted in *♦
b. 'inmw'^ fflf'-omitted in *. 2. anfcft-tr* c. fevfro
M —»~jda **rcra omitted to Ms. *. 3- riffal~«T»
94
a 1
snsftaraft in-4M4i tot 5 faro% u
& i arehr Hcj4.ijmrc((>d+i«n^T i era - ♦wm :-
3p^j^t5 ?t^t: fro «n^5?Tfcm; i
4
3M*>d+l«i *TSq**TT: STR*TT: OTT?: *<4MH li
qMWtift %far I *TT3TR^T<JTSS T*P3Tf fowl "I* TT^:
a. Portion fro a 'srcarta' to 'fq^q^% u ffet" isjomitted in «?«
1* omiited in Vfss $ and i\. 2. g^fo fa -ST. 3* n*q—<v,
4- #*-*.
95
l
2
Hlftsufol ffo f%f?T I WWftrR «TR T ^m '«TT^ ^^Tt
a 3
4
+d<w< facing: I flW ^cRT VMcMRri-rf &&*W I 5* sffa-
5 6
7
?sftart srre: ^pf ?nfo ^r' fr^M^i 'fi|u<*pM<iiii ^rnf d^l^ft
8 b
9
1. H>wftf*gTCT-*. 2. *nr:-tr. a- This sentence is missing in
v. 3. qKHfrfq-9. 4. ?qcCT-cr. 5. nfq^-7i fa*wf-«r. 6. *>ig
W S5ft-«, «|. 7. 4ftrcgrKcTOT-^ 8. tOT-*>. b - This and the
2 sentences|followaJg it are omitted in Ms g» 9. TFH-qr*
96
1 2
3 4
3W. ?TI% fa^Hd fash 3^ ^iftnfhT II
ffr I cRN" H4M*IMI«KW-
5
H^H^<sMKW+fui+l+^IK^: n
a
ifa 1 3i^j|4)c| ^i^t r^Hyii^Ni ^ftenftfeH*£<w ^04,<i«i—
"^i^dim g^Tft" srerr tfjr! snitariV'fgr «NHid 1 ara- q*r-
TI%SpT «TT5 *FFT*T, aH^lfd+^ld, I
<*H«4Hlfd+c^ *P^*T WMfclM ^: II
5- cfPf-qr, el:— «r. a. This sentence and the stanza following
i< are omitted in Ms. cr
*7
1
*% *IA*^^llrf I ^^ ^l l fcfa$ | qM^Thc4lrl fwtffcT *T$T I
a
frnftra ftw wfcf «f*wt i
2 3^
HMI^HIHI ^i q- ftu^lfHPM T ^ (?) II
«TO^TT «ftv4«ll4MK'ibM)<|Jta I
1 |ftj$:-*. »• Portion from 'srftanrcrtf' to 'fafcm |
lfilTO»ni' «s omitud in Ms. *, 2. ttf( ^ - ^ t. 3- v <r-«
99
l
2
ffir i ^^r^4^w4^H i 4d^i fa %<j*q m«*i fo3 a wikjfeqq i re mft
" 3
3rt: *ttc f*nn fcr ^ *$iprcw i
4
<ii-«^c<iid i are- 4i^'wT»M*4tax2|«t afa$m*hnn<T i aNte-
5 6
7
*r <jmiw<^ ^ *re*r srsrt f|^f^r <n=r ^ i
^r i it^tt^t Pr^fTraFT i f*rfcr i fonj mdiqgwtJiift
TfspfarTfa Mi^<«t£+^rt^w*itfftw«Mg«iMfci: i wNrrar ^
1- -*wr-* 2. fa .«. 3- wrafcrfi-w. a This stanza is ws««l
in Ms. «. 4. JW -fq-w. 5. «MV-n. 6- %-»T. 7, -«*«.
99
frqtevH | 4H<HI* rrefTftft ?f5? H I <llfc% ^ "qrs^fqd^lWSd, «FT5-
3M3MHfl " fc^lfc*J l d l HffH I 4^H-'HfrH ^W 1 ^ISVJWSd^sfa-
i
2 3
*i^r *i^cmP<c*i< : i %fa^[ "t d/dKdd <r ^"t% < l <i^^mi^
fwt «rfjnrf' ^td <Hdft(Q>d ^fjsfasrr ^t? ?t *vi^H i
TTsTT^CTRnit^n 3 ftd/i*wi«w t *3*r, f%?3 *»dw^4^rfi i
TTTOTf^n 5t% *H1Mlftir«l*MftiftlfHQlHHdMi sWTT t%ST I
*ft»T^ TO tawmft «H44M: I d*TT ^ *fcra:~
fiRTT ftd l H^hN tfa JTpRTm^: <
4MKId *pf 3TRT PpT^f W5*W ^ II
T?*Traw m%is <rwr <nra%5r ^ i
^jft 4l*qfd «TT5 2Rfg ^ TOT$^ II
100
f^RBT 3Tf%SRBT 3T $*f : «TT5 $*R> gctf: I
W$ ^ dd1>44 Hify+K: ^P«HI II
*% I fo*T ! *T?r «TT5iT I
sfa ftwp^ItKJ-H i s*pfa qVifoi^i *m-uhi i 35W f$-
l
qfaft qqid4l4V4l: f3^n?s®izRfin»: I
sfa i srfor^ <t£ -i<$m s<kui%dMi «rrer fntf* i m
fo«H>UI4<lfcfdJtyill3lu|qifdHI<l I
^PTt fw TPrf 3T%^t 5 f^rf^ II
5% i hmk^u^ —
3nT^5^#Tt viw^<«ii(m ^r i
^MWtydMi ^ faq^^NW II
«rnj ifarf sr^t ^4^i TOfsro - !
^ I Hl^^^il"! —
2i.it
101
i
2
3
102
^%<f»<(V<l<l IT 5 3|HMW4| +<lf««dl I
2
sn^yH^MfdM^i ^ki^O^Rm^vi <0(^«| ^MINCI*-
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$^?^idiH^i4 xrfirraTf^%f%% u
5
yRm3ifa% ^% dffedfctomjiHi i
5% «HHlferd ft"fa£ft I stfHUHI+<H i & i "5»^t fawn*
a
i i " iii i i i i i i i m\ *
3. *amiT-9 # 4. a jft-Found only in Ms. *. 5- Thh
sentence is omitted in Ms, *• a. Portion from "faij" to "ftfrflft 1
(Page 103, line3) Jis omitted in Ms. «?.
103
1
^ *t| wfwrtirfSr *nr sr% *ft 1 1
^n# : srgfiraif *£w?5P»r: sTf^rfq - : i
4
ttf: >|JlsMRbg4d: *3-"d<**iw TR#: II
5
3PTT*ft dml^lin HTbmfl *n*T *TPsrc: II
6
<pt water -*w«*j fWRbfk^^r 1
sR^rraf^r^rRsr *Rf)w: mGhkk^ ii
5. *? qraivft-v. 7. jt-w.
2
*rfr>3Sr«r *r*rftan§: i
3
q# •* f^prrftRif «w<kt>i<iKM: i
fl:-T
104
2
3
4
i «
?fa i <t«tt,
TT%r "*TTgrET H+Wfa 'ify^MWKVl^dlPl <H«1llH I TTcTT- j
1. omitted in Mi. *. a. This and the following line an
omittfd in Ms. q. 2. omitted in M». v. 3« iJiJU'H.Wt'*'-
4. furron* <nt-V. 5 - omitted in «. 6- omitted in q.
105
i
^iR &Au<i<nj[«m^wjwwwifr i ^# ^ ^n?w srsrr-
b
T ^TT <K«gTM ^4«^H+ifyf^: II
h^k^^iisIi fm ^(^IHIVft^ n
arrcSr «H<id*q fgtftaT ^ferfwrarT i
q" %3*f fafa i[f% ^yk*ll 3^f75*[ 1 1 ^TT,
fekOq i fcWfldl HfdM^fi*<t>hfl I
tfJ i m sr^t f*re%*ft *PTT**rfa M
.*
1- omitted in Ms. 9. a This line is omitted in Ms* *f»
b Portion from SrfMmmft 1 to 'ttWfl: **W& (page 106) is
omitted in Ms. «r, 2. 3331-*.
106
i
a
2
• *
3TTHT: Ml^Hl^ ^S^T T: f^ TT: I
*«i»k*ii4H ?Rr srfr^ srre^ crw i i
5fa *l*MI«d<+«l«KWqT H}HH ' l<Mmn»<HH^im»«Pmim I T&
1 • «~*, V. a This sentence and the sentence following It are
omitted in Ms. *. 2. mr-*. b. "faqi|i"»Krf8WI«ta"~ omitted in
Ms. k. 3 fa *?g-v
107
5fa wh*w«mhi4 i *rcfa "xrmcf *w<w Fnfe^r fast ^
1
2 3
5
ttfcTT^lfa yw' ^ltWI mmP<* T*ft II
16
*— — I — — — — — —— — — — — — ^^—
l. y*«u4~<a» 2, «fi^r ftwnj—v» 3. qtng $*ffctit wiwimh*-**
4. frtfn-«r. a. ^ *l" to 'tmMHfqmft, (ft 9 i omitted
in, Ms. n # 5. «r fl — V. 6. WW:-f •
MttM^MMMMaaaMMBHMMMMMMMto
108
1
frf snrr ftnrr srrat ftt^t s^raT tmlug) 11
1
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Ic*lHi;j<l u lld I
2
1
3
4
4. n-w, *.
10*
H*ra<lW^4l 3 fPu TOW if 1
l
•i
fow^fcmffeviitdifui ft-wita «TR5r! u
^I?CT *T ffft kit MrHftWiii. S^ I
/ i
«J%% TIT qfat SRRt% *l«fiPim : I
3T% T SPI-URlfcipMlltyw: II
^pfaTO fa?pft 1RTTT fcm *&% I
^^TPRlt^r^T '1l4d*4 SflRT?T: II
!• rtllft"" 1 !* 48wnfff"~**
€wT
44i^i«Ih f^rftRf d-^iJPi fafinf i#[ i
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*n-$fc*l«M*ftdHIA #Wf ff^T T&[ "5^: II
« • .<• *
^*rw tn^Nj i asm*?* ^frgpr^- •
>f^'
r*»
a* Tub and the snarseffmg Hie are omitted hi Ms. *,
1
1% 1 S$T^—
< _ •
fsg*f fagof ^rPr sR*fo? *r*' ^ it' l
2. «-*.
,>
ITOf W l^tT J*(ir<*l ft^Rl: WWl4i- ^^ifr Wfr
3re*ref *n**i*ft 3 p? 3 Jf^fr^rTii
swrf ^nato irafa: qMtffor i „ v .
swat '^pt 4hmji^ *t i^r —
ail^yjiW^wf fTT^h ^«K: II
dii^Hi^lk^Ki $ Rental h»*m^ » T .
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*llfl«l$sH>l*A 3 H«H»WW«h *T I
w:*rit ?rd ft* Ttf^ mR^ II
• *EF»rt *r HumiWr *T#Rft ^m< : ii
1. *-ir. a. This stenza is omitted in Ms. *,
*ff&
1
5>rf ffforrcrpr ^^ iw<ft f*: i
* 2
i
^Nl^Tld: ^^Tt I^U^H srFFr! II
3
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>
4
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It
I « I
414
irenfcref ygrrifcrt » i w^Wf ftwr^i frm*.
^Mlfe^ll«KW+KWH<llc*H>l*l I
^*wift *nrr ^ff ^Pte+i ^fa^HPr ii -*Pte+i*ii: u
fr^r |^ trF ^r'sr^Riftnf^ i
gurf <wflf ^ff gurf ^wiuitt n gram: 11
»^j£iH4 ^h* <|tii^wiwid l Rfil : II
^Hlfa+l^fT gUlftfobKi f$*tf <r*T II '
sn^pat %^lf^nt fw d^Owiit ii
i
1*
. Iff.
SPtf ^TRWf#rt 't^fsfW'TT: II
^ 4
T^rarMt *re*ff wra*rt Fry i RuO h n
H^lTfa+i STSTTCr *«^I^NI^I«4^ I
^fa i 3rt «te4Kwi^<w ww*^-
• 6
fat ^T SR^ *Pf SUHKHWM # II
I
1& 5^ 5PTT 3f|% f%^ ^ f^Trft I
V
mm
115
t t" • < • »«
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1. *f_* 2. if-*. 3. if-* 4. omitted in Ms. if* 5. vfaid
2
^snfarm %*m ^ fre^r % n
«lfcl*«ltc<KM TFT ?RI %*t ft%ft%l
are *iHkn>' f<5 «Hffa4 i <fo i «wi n
*
s ?
•. 4 " *
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— *— ^— — —— -ta— M^i
I- #iW-^ 2. imft R *♦ 3. w:-w,«r. a- From "qjm
to *'if^Nw l ?fa" (Page! 17) omitted in Mg. *.
fit
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ii«
d^<iRi^<»Hit{i?rt fart: wip II
WW*®: —
TITOT^:-
i z
I
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a. In mss ^randwq- tfee names of Mantras are tvrittetf
ja the -cod ^of each of them. I. *ff*r?r: spr^p, it, 2.fjpfiP - *»^
b. From W to ^^im^I - omitted in Mss, * and*-
IJLt
HMNi-^i frrrercT *rsfrrc* <^i*m\^ \
3&im ^r $&* g#rf rnrarr <p«rr r
<
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5
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1 2
fc^T fofaw smt x% to? 55ft to ir
faM*Kt>
mam
^■^■a
V fc**r. ?. '***
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fnfr $**$lPd ^ — W *W«Rc^ TT3: I
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1
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121
^Hlf+«<'l'H<ri ( 4*H<&HI«ll fl^T: II
► * »
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^•ff+KC-
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f .
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iHftidiRi <aAm\4 sfiw wfk. *tt ii
i
2
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4ftlfoW : ^Ffft' foprf floras: I
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S*PPT? 3*l£% ?lTHf%r: MPwfliddl I ,.-
3TcT ^ 3 «n ^TT: 1R*1*% *tfmt: II
airot i$?t m>hmi$ *r ^ —
garcftaMiiNKi yaw TRFrnr^rT
4||£HI1&d^fd 3- Rwfoi 4>oiim^ i
3TT^goinftpftsT5:^RITTf^ II
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T
4lO«lg4*l>Hft 3 tHfrUKd'fo ^ I
1. fi-ir. a. This stenza is omitted in Ms* q.
4»ff*
1
^IHIMGmIVIW *TT«1#f f Sl^Jf^ t
yrst fr^^f <mfteraf3r«ns3r i
i
$trf:*j% frSrqr *d-i*4nl faring;: i
3
^olHtali: —
■'■'•'••' . - ;
^srt^M^nfr! snn^r^Nts^ rT 1 1 $in*rf: u
vt|«n«H<lP4di ^ff fe^ffr ^*WI«I^( II %^P: II
l- *ftsr*- 2 - f^ «-«. 3 - **-*• 4 - **-«•.
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414
^Mlfaj u imKI*HKI««H<lfc*l*l*t I
.•♦
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^TTlRt +^H<Ki 5pM)f *I^MH-^H II ^TfPn: II
x|«^Ki tJU^hjj ^^M*i»4,ft*j i
^wito *tct ^ff ^r^+i -^fa^MR ii -^N+hi: ii
5»Pr |?^ «pwt «nr|:^r^rrftnf^ i
$*!Tfa SST *T^RT frf fffiaTlfipft^ II §*lfar: II
\
f?gfif ^i^mi'Mi ^<snfl » ii^< i n<'fiH t ' (
grot «pnfif fcflf g*nrf ^wim^ •> ststptt: h
4,^<ftihH 2R#w <l^yHHHdlfefil : II
Slnify+i^T $*Aiftfe+Ki ff^t ?ptt n '
l
lis
.1 x I
I 6
fat *T «R^ ^Pf ^HKHWW # ||
^TT
^fir 34^<n»i i q i & ? yMMWMP i qnfo i
^ 5^ 5TTT <»ft% fu^$ ^r «j£*M*fl i
^Rf ^ *<&<IMT 5Tc^ $<Hfcl4d: 1 1
"»!"•• • S
.-J*-
1. 4-.* 2. if-.*. 3. tf-* 4. omitted in Ms. if. 5. ijfcrt
2
<F*TT^ ^l¥^4<<rd^ $3*ts?ft «l44lM: I
«H*«ti<mn 5^n jpnff *rre^r % n
WTfoTFR^PH *>R 5TST ?fat fe% f^% I
gre *ren<re $«5 mrft4i<»i« i <ri (i
«
site? %sfr jn cf^r «T3rrsn^ *m«Hi : t
^Mdl+1i*^IHl 'fl<1WI , HII<iW?Rr ^prtf' tl
WTOR* l<rtl*i KVJ rj^ui^i ^ <Jjf3^l
• * 4 5
to ''ipaj*** l fftT (Pagell7) omitted in Ml *
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» i
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*r ^f: *nr^ ^1: 3§aj «;+?fJ$<f ; n t
<K*^«'^ sr€ «ftf t^ ^&&( fiarcft i k
«j4m^?«i+ih <ta wm ^nn'tdin i
i
"q^rft3t 4«nmdNc4ir<miR s m^'fefr *npn^Frerft are
"arer ^rqRRftf^icr" i ara %far "?rererrc*? w star srntf
3
<iR*4^
i "?*rs
4
a . From '^4fa4i' to ^q^rrf^j omitted in Ms. «r. b This
sentence is omitted Ms. tf. 4. ^ *f ^r-< «ri
m
V
*fir i hM\n$
i
2
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«Tlu^Qi?«<vii«iNi q*&tf fcff q£|TJ ^ i
3
4
ft
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tted la Ms. ir.
m
*RP3Tt ffiflThWl TflPFP^: M*VM*t u
2
3
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atft mh^^T w*3nfcfcra3|\i ff<r i
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iwr?m ^dk^i atft ^ff m^H^ ii
cmnf^f n^m J^nft H i MH i B«*ft i
«i*i*d«ii dcftta^, ' Vs*it frHdO *fte snwsqpj +|<^"
3
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Director ant Profcawrof Saa*rit
Trtvandrum Sanskrit Scries No. 244.
UDUJATAKODAYA
Edited by
K. Viswcswari Aama. M*Jw
Published by
Dr. K Raghavan Pfflai,
Director and Professor of Sanskrit.
Oriental Research Institute and
Manuscripts Library*
University of Kerala,
Kariavattom, Trivandmm HSBMt.
No. of Copies: 250
All rights reserved
Price R8. 3/-
Printed at
Vijfianabhavan Printers,
Manacaud, Trivandrum-9.
1977/1152
»
. '
• * I
PREPACK
We are publishing as No- 244 of the Trivandrum
Sanskrit Series an astrological work entitled € U<luj&takodaya\
The work is composed in metrical style anddeals with the
interpretation of Da 5a results-
The task of preparing an edition of the work from six
manuscripts was entrusted to Smt K-Visweswari Arama an
Assistant Research Officer of this Institute- The work was first
published in the Journal of the Oriental Research
Institute and Manuscripts Library VoI.XXI Part I and it is
appearing now in book form. It is hoped that this lucid work
dealing with the timing of events in man's everyday life will
be helpful to any student of Astrology and to the lay public.
O.R.I & Mss. Library Dr. K. RAGHAVAN PILLAI
25-7-1977 Director and Professor of
Sanskrit.
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u (■■■■% Introduction
' A careful istudy of tffe stren(gth b of the planet's and
asc 3 ehdaaFl& a- horoscope gives u^iirMSfit , in{o J Ae* B good i
and bad efftaesrtvhich the native Has '\h experience (ft tins
lifdw Now ?*tfi« 'question- ifeteifcftr aiTsfes as : to whenV
p#$p# is l^e/fotQ^pgf ifwetfchflfe^ .of t*t deeds good
^1^Bi«.iM"^Mi%rtfl4MWJt.' 'Who- paittis,at$whk# ttoi
actifrnso* peraoos; ai« txpditfed to bea#' J !Ptfft Ifre caJfeti 1
'ftaior'f ; fa) otter nwii-df" bfega* ate pl&odfc iti ' '■ wife the 5
HUfWuriderg&fe gb«a dr' bad'e^perfericesV ffiffife as 'a
*su* ,; 6r- a li3 :! past kaf$a i'nilcafed' by t&V planetary!
conditions in his hoioscope-
. The ancient sages have d^clapd <Jtjat. th^j^piff ^
human life is > j^yeajfl. Jhjs period, jgjd^tribiitsd ltW}M &
the nine planets^each dj^siop, b$in$ ieirflei j|s^he^a$#l.
qfth^j^rucular^p»t r/ Th4S 'po^e4 } .-Ud*4Mft' 'udjifj
n^^ng '^ac'vJhe p^tfioar f Afe>qn>at birth, is importa«t/
is«1h^^^laiMnT«£ 'nfludasaL, Each eottsteHafffott la¥ ; -*>
pditjet-j«»giiecr to it a*! Its loWT and ! the ruling 'cfcr# "8*
duferfntaeU by tHeJSbhstefiatlon occupied' Vftfooif at the. 5
1
Phnet
Yeats
Sun
6
Mooq
10
Mars
7
Rahu
18
Jupiter
16
Saturn
19
Mercury
17
Ketu
7
Venus
20. .
The table of dagas is given below:
Constellation
Krttika, Uttra and Uttarasadha
Rohini, Hasta and Srava?a
Mrgasira, citra and Dhanista
Ardra . Svati and Satabhisa
Punarvasu. Visakha and PurvaMiadra
Pusya, Anqradha and Uttarabhadra
Asle§a, Jye^ha aod R^vati
Makha- Mula and 4Hoi vlii
Purvaphalguni, Punft&dlia and Bh^rani
b The riding da*a pertains to the planet which* governs
that particular star occupied by Moon at birth time and the
next dasas puqpeed in the order given above According
as the duration of tty constellation that has elapsed at
birth-time a portion of the ruling dasa is already over ml
the state of pregnancy and the balance still remains at
birth
. v . . . ' ^
• ) J . .' i • » i • '
The most popular method of finding the ruling. da*a
* \ & t
and ftS r balance at birth is given below: Find out the total
duration iof the particlitar star at birth ancl also the part
tfaat has elapsed at birth -titn f i f i^en you can find out'
the remaining part of the Star. Multiply ~'ihe number of
yMr* attributed to tfc* planet which rules over that parti-;
cular star by the unexpired part of the star and divide &e
product by the total duration of the star* This gives the
b#l#nee atbifjhofthe ruling da4a. Lot V be the tot*)
duration of the star in ghatis and y be the portion of the
u
star iq ghatis that feas <elapsed at the time of birth. Then
the portion of the star that remains unexpired at birth-time
i§ (x-y) ghatis. I et V be the number of years allotted to
the planet which governs that particular star. Then
2 i£ — U. gives the balance of da£a at birth time- The
x
quotient gives the number of years and the remainder, if
afey, should be multiplied by t? and divided by the same
denominator and this gives the number of months. If any
fraction of a month remains it should be multiplied by 30
and divided by x. That gives you the number of days*
If the remainder is further multiplied by 60 and divided
by the same denominator it will give you the number of,
ghatis Thus the balance of the ruling da*a can be;
calculated corretpt to the nearest ghatis.
Another method of calculating the balance of the
ruling dasa is from the longitude of Moon at the tiros of
bith Suppose the birth takes place when the Moon is
»
in Capricorn 26" 1Q1 - The sign caprjeorn is composed
»
of the three parts of Uttarasadha* the four parts of
Sravana and the first two parts of Dhani^ha. Every
constellation covers 13$ degree ie 13 degrees and 20 minutes
of the zodfae space and so each quarter is equal to 3& ;
degrees ie 1 3 degrees a id 20 miiutes in extent. Therefore
three cpterters of Uttarasadha and four of Sravana =23 de-
grees and ZQminutes. 26 degrees and 10 minutes minus 23
degrees ao4 20 minutes*- 2 degrees and 50 minutes- So Moon'
has passed 2 fief tees ai#l SO minutes in Dhanis{ha atthe time
of t>iit^L We knqyv DhaniHha is rated over by Mars whose
t •
tsa* of one planet tnere are periods
ttl^^fk>Js/tn'a^*d& f tfere are *ub,-
pwttitt i«4«v*n ydclfti. Bacn'c&Bfcieliatteft , b&#fta%tfc?
a#4 Z(> wAitfe** we »i»t,fiin*ioi* ^hat. ' w«Uto 1 Ho f^ff ^
foi 2bte8cte^»d'50 rAfetrtes and tfat' fc * *;**£* **iyVar
5 months and 25 days. ' This period ~1ias elapsed in Jne
sW» of iWigattftcy a** the ptfiodtye' get bi' v s^Blracting
t^s^rp^^ajrs ie$ yea^niiiujMriJHMi S*i«tfbs 4 MKi 25
day's = 5, years 6 mpflth.* md ^4a#* wi$bt,tiw r tetomr.
of the dasa of Mars at birth. .. . - r . , ., , „.,.-,
, QuJ of % tyrq.flifjtoifc **Aatoi iatte fcettto method 1
for c^lcujating, Ududa* ; » . . • -.<,,;. t. t .* y : «>t i bn
called Bhuktis^f Sufc-p
pMtiodroflaHthfc ntrie pfanets/lhe first 'sub-penod feeiiig
that of the da^a lord^itsolE 1fc*'oraeV 'of'tlle' oUter*' sati^
peiiod^ is t^.^pe^ U»t g^a/cfc.tlfcnjiwkid***
" l " Nbw left us find out the method of, calculating" the.
s^fc^periods in eacti oflne particular .d^as^ Mutably the
nttrattef* of years ofthe ruling planet or lorcTof ofa^a witp
the" number df yeah aTfottecT to that, particular .planet
Whose sub-period has ( to oe calcinated. Thh product, divi-
dea by i>0 will give the mi Tiber of years, The 9 r^majndfirf,
if any, can be cpnver|ed ? {p. months ^ty multiplying Mh^
and dividing by. 1>^ Tb^r^aMng f ,JSiigetiPii nhM# J*'
multiplied .-,bjk 30 . ^ad; diKtfed- b^ *?<>> an*, ifa^ : gkwtt ? tfce
numbsr ftf day* An daakrjntftiod <#J Mkfckrttofc* KMltf
igbgtYBai below^ MatKptytte* tiUffib^^y^rf# £ t^^-
« •
bhokti is desired* la this product cut off the last digit
multiply it by 3 and keep that figure as the number of
days, the'other figures in the product being' 'the 'number
ofmonrhs- ' ;,J •"-■" "
The Bhuktis are further divided into still minor
periods cabled 'Antarams' or Inter-periods. For findiag
the iqter-pe iad ofo^e planet in. the sub-period of another
planet multiply the sub-period by the number of years
allotted to that planet; whose inter -period has tp bs sajcuf-
lated and divide? the product by 120 and , the result jiyep
the inter period of that planet. Now let us take an example.
It is required to find out the inter-period of Mercury in
the sub-j, erjod of Mars in the major period of Saturn
Sub-period of Mars in Saturn is 1 year 1 month and. 9 days
ie 13 months and 9 days • The inter-period of Mercury
17
in this sub-pet iod = IS months and 9 days x -**£
= 1 month 26 days- 12 hours and 36 minutes. In the sub*
period of any planet, there will be the inter-periods of all
plapetst the first inter-period being that of the particular
pianei i1se}f and the other inter-periods ! succeed in the
order given for the dasas-
Important events in man's life such as marriage, birth
of child, promotion* transfer etc happen in the dasas and
bhuktis of particular planets- To determine' the probable
pe iod of say- marriage in a horoscope, the 7 th house, its
Igird, ihe plauet posited in the 7 th , planet aspecting the 7 th
house and its lord, the 1 navamsa lord of the 7 th Venus-
all thise have to be considered, their strength carefully
analysed rand the planet wjrichis the, most beneficial ohe to
impart marital happiness found out an^the dasa or bhukti
of that plaqet may be predicted as, the probable time of
marriage. During the dasa of a planet the native wil'
experience those effects which are attriouted to that planet
Hod also the effects of the bfiava and r§$i ocupied or aspj-
«te& fcy it and also tht yogas produced by tiat planet, Tn
equalities and funct&ris' stamped upon the dasa-lord will
»
be modified to a considerable extent by the nature of the
house oedtfpied by it, thd nature of the planets aspecting
<tt, Ate nature of the lord of the constellation in which the
•dasa lord is posited and the po^itioi of the planet in a*i
ifls Well as navSmsa. While making predictions the general
*ffeet5 due to that planet should bfe carefully weighed and
-particular tare should be taken to avoid incongruous
resWts, wlienever they ocart. Also the result predicted
stioul^ t>£ cgpsistept with the person concerned under the
circumstances in which he is born and brouglt up and also
his physical state ai that time.
I;*. To »- * '- - • *
( j Some genetel rtries jrfhicb help in the prediction of dasa
effects afegivta betow. There sjould be harmony in the
mutual relationship between the dasa-lordand bhukti lord
for the production of good effects. If the dasa and
bhokti lords ap situated in 2 and 1? or 6 and 8 from elch
other, unfavourable results will be experienced by the
native* l During the dasa of a trta!efic when the
sub-periods of plansfr governing the 3 rd 5 th $tnd 7 th stars
from the natal star are io, progress the native will be put to
many hardships and trials. The dasa of a, planet posited
vi
*
in the 8 th from the lord of fygfl^a will be harmful to the
naiive and may even cause his death towards the end of the
dasa. > f a planet is weak and debilitated we cannot expect
an> thing much from him even if the lord of the sub*-
period is strong. During the dasa of a planei who is inimical
to the lord of lagna and Chandralagna the native will have
troubles from^ne nies, quarrels, diseases, loss of wealth
etc- So alsd frith* dasi of a planet in deb ligation Or
in retrogression or t>>sited in the house of an enemy, the
r m. -
person concrn d will have to live in foreign
coun ries, will be haU'd by his relatives and will be addicted
to do fortidden acts- The bhukti of a malefic in the dasa
cf a malefic will be dangerous add cilami'.ous especially
if they happen to be in mutually hostile positions- The
dasa of Saturn if it happens to be the fourth dasa and the
dasi of Jupiter if it happens to be the sixth are unfavour-
able, but if SatUm and Jupiter ace favourably disposed in
the horoscope tfete evil effects mil be redeemed to a great
. extent- If the lagna is powerful, favourable results can be
expected in the dasa of the lord of lagna The dasa periods
of the lards of the tunes and the sub-period of the lord of
"& in the iparj^r period of the lord of 9 and vice versa are
good, hithe dasaofayogakaraka planet the effects of
Rajayoga will^be experienced in the bhiktis of the concer-
ried karaka$- Eve ; hough a planet is debilitated or combust
or occupies the house of an inimical planet, his dasa w4i
yield mixed effects in general and will be favourable
towards the end of the dasa period if he occupies a good
bhava ix> rasi ,a^ well as navamsa. Thi dasa periods of
Venus and Jupiter are not auspicious if thev oxupy kendra?
til the horoscope. If they occupy the maraka places ie«,
2 and 7, their dasas prove fatal to die fcative*
The results of the major period, sUb-period or inte*—
period are modified by the influence of transit or gocara
at that time* Saturn is associated with obstacles* retard-
ation of progress e c- , and as such if he is afflicted in a
horoscope greater will be the hardships and, afflictions
caused by him Jupiter on the other hand, will shield the
native from obstacles if he is uvjurably disputed in the
h jrosc >pe Trie influence of the^e two plan ts is greatly felt
in transits- If Saturn is in 'adverse angles w th the da^a-
lord. even if the latter is well-pUced in the horoscope, he
will attest the good effecfe of the data and release them
only when hid'transit is over*, Rut < pn the other hand,
Jupiter in cpiyunci ion with the dasa-Jord will prpfnote his
good r^sul r s to a greater extent.. , ..,
An important thing to be remembered while making
predictions is that the raele presence of Rpjftydgas or fine
.planetary combinations in a horosqope is not enough-
These Rajayqgas will not give effect if they are devoid "of
strength and if the proper dAsas do not operate ia the
life time of the native. These two conditions should be
fully satisfied 10 as to ensure the experience of the results of
the Rajayogas* If the planets which £ive rise to Rajayop^s
are devoid of strength, f^ results will be reduced to a
minimum- It is eve* s^id that the yoga? produced fey
planets which are devoid of any strength will he expe i~
: enced only in dreams and thoughts-
The work "Udujatakodaya" is written in metrical
style and consists often Prakaranas viz-, the M&raprak' -
a ran a, the Ravidasaprakaraiia, the Chan<ftfedasaprakararja,
viif
tire Kujada^aprakarana, the Rahudasaprakaracja^ the
CJurudasaprakarana theSanidasaprakarapa. the Budhadasa
prakatana, the kewdk^pMttrana Aftd tile £fflfcteSda£a
prakarana- Ttifc f it$t ptskitta®& fiefete inlth g*taer« tofneft
such as strength of planets, their Ear akattva, their, dasa
periods, the probable time of death etc* Towards the ehd
of the Misraprajkarap^th^ author gives-* the methods of
cftfcotetiitg fhe Dasas and Bhuttis or Antai&}§as of planets
The remaining nine Prakarana* siwr the probable results
each planet will produce during its dasa and bhuktis. The
student of Astrology should bear in mintt that the princi-
ples given here should not be applied verbatim- He shoul i
be very careful in applying, them to practical horoscopes
and should use his commonsense when he attempts to
predict* Particular care should be taken to see that the
predictions made should be fully adopted to the caste,
status, age etc of the person concerned and iacongruous
results should be cMrtprfWfcly avoided-
The Work comprises *04 slokas; 16 slokas in the
Mhiaprakdflanj, 10 Slokas in the Rahudasa Prakarna, 11
slokas in Kdtudftgsa prakaraua» 9 slokas each in the
remaining prakarana s and the four concluding slokas*
The jauthor of the work remains anonymous. The
only information we get about the author is that he is a
brahmia belonging to VenaqU
"the edhiott is" based oft the following nftnusedpfs:-
- l L ? 690D - v
This is used a} the model text Number of folios ii
Size 24 cms x 4 cms- Number of gratodhas *W
Malayalam script. Complete- the manuscript is old and a
bt damaged-
i «
f
ix
2) 19910 »-w * < ;
Number of folios 15* S&e 20 cms x 4cms. Number of
as 200. Malayalam scr^p^ Complete.
3) 1912 D *r
Number of folios & 5iz£ 25.5 cms x 4.5 cms.
Number of grandhas 200. Complete Malay alam script
The manuscript is damaged
4) L- 864 B- «r
Number of folios 4. Size 34-5 cms. x 5cms* Nunber of
grandhas ISO Malayalam seripts. Incomplete- The first
PraVarana is missing.
5) 13478 G- w
Number of folios 3. Size 26 cms x 4.5cms Number of
grandhas 60. Malayalam Script. Incomplete- Only the Mte-
raprakarana and RavidaSaprakarana are given. The work
comes to an abrupt end In the middle of the Candra-
dasaprakarana- The manuscript is a bit damaged-
6) 19886 L-*r
Number of folios 1. Size 31 cms x 5.5 cms Number
of grandhas 3 J- Malayalam Script. Incomplete. The work
consists of only the Mi£raprakarana- The manuscript is
damaged.
I acknowledge with gratitude my indebtedness to
Dr* K- Raghavan Pillai, the Director an^ Professor of
Sanskrit for his valuable suggestions which helped me in
bringing out this publication*
K. VISWESWARI AMMA
As st. Research Officer
fiWII3*H(WN
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Dr. K. Ragbavan Plllai,
Director and Professor of Sanskrit*
Trivandrum Sanskrit Series No. 243
SARVAMATASAMGRAHA
Edited by
M. Madhavan Una!.
Published by
Dr. K. Raghayan PillaJ,
Director and Professor of Sanskrit ,
Oriental Research Insititute
and Manuscripts Library,
University of Kerala,
Trivandrum-695581
No. of Copies 250.
All rights reserved
Price Rs. 3/-
Printedat
Vijfi&nabhavan Printers . K
Manacaud, Trivandrum-9.
1977/1152
*
't
PREFACE
Sarvamatasamgraha which we publish now as TSS
No. 245 is a work of Narayaiiabhatta, on tenets of different
schools of thought such as Nyaya, Mfmamsa, Bauddha and so
on. The publication is based on the only Manuscript (No- 1028)
available in this Institute.
There are 147 stanzas in this work in different metres.
Though the work was composed in the early period of his life
Narayaiiabhatta has shown that he was a talented composer of
poetry especially considering that this is a work which deals
with the Sastras.
Sri. M. Madhvan Unni, Research Officer was entrusted
to do the work ia connection with its publicaiion. It was first
published in the Sanskrit Journal Vol.XXI Part I .
I sincerely hope that this publicaiton will be a valuable
addition to the field of Indian philosophical literature -
O.R.I. &Mss. Library. Dr. K. RAGHAVAN PILLAI,
1 - 8 -1977. Director and Professor of
Sanskrit.
SARVAMATASAMGRAHA
INTRODUCTION
Treatises of Vedicand Non-Vedic systems of Philosophy have
ttien composed by Acaryas from time to time* The SarvadarSana
mmgraha of Madhavacarya, Sarvamatasamgraha of anonymous
authorship 1 , Sarvadar£anakaumudi of Madhavasarasvati 2 , Sar-
vasiddhantasamgraha of Sankararya 8 are some of the treatisei
giving the tenets of the various schools of Philosophy. Generally
such works include the Lok&yata (C&rvaka) JLrhata, Bauddha >
Advaita* Samkhya, Vai&$ika, Ny&ya, Pr&bhakara, Bhajta, Aupa-
irf§ada and Pauranika $ystenjs. In .the present work namely
Sarvamatasamgraha 4 , we have to assume that Narayanabhatta who
r
1. Trivandrum Sanskrit Series No. 62
2. Trivandrum Sanskrit Series No. 135.
*3. : Published by M. Rangacarya from Madras as a work of
Sankaracarya. But actually, it is written by a SankartLrya.
See 'Manuscript notices and stupes: Sarvapratyayaoj^la of
Sankararya' by E. Eswaran Nampoothiry, Journal of the
Kerala University Oriental Research Institute and Manuscripts
Library Vol. XVIII. No. 1 •
4. Even though there is no mention of its name as Sarvamatasa-
mgraha in the colophon, the name of the work is registered as
Sarvamatasamgraha in the Catalogue of ORI & MSS. Library,
Kerala ^University, Trivandrum. S. Venkitasubramonia Iyer
' naihefciil as Sarvamatasarasfcmgraha.- (See 'Melputtur MatrdattsF
Journal of Oriental Research* Madras, Vol. 28 (1961) 61-67.
The name of the work how^\^ f seems to be as Siddh&ntasa*
rasamksepa since the expressions 'Sidhantasar&naham* and
'samks. ipan* are seen in iloka 6-7 of the work.
1 i
was a devoted follower of the Bhatta school of thought has placed
Bhatta system above all other systems. But we cannot say that the
great author of NIrayantya has no rsspsct for other systems,
especially the Advaita.
The method of treatment :
The treatise deak with the systems of Q&rvtta, Afhatlt
Bauddha, Vai£esika, Naiyayika, SeSvarasamkhya NirTSvarasamkhya w
Prabhakara, and Bhatta. It also contains brief references
to the. systems of PaSupata an<| RApi&jiuja. Amoag these t^
Bauddha system is dealt with rather ssccinctly while the othef*
are treated in greater detail. The enumeration of objects* the native
of liberation etc. according to the "systems of Carvaka and others
are described in detail. This table will give an idea of these
systems: ~
Ptam&xia&
i * * » •■»
1. Ctrvtta
Fratyak§a
Ifratyak^a
Anumana aqd
Aptavakya
3. Bauddha . -do-
4. V^e^a, (S^ida) Pratyak§a
Anumina
Anum4na
UpanjSna
Sebda
Maraqa
Alokakaie
Satatordhvaeamanam
Sarva^unyativapti
Atmagunocchedamayf
^ • -^ . * . - * - erf ' r > v*
rtpa pljiiiavanmtttktft
* " , ;
U
« 1
6. NiriSvaras&mkhya
7. SeSvaras&mkhya
8. Pribhikara
Pratyak§a
Anum&na,
SbODda
-do-
Pratyaksa
Anumaria
Sabda
Arth&pattib
Sukhadukhadi-
« v •
9. Kumirila
vigamarupa
jp^*9atvarimtiktih
-&o-
Atmanah
svarfipavasthana-
1 kkSanapasl^avanmukti^
Nityftnand&aubhava
Pratyak§a
Anumana
XJjf&ii&tik, %3btik
Arthapatti
Abhava » . ,
Tltea)tASior v s argumciAsfo Establish Vhe fedets of the ^utnarila
system are couched in a convincing way. His arguments refuting the
salient features of other systems are also apparently convincing,
^or instance his treatment of tjie Lokayata (Carvaka) syftgm* may
be examined, Ift> maintains thftt thpugh it is true tfeat the syrteat
3ras given shape to by<sage Brhaspati sod as such.it is Arsa warran-
ting,, recognition* the system has its. own limitations* The expoun-
der himself does not maintain that it is the final end. To establish
•> • *
the truth and to point out the limitations of this system our author
cites illustrations. Thus he says that *the words of the sage which
give rise to over ambition, as also the words of the sage which go
against the express injuction of Sruti are to be rejected.* He also
speaks dgairisft the atfgtitiients of the heterodox sjftfem'wliicii finds
fault jjkty the fC^la ^Br^ania {toarr^ng^ %id|i(s^ 3 w^njtw^ Tha
smrti maintains ttot ( the Brafcamn ^haU pou^. ^ .^sudra girl
only after marry ing a girl each fr$ip th^o^er . thr^, coiMnjnities^
[e who marries a Sf dra lady without these three previous marriages.
s to hell. Taking support oft this; some hold that Brahmins
who marry, a Sudra lady alone is to be despised. Our author does
not share this view. He replies to this argument effectively. 6
•« • -
His mode of refuting the saptabhangi principle of Arhatas is
thought-provoking as well as interesting. For example the following
passage is noteworthy: —
atg*f Hta^vl 5^*rt
His refutation of the Pr&bhakara system in the following lines
is yet another interesting observati on.
*
Indebtedness to other works
It is already noted earlier that there are several works which
explain the principal tenets of important systems of Indian Philosophy.
Such epitomisation helps one to understand the basic ideas of the chief
wr ^iMiHi , «i ■^I'M^w I^Nsr: i
wr fro w MiWM wtr fi^Pfff^f iroro-
w wfo^s4|rf*r| i?^ iprf fiMv^Ri ii (lift- v» )
systems. Among such works Sarvadar£anasam£raha of M&dha-
Tacaryi holds an important position* Its- influence on other works
of a similar nature fe worth mentioning. Much parallelisms can
be noticed in epitomes of these systems. It is only natural that
expressions are often found in such works, including this work of
Narayanabhaita. We can see many identical expressions both
in Manameyodaya Purvabhaga and in this work. A few instances
•of similarities in expressions are given below J -
Sarvamatasamgraha Of*h-\ )
(Minameyodaya. See p. 3 footnote)
Similarly the verse*
lias an echo in the following line of M&nameyodaya:—
7«RPflrRr *»»# i ?rata Skhqfi srMrfa <*miPh ; *j%:,
(See p. 22. footnote)
Yet toother sfnoltvity may be noted between the works.
(Stanza US.)
:• . i
HW'wwm^ ^ra 1 5^ffri«i 'ftn&n, a^*^ ^rafidsr ffwtoifti^
'See p. 24 xO6fD0tC9
The Sarvasiddhintasamgraha of SanlcarSrya seems to kave ii
our author to a considerable extent. The similarity in ideas
and expressions is obvious. For instance the following stanzas of
the work 6f S&nkar&rya are given below for comparison.
7
Milfoil I fc«$cfl ^fe^ft^Tf^r: I
*4M4MHWd*MKI*Ufe+4«IIH I
; jniRrt |#.to qpw^ **mftn
These verses are succinctly expressed by our author iik a beaiffflW in'
thought-provoking manner as follows:-
.811 * A *
7. Sarvasiddhantasamgraha-P. P. 5, 6
VI
«?ff sqjwHRwf tot ?Ta- fg ^imwY» g^r n (fffrw)
3$e argun^tg ^fjvanpcd t$ : controvert tfce Ja&a dopfrinai
<rfpsc cewmbbiiKe Witfc the Bfaasyaf on 'Brahraasutra |by Sankaia*
For i&stianee the stanzas from 50-57 may be compared with the
Brahmas&trftbhisya passage:-
jnvTCBn|^Hn^nBn|K •■^■DT^ I * a* a** aiaB **«* IAal *•*•••*•••**••*•«*•* ******** a* a*
*I4 *»•!»
Thus it is clearjthat qpg. author accepts the ideas of bis prede-
cessors in this field. In a worjt of epitoroisation of this kind there
is no question ?f ori^a^ity. What the author tries is to intro-
<J3H)p tfe pgtyciples of the various schools of Philosophy which
nay help us to understand them with their particular modes.
Author
At the outset if, may. he. $#£ th# thfimaj^r^o/ the
*tthOL 3*t there it an important feature in this work which
yii
more or less, points to its authorship. Thus the work contain*
altogether 7 stanzas which form the introduction to the treatise*
Of these 3 verses are also found in the Kriyakrama of (TSS No.
238) Melputtur Narayarjabhatta. It may be concluded that the
author has used the same verses as the benedictory verses of*
this work also* This feature is suggestive of a common authorship.
No author borrows the lines of another, for the benedictory portion.
Thus it proves that the author of these verses is also the author or
the present work.
After the refutation of the system of the Carvakas the author
states:
* Here the name of Matrdatta is expressly included in the work*
which may give rise to some doubt regarding the real authorship or
the work. But we know that Matrdatta, the father of Narayana
bhatta, taught his son, the various sastras like MImamsa. 8 Moreover,
the above verse is to be explained la the light of the Following.
statements contained in the present work:
I • ••• *'
(Sloka 6) and
»
8. fftafenft mciTcnftHi*wfta«i *nmww*nfcj
Wt jwiiW ' !> iwj' i ana tfrrefft: qnftm*' ut «ffiMiiwf<t
vm
tt
9t i* ; Md9H^ft$Aftatfd desfrans x>£ prt^uatfogj tbe knowledge
r ^ApknM% hinr '%y ids father cofo^osed the wort*
i Thfrffias cfrppx i afed by hi* father were ghren r shape^to% tfte
illustrious son in his own facile style. Oitf. <?f. humility he 4idao*
forget to maintain the name of his teacher in the work and that is how
-we f fcrd the name of MStrdatta mentioned here in the work itself.
*ftc passage 'tike. ^^Hl|d^l^4^ fa&fc* I (*??Mq)
clearly brings out his indebtedness to his father who was his
teacher.
Moreover the similarities of ideas and expressions -seen in
^^^^W^^I^Hi^H^H^ I ^H^Mi ' (Sanramatasamgcaho- Sloka 3)
and ^^^lg^^H^ld^KI«^ir<M.^-
^tf (Naraymijfyft De^aka 2 SksJta 2) «
%T5TT^ S^nGftft^' (Sarvanatasamgraha Sloka 3) and
'*^rcne* ?rtpw vrt^r^rrerR^ (Nirayatfya i-i)
'^Pro^ter' (Sarvamatasamgraha Sloka 3) and
TH'IW^uI f^^TOR' (N&rayatfya 1-1)
^TW^^M' (Sarvamatasangraha Sloka 3) and
QMMHSM^talW*'' (Naraya^Tya l-i;
clearly strengthen the above view*
?. Venkitasubramoma Iyer, 'Melputtur MAtfdatta' Journal of
Oriental Research, Madras (1961) 61-67
ix
Date of pQmposjtiofr "^ v -nv-M ■■'■ns ir^r '
The foUowini'roferentt»'itf''8i8ieltIte W ,v tne^<flfte" iJFcompo.
(£tidfcp ! %r the work.
„>.. ,The 10 . ,J^ali 1 <Jay Hll^Js .,pentione/l in ,qww*t joa h*fUh; tip
completion of tjiis work. : J§£h Vr&iJqun ^..jB. v 7£2 # pveqt uig^
date of completion of Nir&yanlya in the chronogram 'angnrtenjW^
(tTRT^W 1<Mri(f7I22I0):' Stf >flie preset kfcff'SSHf co$pb1*d 933
days' before the cdmpletibn of Naraya^Iya. : ir ! '^ -^" f ^ '
Much has already been written about the ^ d|ts of, N^j^^^k^
According to ^anthavari^ Narayasabhajta was trap in }£ E. J$
and passed dway In the year 841. In that case it is evident that the
present work was composed while the author was 2$ years old.'
The Edition ^ ,
The edition of this work is based 6h ' Maftfiteript Nb: 1028
G. of this Institution. (Palm leaf folios 28; size .6 " xltf* # lines Pg
page; 25 letters per line; No. 6f granthas 2(W, Malay alam script,
complete). The? portion 'from ' t*T^> 33 l fq«ftHl*H ^r (sloka 71) is
repeated in 10 folios and the yariants therein are -riven as T J8 ia
footnote.
Sri. A* Ramaphandra S^s try* Semo^Re^e^ph <$fcer Retired)
has helped me in the preparation of the work and I express my thanks
I gratefully acknowledge my indebtedness \Qz our Hp^dLofthe
Department Dr. K. Ragiavan Pilllai for entrusting the Work to me
and his valuable suggestions and instructions which helped me much
m bringing hut this publication. '
Karyavattom *..-■*> M. Madha^m JJnni ^
17-3-77 Research Officer.
MMHMIHIMNMMHiMMMMMMHnMMaiiMalHMMiaJlH
WK<q«F ^WP^ yfk: (Page28footnote.)
il. See Venki tasubramonla Iyer Introductioh' 16 Pfakriy&-sarvafc
wa Part III-Trivandrum Sanskrit Series No. 153. , >
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PART-B
Vol XXI Part 1
a-TiiAi
j
.« rf *•?
, ^ *, ' - 1 ' .*
ASVAGHO§A, THE POET AND PHILOSOPHER
Dr. S. VENKITASUBRAMONIA IYER :
*•• «* •■ .» i L>;
AsvaghQsa is a great figure in Sanskrit literature and Budd~
hist philosophy whose works have travelled beyond India and are
fpund in translations in Chinese and Tibetan also. A good deal
i
of work has been done on this author and his works by scholars,
Indian and foreign, but a comprehensive study examining and
evaluating his contribution as a whole, was a long-felt desidferd-*
turn. Dr. Biswanatha Bhattacfcarjra of the Vfewabharati Univer~
jgfty has met this demand by his admirable treatise on A£vaghos*,
the result of an fcrteaefve antf systematic study *m a long period
i
wWch gained for Mm the I>. Lilt degree of the Calcutta* Un*~
fillllji
hi fercft major seotoaa refiptctivdf entitled •Agvagfeoia's life
4fltfc and woricaf, 'ASvaghpsa'sr language and style' and 'Religio-
Asvaghosa, a Critical study by Biswanatb Bhattacharya, Viswa-
Marati, Santiniketan, 1976. Rs* 60-
philosophical matter in A£vaghosa' the author conducts an exhaus-
live examination of the diverse aspects of A§vaghosa*s output with
meticulous care and keen insight. Re subjects to severe scrutiny
. * < ' . ' k< ri ft -v < ,>'•/-•■
the writings of earlier scholars, whether they be in 'English, German,
French, Chinese or Tibetan, and draws his own conclusions, which
are, in general, convincing.
Numerous reasons are adduced to fix the date of ASvaghosa
as about 100 A. D.. among which are his dectrinal position in
a
Buddhism vis-a-vis the Sankhya metaphysics recorded in his works
and the antiquity and rarity of the metres he has handled- Aftei
elaborate discussion, the two well known Kavyas Buddhacarita and
.-« • ' -\
/-
Saundarananda, and the dramas Sarlputraprakarana and the not—
30 well known Rastrapalanataka* both of which exist only in
fragments, are accepted as ' the authentic works of the author, and
fifteen other works found aligned to^Jii.% among which are well.
known ones like the Vqjrasuci, Gandistotragatha and sutralankara
/
are declared ./bs apocryphal, being mostly t>y the namesakes of the
author, and on the basis of the nature of the contents in eacfi-
The authentic works are dialt wJflt' in idataft Atom' their
poetic as well as religio-philosophic points of view, keeping in mind
the missionary spirit of the author. It is rightly pointed out that
the Buddha of A£vaghosa i$ indubitably the mortal Buddha of
Indian history and not the ideated Buddha of the full-fledged
r. »
-#^tlQ »ik** visa di* i. v *v.h "itoi •. nl 1 a Ii -. -
Mahayana of later date. A£vaghosa's language, Sanskrit as well as
-oj ,ii . rfHa 3; *!.»-*• ioraiw ge **. i *-■!
Prakrit, » examined in all its aspects and attention is drawn to
the specially noteworthy features in phonology, morphology, sema-
siology and syntax. His poetry is examined from every aspect of
Ala6kfif aiatetra audi thtt dramas from every aspect of Indian drama-
turgy. On the philosophical side, it is stated, that he takes Buddha
as the embodiment of dharma and repristtrts Ms philosophy as all
improvement upon the S&nkhya-yoga metaphysics and that he must
have belonged to some Mahas&Aghika sect of the transitions
period between the late Hinayana and early Mahayana*
Dr. Bhattacharya considers A£vaghosa to be anterior to
Kaiid&sa (and Bh&sa too), and so takes his works as the earliest
available specimens of mahakivya and n&taka. Although (his
position may be warranted, we may remember that consensus on
the date of K3.Ud3.aa is still lacking and the relative priority be-
tween A&vaghosa and Kalid&sa remains a matter of controversy.
Numerous alankaras, as many as 45, are illustrated from the
Busdhacarita and the Saundarananda on the basis of the defini-
tions in later Alankara works, since in A£vagosa's own time many
of them were undefined. These are stated to be on the basis of
standard Alankara treatises. In view of the differences in the
definitions of several alankaras even in these standard works, it
would have been advantageous if the particular work or works
followed here had been specified.
**• **?* !■ *fcwi||i«il infvtptfsed w|th nupiqrous (tap*}
» , * ■*
terms. This is not an unavoidable cgngngeqcy , although ft Wf
be natural to a scholar to whom German is almogt like Wi
mother tongue.
*
Pf tt» ffeoli. He mm* tv«ah «f Bi, Mw hhi Um Mrttt-
4feB* <*a be tonitfpffrf ;•» tfitet^wdiiig. •atofritadqn to Suit*
V*.
( I
'.'l
IV
A SHORT TtCTTE ON KANNADA PROSODY
N. V. KRISHNA WARRIOR
1 Sanskrit Metres in Classical Kannada Literature-
The «rty Kannada poete were all gnat Sanskrit scholars, Vnder
all tte inestoible chaw of clastical Sanskrit poetry, they composed
tfarir -works, which utere 4o Abe form of Campukivyas, in highly
Sansksftised Jrtyle And mainly in classical Sanskrit metre*. Pampa
the father of Kannada poetry (A* D* 941) in bis two epics Adipuia#a
and Vikraxnlrjunavijaya . (aljpa Pampa Bb&raia) has paid only scant
regard to indigenous (De§i) Kannada metres, depending mainly ' on
one metre derived from PraM> viz. Kanda and six metres of
classical Sanskrit, viz. , Sardufavikridita. Matt&bhavikrldita,.
Utplamali, CampakanoaJa Sragdbara and Mahasragdhara. Other
classical poets who followed ,in the footsteps of the great master restricted
themselves Jo these same. metres- Only these metres are to be found algo
In the inscriptions of A. D. 600 to A. D. 1000 1 - Because >of the
success with which the classical poets made use of the six
metres derived from Sanskrit, N^gavarma (A. D. 990) Jn his
ChandOmbudhi, which is the earliest available work on Kannada
prosody t >has called these as Khyfttakarn£taka or metres
celthiated in Kannada poetry 2 * It may also be noted that the metres
Gempakamaia, Utpalamala, Jtfattebhav)krfdita .and Mahasragdhara
occur veiy randy, if at all, In classical Sanskrit Mteratute, and
ft teems that these have been popularised, if not invented, by
the^ftmicil Kaunafla poets*
The metre par excellence of Kannada Campu literature,
however, is Kanda, which is a Matra metre composed of
four lines, the 1st and the 3rd line hiving 12 and the 2nd and
the 4th. having 20 M&tras each** Tfle twj hatyes of .this metre,
again are the same as the 1st half of the Arya metre of Sans-
krit with one Guru added at the end. This metre is called
Skandhaka in Sanskrit and Khandhaa in ' Prakrt. Obviously
the name as well as the metrical f)rm havj besa adapted from
Prakrt into Kannada-
From Kavirajamarga of Nripatunga (A.. D. 817-877) and
the examples quoted by Nagavarcna the author of Chand5mbudhi
A. D. 990) and Ke£iraja (the author of Sabdamanidarpai^a, cifca
A* D. 1260) it can be Inferred that Kannada poets, to begin
with, made use of those Sanskrit metres which have been the
stock-in-trade of Itibasas, Puranas, Kavyas and Natakas, in
Sanskrit, viz. , Anustubh. Indravajra, VamSastha, Vasautatilaka
Aupacchandasika, Arya, etc. , and that after experimenting with
these metres they rejected those which ware found unsuitable to
the genius of Kannada and adopted only those which, along
with a few of the indigenous metres taken from folk literature*
proved eminently serviceable for their purpose. It should also
be stated that in the classical works in Kannada we come across,
though not frequently, classical Sanskrit' metres like MalinT,
Pfthvl, Sikharinf, HarinI, Manda.kfa.iita, Mallikauala. Taraja, etc.
2. D&si Metres ia Classical Kannda Poetry
—r "w i i ■<■<■! »
Kavirajamarga, which is the earliest available work ia
Kannada and is a treatise on Poetics, mentions 4 indigenous
metres, viz. , Akkara, Caupadi, Gitige and Tripadi. Chand5-
mbudhi which is a regular treatise on Prosody divide
metres used in Kannada into two categories., viz. Vrttas and
and Jatis- By Vrttas the Varnavrttas adopted from Sanskrit
4W qmM wMWfl* category J^ir °^o(^ Mitrli vfttas \
from Sanskrit, Prakjt Apabhramte and indigenous 'tt&tfes.
dSmbudhi defines 10, varieties af thme indigenous metre*
Madai
Akkarike and Cbandovatamsa*. of these metres only Tripadi, Akkara,
and §atpadi are used in inscriptions opto the 10th century A. D,
and in the works of tamps and early classical ' p&ets S&ngatya
and Ragale, two metres not defined in Chanddmbudhi* may also
it
be added to the above three to form five De£i metres favoured in
•early Kannada poets.
i
2. Trimurtiga pas or AmSag agas
It was realised from the earliest times that these indigenous
metres are basically different from the Varna and Matra metres current
m Sanskrit and Peakjt because of the following reasons:
1. The number of syllables or M&tr&s in each line is not fixed,,
but is variable to some extent.
2. The places of Gurus and Laghus are not rigidly fixed except
in few special cases. <
3. The most important consideration in these metres is rhythm
(Laya)» which is the result of repetition or alternation of
rhythmic units (Layakhandas . Ganas or feet) in each line.
For the sake of rhythm a Guru can be pronounced as a
Laghu and vice versa.. The addition or omission of one
or more syllables is permissible, provided the rhythm is
not affected.
Because of this fundamental difference the usual mechanism
for the scanning of Varna and Matra metres was considered in-*
adequate for the scanning of the indigenous metres and Nagavarma
provided an altogether different mechanism by dittoing a set of
ill
Act fGanaa)' nailed wariooab as T ri mffi r flflhn aa • Muflani
fhfc tatfc ** # tMft ft* ft doe OuHl Thb may to
«^- ««■»--■ «■
*0 by twp l—h— if it oartpin the lafcfal yoaman la <fc»
tH) tty ttre la#rti, V i( 6tcUples any other position.
Feet consisting of two three and four wok Bfcitts n)fc rtr*
pectivcly termed BrahmaGana, Vis^uGana and RudraGaya.
»
One unit i.e. one Guru, twe Laghu for 2 Laghus) alone
cannot constitute a foot, except at the etd of a line and that
too exceptionally. No foot can contain more than fouruaife'
Because the Onro c&n bt substituted one or two Laghus
depending upon its position in the foot, four variations are
possible *n BrahmaGana, eight tniiatfotos in VtenuGana and
sixteen variations in RudraGa^a as detailed below :—
I, BrahmaGana (Two units; 4 varieties)
1
G. 6.
£L. *G.
LI. L.
fera hman
sura pam
dh& tr
Taja ne
II, Vi§nuGaija .(Three units; 8 varieties)
go *i ndfiifc
hr Ai ye lam
n&'fci'tP&i
1. <i. G. G.
£. LL. G. •
<8. MB-i^'G*
i«
\
« *
ni h5fi G G. L.
e3«9fn6. LL. G. L.
' i,u ' 7. O. L. L.
o. LL. L. L.
. III. ftudraGana
' " ; ftof-;., <S. o. G. G.
' iu 2. IX- G- G. G.
" Stt ' ! l G. G. G. C
4. LL. I4. O. O.
-^5/^ G. G. L. G.
6. LL. G- L. G.
{tij" f /• •*' G* **• L» G.
**. » • LL. L. L- G.
6. G. G- L.
LL. G. G. L.
G. E. G. L.
LL* L* G* L»
G* G* L. L.
LL. G. L, L.
G- L. L- L.
LL. L. L, L.
rfor
The* three Gagas have been compared with the cjrs with
two, three apd four Asais repsectiveby, the two initial Laghoa
(in the place of one guru) with the Nirai Asai, and the Guros
and Laghoa in the other places with the Ner Asai of Tamil
jp^og^, r On the basis of this comparison, it has been maintained
fta£, these indigenous Kannada matres point to a pre-Sanskritte
DravMian praosodial tradition. However I have been unable to find
Ml
t
11.
12.
r 1
13.
14.
15.
16.
vara hi tarn
kam s& ri
nara ka ri
sri pa ti
mura ha ra
(Four units; 16 varieties)
gam ga dhl gam
giri ja nS, tham
nl la ka Qtham
vfsa bha la ksyam
ka ma nta kam
prama tha dhi ram
«
Su la dha ram
pura ma tha nam
ka nda rp& ri
mad* na dhvam si
can dra mau li
Bhnja ga dhi ri
bhu ta gra ni
trija ga dgu ru
ka ma ri pu
Mada na ri pu
any direct connection n bfetween these metres add -the' Tamil *metrw
described in Tolkappiyam jand. Yappar uilkalam ' and remplajtod in
the Sangham works' Compapiaon af these metres with the ^metres
in the works of later £a{.yite and Vafsnavite saints of Tamil
may perhaps yield better results.
, In course .of timp jhe rhyth^m (Lay a) based oa the number
ofMatfas gained the upper hand and it became the practice of
poets to substitute ffa-Gpnisaa thQ«econd, thiqi and fpuzfo placep in the
fret with two Lagbus (instead of one Laghu^), tbus^ffettjng a banc
change in the nature of ibese metres and making thftp ^pure Mitrft-
Vrttas. As a consequence Brahma Gana and Visnu Ga$a with two
and three AmSas (constituents) respectively were substituted by^MiW
Ganas with three, four and five Matras with ^ the names Brahma
and Visnu retained. "RudraGana with tliree Am£as was seperated
into two Ganas with Ihree arid four Matras, thus losing its identity
altogether. Where #ucjt an accomodation w^s not possible, it became
the practice to take .a Guru as a separate foot at thft end of lines.
4. Definitions afihd flhfctrations of ! imdigehom Kafltiada
metres ; M - "* a
• * ;j
Without goi^g into details jve may describe these De§i onetres
of Kannada.
1 . Tripad i. »•« i -■■ ^ • j
Chandombudhi gives the following definition of Tripadi, which
*s*lseits flhist&itfbn: '< >f * ' r - ' ' > * '
*oh%bJ ^^5/ "AbKavaganam/ RasadaSa/ Stkanadbl/' •"*
w> i} ^isartiha/Hi€tra/ ganamebkr/ IckulittUvu/ _ !>
*(i'.1 Blaa/uha/^ettl/ tripadi^/ *- •
bMifitiif^^ *^ ans t ^ at i n Tripadi the ^th and the tenth pls&ik'ffllh
w bcciipied by %ra&naGana while in all the other places there sJXtA
trVi^tfOsHpa. ». ^ -«\ • V o . j<>.y*/iC!
rvi
tripadi transformed itself into a Matra Vf Ua, an^ became
the most popular metre of Kannada in the hands of VirSaiva poets
from the 12th century A. D. In this later form- a state*' bf tHpad*
h»thJree A 4inesV the* first and the second line of fem" feet each and
tlte-tMM line of three feet. The sixth and the tenth feet have 4
Mftrtt'White all thfe other feet have 5 Nfittf&s eacH: In the ' 7th and
tttfe 11 th feet the five Matras should be capable of being divided
infd"4pHfe \\ which means that' the final' syllable ofthese feet
shbuKTbe a; taghu. This can be illustrated by quoting a stanza
by SarVajQajpurti, The symbol" : " shows that preceding vowel
has to be lengthened to suit the rhythm.
• . i
A * •
Obbana/ Uadejagake/ ibbrum/ tematte/
Obbasa/ rvajna/ kartts: nul / jagakella/
Obdane/ daiva/ sarva:jna//
While reciting a stanza in this metre the second line has to
be chanted twice. At the first time only the first three feet are
chanted. In the second chanting the entire second line is recited
foitatart by the third line, the total effect being that ..of the .rpcital
of a fouzJitied stanza.
The second and the third lines of this metre compared with the
Venpa metre of Tamil and may be compared with the Manjari of
Mfelayalaax.
* +.
% Akkara.
NBgavttrffia has described five varieties of the Akkra 1 metre,
callkf (i) Piriyakkra, (ii) Dorayakkara, (iii) Nacluvanakkara, (fv)
Edayakara and (v) Kiriyakkara 6 , Of these five varieties only one,
vifej Pir*£*kkara, has been used in inscriptions and in the works of
Pamba gad* other classical poets. All these are quatrains.
• •
vu
(1) Piri yakkarit. . :
'i / i
The definition of Piriyakkara in Chanddmbudhi is as follows: j ,,<
Modalo/ Jajaganam/ kundade/ barkatta/ mayduga/ pariigale^
vi^uv^ku^
Tudiyo/ lemba/ tai^ado/ lelliyum/ kandarpa/ ripuagnaflo/
nelasinilke/ y
Padado/ lera<lemba/ samkheyyo/ laRaRo/ lajaganam/ s^ama-
s y&ya/ mappodakkum/
Sadama/ lenduni/ bhanane/ nakiga/ nistadi/ nitidu/ .
^ifiyakkaraA
. • >
According to this definition each line of Piriyakkara shall
consist of seven feet; the first foQt shll be a BrahnmGana; the
last (the seventh) foot shall be a Rudra Gana; and all the inter-
vening feet shall be VisnuGanas, which may occasionally be
substituted by Brahma Ganas. Another illustration from Adipurana
by Pampa:
Igal/ ntnirdu/ nonise/ n5ntuma/ habalam/ lalit&gam£ vijrtja-
- ngham/
Bh5ga/ bhumijam/ sridhara/ dcvam/ suvidhina/ radhipa/
nacyutendram/
Sagar&ntam/nelanani/tanitumam/ cakradim/ besakeysi/vajranabhi/
Y&gi/ sarvartha/ sid&hiyol / putti/ bharatado/ linnadi/
devanappom/
Here the 4th foot of the second line, the 2nd foot of
the third line and the 4th foot of the fourth line are Brahma
c. 1
Ganas substituted for VisnuGanas.
There are 'also instances where the initial Brahma Gana has
been substituted by a VisnuGana. The final RudraGa#% has,
however, to be preserved in tact.
viii
*'"^ ftore yakkatt. J f :l
According to the definition in Chand&mbudhi e$<?Ji tine ,4?
this quatrain consists of six feet in the order Visnu, Brahma, Vi§nu,
Vi§QU, Brahma. It has been said that this metre has been used by
As<
an<
Hence the definition by N&gavarma which is quoted below, 1 ' is its
sole illustration:
saga in his Karnata Kum&rasambhava - This work is not available,
ia no other poet seems to have composed in this metre in Kannada.
'..>*
Sarasi jddaraga^a merada janumalli neradikke matUm
Sarasljodara ganamerad a janu makkp g^amuma, Rpkkum
Saras!jal5cane dorevetta ganadim dorevetta pesarim
doery&gisandu doreyakkara midana Rivudi teRadim.
(111) ' Naduvanakkara.
The dtfinitfftn of this metre given by Nagavarma is as follows:
Jalaga sombhavagana makke modalolnadu ve murum.
Jalaruhod dara gana makkei kaminta kaganamakkum
tilakadantire talayole bandikke; k£mab£n§.
Valiya pangeyde ganamakke naduvanakkarake sakht.
. ,, , , According . to this definition each of the four r lines
of a stanza in this metre should consist of 5 feet, viz., I initi^
Brahma, 3 intervening Visnu and I final Rudra. It is said that
tlis metre has been used in Karan&ta MSlatimadhava KSvya
which has not yet come to light. A stanza -in this metre,
howeYfifc i I s f oun ^ i* 1 Madanatilakam by Candra Raja.
(Mr) , JBdeyakkara.
The following is the definition of this metre in Chandombiidhi:
'" Vanaja sambhava gana makke moda lolattal
u 'Vanaruh5daragana yugala madakke ru-
dranada Ramtyadol bandikke nalke gana
Vinite, vanite, kel, edayakkarakkinisum.
ix
It is said that this metre is found ixi J^Arjoit^ari^attii,
which unfortunately has not come to light. ~CandraRaja in his
itodftfeatittAfem has tirade 'u& of J thid metre also.
j.
Of) Kawafti'w
The fifth and final variety of Akkara has been described
Hi Nagayarjpa asu follows: . ;/ „ :, „«.
podeya larirbarum modal olikke
jadeya *ank^a»t^ft» 5 t^diye*ikte- ' -»i.:,uj. usa-'
*■'-"' ittdadik«%^Itogan^ f tne^edlkktf nr ^'
gada, kiriyakkarakkide laksanam. .
According to this definition, each of the four lion of a
stanza consists of 3 Ganas, viz., 2 Visnu and 1 final Rudra.
A work: called Srngafopinda is to 'have made use bf tWf fltetfelfc*
but this w^k is not av^ftt^eLf 4 „
T,
r i
3. Akkarike. rai
Tfte stanza in Ch&nd6mbudhi which defines and illustrates/
tftb metre, is as follows: '
i
Mura^ipu/ bomipam/ muraripuJbommam/muwwjpu/ &ladlutfMMh
Sarasode/ nilkum/ Maragana/^ makkum/ surucira/ mitrdgali«/i'
Nirupama/-<lindam/ pafrimita/ ma^pant/tireyati^ittmiyatalitf •
Bare tar a/ lakshi/ dhareyoli/ dettam/ karainflsefyfttfckai^kft
AcQqrdiug to this definition, each of , the four ; lines of a .sUnza
n this metre consists of 6 feet, viz., Visnu, Brafrma, Visaju r Brabma,
Vi$nu and Rudra. The last Rudra may be substituted by YitfMT{>lus
Guru. ...
/
X
/ • *
ti.
. S! ^ditoWU/ T peiifjw^a/ $^3^att#»/ bqpvMaatf- tV j
Madanaha/ ratroya/ dimhari/ fcadejapfje/ ^adau!paJI/ fl . yir i w
According to this definition this metre cfn |» scanned in
three ways: _-
* '■< A. '^Wsitffc^astyus'l'Guru- ^sMJfcff'affcv*). %
ii. 4 Vi^pu Xjanas dIus 1 Rudragapa (U may be .remembered
that one Quria^to fi Vis^ana makes ifr Rudragj^
I iiu . AftudtiMGaopB {tins 1 . MippanOana. i . j • X . IbiP
-•»!•
• t
This metre also does not occur outside of Chandombudhi. . A
: '/oiiot
5 * t £foan4 Qvfltagisa . . . t
ni - rttfttrihraf/dfearaga/ namese/ diremo/ dalole/
\s«lOd|p^sy««*/^Jtoi0bi/mwitbb/ jaomwb/ /a .U
' »r« Jr.? . JSaiteJwty/ lak$a' namava/ niyoli/ teradim/
Chandova/ tamsa/ kkesedu/ dug a j a/ gamai\e/
o
3^^|re^»ltois^^,only^(^aj^wbtt4iH. ; » .,-.;,,, ... : .. Jl!lo
6.^X5w«|>a«i - ' • "^ v'
} o Y, :1<^
• ? * « rT
Chand5m5udtu defines this metre as toltows:
Madanana/ tendeyamum/
dudayise/ §ankaranol/ — -..
'»* ^, ; b^M*Aati/.icw^a4i9»7 : <o bnu «£•/.. • «i8 \ i<. §nil
• ••
UK
2 According to this definition each of the t 4 4j^j of ^ stanza
consists of 2 feet, 1 VisQu followed by 1 Rudra.
Akkarike, Madanavati, fchandflvatamsa ktora €auj>£u4t' have,
like n, Akkara, stanzas of 4 lines composed of AmSaganas; but
the examples show a stage where these have bec&fte more or
less Matri Metres. They have specific Yatils (pauses) ktid Prasas
which wiU be described later.- ir ,% •
- ' t. dltfkc. ''' . ' f.f.tbio^A
GItikt |$ a Quatrain each line of- wfepft, jconsists of 7
feet. The last line a Rudragana in the final place; the . second
line 'may have either a RudraGana or a VisnuGana as ths
^alf'Toot. The second foot and the sixth foot 1 ' m each line
is a BrahmaGana. The remaining feet are ViSnuGanas^ The
definition of ChandSmbudhi, which is also its Illustration, Js as
- „ . T>P' /. • run ?«*r
follows:
Eradaro/ Ufem/ basamkhyeyol/ barepadma* bnavanuji/ *
duvumef QcHVate Radim/
Diremum/ danapa/ dammunninam/ tirekar.am/ 45*tike/
s yimttfkkum sakhl/
8. Ele. "
^ i! A couplet f bf file has 4 feet in the Ttfit ( iiSf lt i i «At in
the second line. The 6th foot should be a BrhAkGbft^ fi> the
other feet might be either Vijnu of KLudra Ga^as. ' Thcr deflbtioii-
illustration of this metre by Nigavarma is jt$. ^QUoys: ,
Bhujagapaksa/ puragapa/ vrajadolft/ R^61akku/ r .
majagana/ mele/ gibhagate/
9. Utsaha- , ; , h
N&gavarma defines Uts&ha as a quatrain, eaidi Kne consis-
ting of 7 BrahmaGa^as and one f »al ijhim.\ j , Ateording to
i ..
a*
later prosodists it is- « Mfctr&Vftta, etefei of tt* a fottr lines of
which consists of seven feet of lime atftrtii with one final
Guru. Example: T ' :
j M ..! ', ***?
Anta/ k&nta/ kam di/ takke/ deva nine/ bh&vi/ jpjaf
Dant&/ rinde/ k&vu/ denna/ n&va/ tepradp/ Jambha/ ya/
Bhr&nta/ namba/ likka/ mcntu/ m&pa/. dqfjtha/.yuktaf roj/
§&nti/ yamsa mantu/ m&du/ vudagu/ nam ma/ hatta/ rami
l(K J Satpadi '!
li if r 91 >
' 3 I" " ' -. 1
NlgtfMrau! tefinet' this metre As ftfkrtfi:'
Mandara/ dharajjana/
Mondide/ kadayo]7
Kundade/nelasuge/ madanaharam/
laduni/ bhftnane/
Yamdame/ y&gale/ satpadikej/
. ; Aoceeditog, *> f this definition each half, f,e. each three
Jine* of $atpad* consist* of & VifnuGana* ami 1 Rufl
agGai?a. Pbets ap*o the ldtb Crfary, inchldinf Pampa, hate art
used this metre. The earliest instance of £atpadl bdrag used in
any workoutside ChandSmbudbi i& in Madanatilaktpp by Cajadrar&ja
[circa 1079 A.fo.)- In tie 12th and l$th centuries A.D. §at94$
evolved into a M&tri metre and six varieties of it called S^ra, Kusujna
Bh6ga, ' BMmini, Parivardhini and. V&rdhaka emerged. Tpt
following verses, considered to be interpolations , in ChandOmbudhi
aefinc these;
-. i * »
, Oqrfida Rtu^tpadigajo- <tf
- jomd& teRetoadapidaaam v&fy munda*
> kkondtre barkum tod?ya»
> tii ftUiod^dharam bendotfaRige gatpadiya telUmi' i r#\ ^ r: i
mi % » nTCmya. mftraya satpadi- ,. , .r! r , /
.> / -
.'J.'w'. V '
* • . » » »»
hrt.i nuRJtW>n^ tiiin rrlitmti to \»\
b€RT£am kadcyoJellamitcRanakkum.
garakusumabhogabhimini; _ ,
W^arafilifl vSrcfii^anealendSRu teram
^ ,l^(fa3aW^mknurkja^ a ' ' * \J\ °' u
M" 1 Wv ^^lfifeltrgyfnde satpadi na£egum.' 4,n4;n
All varieties of $af padi, according to this definition, consist of
two equal halves. Both the halves have thre»» -liiie* each. The
first and the second lines or fNRalin JtWfch- ?hfetbfeA ltmlut .jMt
and-a-half the length of the other two lines, plus one Guru. Thus
all varieties of §aipadi have 4 short Iiq$r spd 2 lopg Imps in each
stanza. '*"
The number of M&tr&s in the short ttntti 0? eaebaafiety is as
follows: &ara-8; Kusuma-10; Bhoga-12; Bh^fiffl^ jP^>^fdhini-16;
V£rdhaka-20. The long linc^ , pf eaqh variety £<Hitain ^fitr&s as
follnws: Sara-14; (8 plus 4 plus 2) Kusuma-i7 (10 plus 5 plus 2);
*^a^/llplu^ pli4 2) ; , Wtoite^S (14^lu % T 1 *»2) ; Pari-
B»»lhini-Kil6 pjm 5j>Jus/ 2) ; V2itfh*tta2<20 0^*0 pfui 2^: A
JMttftt tfc|i»4 «futte.ar4 <nA tfc«r6thi lint «h*t*M* ao*t*-
he long liofisk
■21* / **r +rK n*TT
6 feet plus 1 Guru in the long lines); Bhamini consists of alternating
feet of 3 and 4 Matris (4 feet in the*hiort Uftft*rfl*tof frifO&is in the
odd and feet of 4 Mfttrfe.tp the ev»pkMi*ahd**rtiflJta**me order
plus 1 Guru in the long lines); Parivasdhini a»iis«afiii«t< of 4 M&tr&s
each (4 feet in tl«*fiort«<Mi<*lftet plm> l<6a*tt to the teag lines); and
V&rdhaka consists of 5 Matras each <4 f#et <ib\tk skort End 6 feet
tiff
1fa*€m*4a'fe*f^ *»&)*'«&*$& 'df 3; 4, JfflC&jg&trft are
«*pej|n»*ft «0O»«i;, iftHh*. /*b*dMMMa*toUiifc£ tp modern
Kannada Prosodistf^t^piM, «f .4k> V«Vf{0|Wr^«Wb feet in
Raga |es of these names. ]
Illustrations of these ^&etf & $ft>a\fis arSWen below:
i. Sara- (2 feet four Matras each in the short and 3 such
plus 1 Guru in toe long lines).
lsana/ K*runeyaf , 9lo ,,„ ^ ||fl :ri ^ • - .
.at Vid^uiiD\ttVTm J \unstiLiii ... ' ■. '*'&% Vi.
dasana/ hageye/nemana/ve/
paiava/harij|jotii gr-I i . > f>io < « q ji \ n • *' o
ttsadi/satyava(-||Jj^a{j^, liV ,{*; in \i:/i.jp«:0
tL Kusuma (2 few 6f 'JftJ&tfes each' in " short ana 3*uch feet
N&dumana/ sijanolavi/
nacjuvede/ santatam/
A/ r*|»^^^e^a^ tanidMttk< vu/ d \ ,i>r
maduvudu/ vinayavanu/ — — —
nada^i/ yavargeb&^nisftuino/ gg6./
Bh6ga, (4 Ir^fcf* Matras ^ feel
\.Mf2»h*b ; d \ik*i; 4 : •»"! > r drai -> \fc - .J. ;q
plus 1 Guru in the long lines). . r . . .
r VtlviuM \TlBoRfiP»a in.-;jir > " J ^iTr:^
* *
SV ,iv
Dhareya/ bhoga/ yannu/ meed/, .
-"<" > fc^Vmire¥u7&»^ b9, ' ' '
. \uuaq dhareya/ bh5ga/ kanasi/ nante/ kS|u/ mina/ v&/.
aal2<*tUof4 Mm* to %ve» pUces;**ook ftiet to tfer
i ' «* "tttme oflttFvtas I Oiiro In the lirig line*).
p&la/ kaurava/ nrpana/ tandukr/
p&lu/ vinacara/ Q&gra/ dalikcda/ hidanu/ kalipir/ tha/
ToIa/hiAga/tJugala/ m6reya/
kili/ keyabidu/ daley a/ nfron/
vili/ galakuru/ bhfkpa/ niddanu/ tamma/ dirusahi/ la«
'fc«f
*? ..
v. Parivardhini. (4 feet of 4 Mitt* each la start fees and
6 such feet plus one Gum in long findl^ ^
Duritava/ nambele/ vudepof lanfltofe?
parikalj/
*i
•» «*
pariki/ ludakama/ dakckaja/ y^*/ ^xf^ffu^^ymef
paira/ k$a*ieyati/ k*mk?eya/ daR^navu/
nirutam/ pofdado/ (Jillam/ samsrtiy
yurukil/ bishamc/ Uiyucfywi/ cSq*/ bhw^JM^ttiimsU,
vi, Virdhak a. (4 feet of 5 Mfttris each in tile sljort and 6 of sucb
feet plus 1 Guf^iin the Ion, lines). , i( ,
» • • ^* " . — •
^ * w * i
Kettaba/ laattale^^ t a r a n iwi W 'giayftey t ; . .■ .■>. :i
pottuvela/ gambere/ torpparar/ bidadegha/
nnntfttaarake/ in&rutam/ bcmardodir/ bhuvir/
"" ialiiala/ vattadindanV
krtrimada/ vi$adasom/ fcigeganida/
mattera/ kscg^Hlflntri/ suVa&ru/ * W ' W ' Ul *
nottuvanu/ t&pakede/ gottpfcr/ b^feuvgr/ jtfjend*/ muni-
.11 » S&ifratya. , .
Sangatya has not been defined by Nagavarma. It made its debut
in Kannada at about A.D, 1410 in Sobagina S6ne by Deparaja and
became favourite of both classical(Bharatesa Vaibhava of Ralmakara"
Varni. Haribadeyadharma by SanciHonnamma,) and also folk poets.
Since its constituent feet still retain their original AmSa character,
this metre affords a lot of freedom to composers.
A stanza in Sangatya has 4 lines. The odd lines have 4
Visnu Gagas each. The even lines have 2 Visnu Ganas followed by one
Brahma Gana. Visnu and Brahma Gagas may occasionally be substit-
uted by the other two Ganas. To suit the rhythm a Laghu may
be lengthened or a Guru may be shortened in recitation, Example;
Kuvarana/ dodebanda/ gunavena/ darinde'
kuvariya/ dodfckum/ denu/
ivarirva/ rgleli/ gepadeda/ varinde/
savanipu/ dihapara/ saukhya./
(Laghus to be lengthened have been underlined)
In Yaksagana a stanza in this metre has broken into two
independent Couplets retaining this same arrangement of feet
12 Ragale.
Apabhramia prosodfets have given ihe name Ragata-to a metre
jn that language. Certainly the name Ragale and possibly the forms
4
of metre} ir cjud^d under this name in Kannada are adaptations from
ApabhramSa. In ApabhramSa poetry a cluster of verses with unity
of content is called a Kadavaka. The word Ragaje also might have
originally meant the same thifig; for in Kannada, Ragale is a stanza
having an indefinite number of lines, each line having the .same number,
of M&tra-gaj?as, and the whole intended to describe some object
place, etc. This form of stanza with indefinite number of lines
provides much freedom to poets, espeqfedly because the Yati and
xvii
Prasa rales applicable to other metres InKannada sure generally
f)}P3gar<ted hpr*
Chandofiibudhi contains 3 verses m Kanda metre defining
Regale:
1. G^inaniyamaviparyasado-
lenevadedoj, veseye matresaman&gi guma-
graniya matadinda talada
gaQanegod^mbattotiaduve raghatachandam.
2. Mandanilalalitotsava-
vende ragajegala h&mamakkum kramadin-
dendake padin&lrpa-
ttondakirpattnnalkumatregalabale.
3. Ippattu matre ragalege
bappudu padinaru matre mandaqHakam
tappudu utsahaKuRe-
yoppuvudippattun&lkt* matygnj^b^e.
According to the verse quoted first, in Ragale (or Ragata)
the rules regarding Gagas are Often violated; all the lines, in a stanza
should have the same number of Matras; aqd t^eppst ^Bipart^M:
consideration is that of T&la (the regular beat). The second verse
names the three varieties of Ragale as Mandanila, Lalita and utsava
and prescrbes the number of Matras per line for these varieties as 16,
23 and 24. The third verse is only a repetition of the second verse. Most
scholars consider the second arid the third verse to be later interpolat-
ions, Chandassara of Gunacandra (circa A. D. 165$) mentions the
names of these three varieties of Ragale. v
We tony new wwsm time three varies in some Retail,,
r
i. Utsaha Ragale
. i
' Chandftmbudtii says thatf'one Hae of Utsava, whioh is another
ktat fbr Ufeiha, ha& 14 Atiift&$ per lite. Ifiipractice, howewy thi*
xvtfi
ri
one line is broken Into twp eqijaj parts, e^ch havinf \% Mitris. Such
a line is scanned into 4 feet of 3 Matras each. In som? examples the
fourth foot has only one Guru (2 lMatras). Example:
a) Kulirva/ pugo/ langa/ l^Ji/
talira/ kava/ naiiga/ lalli/
tumbi/ vindi ' nante/ padi/
jakka/ vakki/ yante kudi/
b) Mavi/ nadiyo/ ladu/ turn/
pada/ neyde/ k£lu/ turn/
polta/ nintu/ kaleyu/ turn'
tolaga/ dirda/ reseyu/ turn/
One stanza in this metre is found in Pampa Qharata; but the
-classical poets have mostly disregarded this variety,
fi. Mandanila Ragale
According to ChandSmbydhi qnc line of this &et re contains 16
Matras. In practice a line is scanned into 4 feet of 4 Matras each
or 2 feet of 3 Matras and 2 feet of 5 Matras each In alternation-
Examples :
• *
a-1) A ve/ leyolati/ sambharama/ mesedire/ : J
puvali/ puravf/ Aigalol ne/ redire/
pavajada/ rannada/ gudiga/ gu<ligal/
navamau/ ktikaram/ gadagam/ gudigal/
me Reduvu/ mi Ruguva' misuniyaUorana/
ma Rikeya/ purajana/ dutsava/ d5rana/
nMwya/ mHwa/ palaroigc^ milirdire/
alia./ vidhavia/ dadhvani/ yulwdire/
fwhntf/ JaAtt* iada»rdui ftiaadam/
pattrise/ gStara/ vaaakadu/ binadam/
. batietfdlr/ vandwdu/ rijaiS pracayam/
bidadoda/ vandwjiu/ n&rf/ nicayam*
*ix
a-ii Polalabe/ dangam/ mlgeme/ ocinddi . .
divij6n/ dravila/ sado]in/ tukfldi/
karumu/ damana/ daradin/ dameRi/ *
keladol/ madariga' JanaRi/ dutoRi/
karitura/ gabalam/ gaj per/ cuvantu/
maleyam/ mandala/ mumfcer/ cuvantu/
nelanam/ paripa/ lisedhar/ masunu/
sukhamir/ damripu/ balatimi/ rabhanu/
b) nandal natigajol/ suliva/ birayiyim/
kampu/ kanmaleye/ puta/ surayiyim/
sutta/ lum pariva/ jaripo nalgalim
etta/ lum najiva/ posana vilgajim
bejadu/ magamagipa/ gandha/ £aliyim
alii/ suliva gili/ vindi/ nSliyim
dhanada/ rannariva/ renipa/ paradarim/
d£va/ rannariva/ renipa/ birudarim/
neReye/ sogayipa/eka cakramam/
mecci/ dam/ hariga/ namita/ vikramam/
This metre, also called Majtja Ragaje, seems to be an adap-
tation of the Paddhati (Pajjhatika) metre of ApabhramSa, and in
certain manuscripts of Pampa's works the name Paddhati, Paddali
or Paddali is given to stanzas in th^ metre.
iii. Lalita Ragaje
* r
t
Lines of this r metre, which accordieg to chand6mbudhi consiist
of 20 MitrSs, are scanned into 4 feet of 5 Matras eaph. Example:
Visay avisa/ valliy^m/ tpercisuva/ jaladare
sadhutva/ mam kidisi/ nadesuva/ idu/ racare/
kapatana/ takatatige/ tane note/ yenisuva^/
kopagra/ haveSa/ janmanidhi/ yeduisva}/
Sastradr/ sf.ige/ timira/ patalatati/ yenisuval
d6samem/ basi/ vi§akkepu/ ttenisuval
In addition to these three varieties, there is fcnbthe* 'variety of
Ragaje in Pamba Bh&rata:
sr •
AdaRa/poravo / Jalavi tela/ kanaka/ krtaka/ giriga^
iim pha/ lapra/ kirna/ taruga/ lim/
naaeya / koneytf/ talira/ mugula/ vanala/ t&fii/ kunjadim
la / satpra/ suna/ punja/ dim
gagana/ talame/ pakidu/ bildu/ denipa' bahuta/ taka/ dim
ku/ kildu/ nalina/ koka dim/
tegeya/ dabda/ samiti/ pole/ pariva/ ityadpy^? jaflga/ lim ta/
rattu/ rariga/ manga/ lim/
l^vana/ jaladhi / balasi/ dante/ balasi/ dagala/ jrila/ dfndul
dagra/ kanaka/ sala/ dimjf
kanaka/ £aila/ menisi/ negalda/ bhumi pala/ bhavana/ dim
S^/^astay y^tn/ >Awiua/ dim/
Pach ilirke of this Manza has 12 feet of three Mitras each,
excepting the final foot, which has only two Matr&s (one Guru).
» • • • m
Ragaje metre though handled by Pampa and other classical
poets of Kannada, revealed all its potentiality in the hands of
Harihara (A. D. 1200) who composed a large number of story-poems
{Kathana K&vyas) mainly in the three varieties of Jhis metre and
thus came {o be known as the poet pf Ragale (Ragaley^ J£avi).
13. Lalita.
• ' J r III !
This is different from the variety of Ragale of the same name.
A stanza in this Matr£ metre has four lines, each consisting of four
fe^t, the first three of five M&tras an0 the fourth pf four M&tras.
Example:
Samkugora' loltalta/ muttinasa/ rapgal/
komkidida/ perbuliyu/ gursobagu/ vatsam/
>toHk*YMlll tetti^^/ t^iga^a/ jgwgai/
somkalcritfrf jegdawna/ peggalerdel gaogam/
14. Utsaha* •*>.
Unlike the variety of Ragale having the same name, a stanza
inthjg metre is a quatrain, each line consisting of , 7 feet of
3 lylatras each plus an 8th foot of 2 Matras (one Guru) Example;
4Anta/ : k&nta/ kamdi/ tajcke/ d^va/ nine/ Ijhavi/ p$p
danta/ Rinde k&vu/ denna/ nava/ teRado/ Lambha/ ya/
bhranta/ nam ba/ likk#/ mentu/ mlpa/ dartha/ yukta/ rol/
$anti/ yam su/ mantu/ madu/ vudugu / nam ma/ hatta/ram/
15 Akkarike
A stanza in this MatrS. metre consists of 4 lines, each line
having 6 feet of 4 Matras and a 7th foot of 2 Matras (one Gum J •
Example :
Suranuta/ carane/ varaguna/ bharane/ khararuci/ bimbaga/ te/
sarasija/ vadane/ surucira/ /radftn£/ puraharaf namgayu/ te/
karadhrta/ nalin6/ parihfta/ maline/ harividhi/ gakranu/ te/
. . kariripu/ gamane/ hariripu/ Samane/ pore giri/ rSjasu/ te/
. i
lftlTLa yagrahi.
A stanza of this Matra metre consists of 4 lines, each line
having 7 feet'of 5 Matras and a final foot of 4 Matras • Example:
Omdudese/ yolturuka/ rondukade/ yolmorasa/ rondeseyo/
l&reyara/ brndamala/ vim be/
Rondubali/ yol tigula/ rondiravi/ nol kodaga/ rondu kela/
do J malepa/ ronduvere/ dellar/
sandanisi/ kalegake/ munduvari/ vannamada/ tindavara/
tattugala/ pandalega/ landi/
gvrndabali/ yittu nala' vinde cika/ devanrpa/ nandamige/
perjasama/ nondi soga/ valgum/
17 Layottara
A stanza in this metre is a quatrain, each Kne having 14 feet
of 3 Matras and a final foot of 5 Matras. Esuiriqtie:
audi
TuRuge/ tumbi/ gurula/ bamba/ lideka/ pdla/ ranga/ dol tu/
lunke/
ponga/ ranga/ dol ma/ lange' vijaya mafigadoj/
miRuge/ pajla/ caviga/ leledu ' nelasi/ celvu/ yana/ dol be/
dasgu/
ba1eye / mana/ dol ma/ namto/ damke/ d&nadbU'
neReye/ navapa/ yodha/ rotha ktimbha/ maliye/ pada/
dol ca/.landu
kam vi / noda / dol ka / dabge / madhura/ modadol/
me Redu/ pugugu/ manga/ neyaru/ mamka dane/ yum na/
manni/kama/
nikhjla / bhuvana / mam ta / dlya / raja/ bhavanamam /
18 Sisa
Sisa, which is extensively used in Yaksaganas, came to Kanna-
da from Telugu. A stanza in this metre consists of 4 lines, eaph linf
having 6 VisnuGanas and 2 Brahmaganas (30 Matras ixi all p as a
Visnu Gana has 4 and a BrahmaGana has 3 Matras). As in
Telugu, in Kannada also a stanza in Sisa metre is considered in-
complete unless followed by a stanza in the AjaVeiadi or TetaGiti
metre. Of these, AjaVeladi is a couplet, each line of which consists
of 3 BrahmaGanas, 2 Vi§nu Ganas and 5 Brahma Ganas. Teta
giti is a quatrain, each line having 1 Brahma, 2 Visnu and 2
Brahma Ganas. Examples of these are given in the note on. Telugu
metres.
19. Kanda. 4
> .
Kanda is the staple Matra metre of classical Kannada liter-
ature. A stanza in this metre has 4 lines. The first and the third
line have 3 feet of 4 Matras each and the second and the fourth
Uae have 5 such feet. In the odd places of both halves a foot with a
Guru in between two Laghus (a Jagana) should not be used. The
' sixth foot in both halves should be either a Jagana or a foot with
4 Laghus. Example:
Iradoy/ vadu/ ta riniccege/
varayu/ vanadam/ du purusa/ nam prakr/ tirajam/
boredutt/ riputte/ sutture
teralcita Rageleya/ nuy vate/ Radim/ dettam/
These are the main metres which have been used in Kannada
literature upto thf 2Qth century, when the romantic revolution
Wrought a change not only in the content, but also in tshc metrical
patterns Wtfi poets started experimenting with folk rhythms and
free Verne* This, however, is beyond the scope of our present
fttudy.
*. Yati and Pitta.
Yati in Sanskrit prosody is a pause for breath within or
at the end of a line, where the morpheme should end. Places
for such pauses have been prescribed in different metres, and a
failure to observe Yati is. considered a defect (K$vya Dosa).
Prasa is a repetition of the same tiaosonant, which is considered
an ornament of the sound (Sabdalamkara).
Tamil prosodists do not speak about Yati but Tptai, which
contains several types of Pr&sa, has been considered as axoosti-
'tueiat of metre by Tofkappiyar and others following in his
faqtsteps. joati has been divided into five categories, viz., M5nai
fteukdi, Muraii, ijyafcpu and Alapetai Of these Monai vfc., tte
identity or similarity of the initial syllable and Etukai, viz., the
identity or similarity of the second syllable, have been observed by
poets of Telugu, Kannada and Malayalam. Monai is called Yati in
Telugu and is almost conipubary.
In '-Kannada prosody Yati signifies pause, 39. \n gwskrit; b#
in metres borrowed from Sanskrit the poets of Kannada do not
obseve t)ie Yati rules of Sanskrit. In Sanskrit the second line of a stanza
never runs-out to the third line, but this is the invariable pra$t#e
in Kannada and also in Telugu. This disregard of Yati is
stated to be-an excellence of tr^ Kannada, Poetry/ However in
indigenous metres Yati is toofcerved.and w>rqU should end in
stipulated places both within and at the end of the line.
Etukai is calied simply "Pr&sa" in Kannada and is considered a
constituent of metre. By Prasa is meant the similarity or identity of the
consonant or consonants hnjpppjltfm first and the second vowel in
each line. Since similarity can be of several kinds, the Prasa also
ha*4*mai varieties, an* has 'been elaborated into six categories,
*iz, Simha^ Gala, Vf$atta, Aja, £arabha and Haya.
■•i
A single cwjsqfla^t rfftefA tfiort aww4, Diptttad i* **»< 4
lines, is SirahaPrasa, as,
Oirigal Paramajiugal$na
Sarfy'abhavanl karlndramcjp m^id^nem
Piradidara ka^abalamaip
!»■ - »
Nirupisal nagarajanum neRedapane.
(Here the repetition of the Utyd^Jiusd consonant constitutes
SimhaPrasa). ' .
*
If the preceding vowel is long, tl*e aJJite^tiw* fc called
Gajaprasa. Where the preceding vowel long or short, has an
i*HttWttra >*ttaObed ( «> K the Prasa is called Vjr§abha. 'If the
previous vowel long or short, has a VisaVga attached to it, the
Prasa is called Aja. In both these varieties, ;th* preceding attachments
have also to be repeated along with the consonant, wb*<?h Wiy be
single or may be a conjunct. When the preceding vovvftl has no
Anuswara or Visarga attached to it apd what is r^pe^te4 is a -
conjunct composed of different consonants, the Prasa is called
Sarabha. Repetition of genuinated consonants in jdea#p*tf . sitjiatigin
is calied Haya Pr^sa.
Prasa in any one of these categories is obligatory in Kannada
poetry, excepting in the Ragale metre, where, though not as a rule,
this Prasa is observed between two consecutive lines of the multi-line
stanza.
Internal Prasa within the same line, called OlaPrasa, is
also obligatory in certain metres. This has been compared with
the Yati of Telugu Prosody.
K*v
f m
i
NOTES
1. Two Tripadi stanzas art found in the Badami inscription of
circa 700 A. D. There is a stanza in Akkara metre in the
Sravana belagola inscription of A. D. 942. One Sajpadi stanza
is found in an inscription of A.' D. 1067 at Citradurga.
2. Gunivond&diyolutpalam, gurumodal murSge &rdulam&
Gunin&lkagiralamtusragdhare, laghudvanvdam gurudvandvama-
Gire Mattebha, laghudvayatriguruvimdakkum mahasragdharam
Harinakshi, laghu nalkku campaka, viv&rum khyatakarnatakam.
3. Madanavatiyakkaram cau-
' padi gttike yele tipadf ^yutsaham sat-
padi yakkarige karam cel-
vodaVfdg chanddvatamsamabjadal&ksi!
4. The verses defining Ragale in ChaadQfabtjdiu are considmd
to be later interpolations. _ n ?
S:r Bradum mftrum n&lkum " "'
guruvim prastarisalambunidhigajadha ranf-
^varagapamogegumavarkkam
sarasijabhavavisnurudrasan jnagajakkum*
4 '/ ' Gh; 5/240.
6. 'Yativilaftghanadindaridalte Kannadam (Sabdamanidarpana).
>>
XXV!
KALIDASA ON THE ARTS
Dr* T. Bhaakaran,
A poet whose main aim in writing is to evoke the
desired sentiment in the heart of his readers by finding
an appropriate "objective correlative* has nothing to do
with ideas as such- He tries to rouse the sentiment by
striking a sympathetic chord in the heart of the conno-
isseur. For the successful evocation of sentiment the
method prescribed by Bharata, in his Natyasastra, the
monumental work on dramaturgy, namely, depicting in
perfect combination suitable characters, matching surro-
undings for them* the fleeting sentiments to which they
are subject to from time to time and so on is the best
Kalidasa. the foremost among Sanskrit poets, followed
this method- Hence, in a sense, it will be futile to search
for his views in his poems on any given topic. Besides,
such a study will not contribute much to the direct appre-
ciation of his poetry- Nevertheless, certain incidental
remarks of Kalidasa made by way of casual and general
statements may point to his way of thinking on specific
topics* Kalidasa was an adept at using the figure of
sense called arthantaranyasa in which a general statement
is corroborated by a particular one and vice versa. A
fairly correct idea of Kalidasa's views on the art$ can
be reconstructed from such obiter dicta. Even though not
directly connected with poetic appreciation as such, this
enquiry may be of iodiwct help to it by throwing a flood
11
of light into his poetic insight, uncovering the hinterland
of his mind.
Genius and inspiration, essential ingredients of
creation:—
That genius and inspiration, form the basic ingredients
of creative activity has been clearly expressed by Kalidasa.
This is patent from Ms introductory remarks in the begin-
ning of R aghuvamsa, A poet should be endowed with
genius. Only a man of supreme intelligence can even as-
pire for the position of a poet- A man of limited intelli-
gence cannot Successfully compose a great poem on a
sublime subject.
Raghuvamsa I. 2-
If a man lacking in genius tries to snatch fame by
composing poems he will be subject to ridicule as a dwan
becomes the laughing-stock of others 01 trying to reach
at fruits at a height.
Raghuvamsa I. 3.
A genuine poet engages himself in creative work only
when he is inspired- Without inspiration he is hdpless.
That is why Plato complained that the pdets were ufleofr*
scious of the nature of their work and that they Wert te*
pelled by an external* though divlfte; fofde wMIfe ehgaged
in creative activity. Kalidasa holds that a poet cannot hety
writing when he k ufldsr the spell <Jf inspiration He hdi
p»t this mdirectiy by way of an apology for l fife tinder*
;, namely, the compilation ttf RttgiiuVfttoto.
w
Raghuvamsa I. 9.
The question of Identity in the Artistic process:
Creative activity requires the whole-hearted attention
of the artist Through meditation he establishes complete
identity between himself ami the object at hand- This
<w^d«-H^*TFT is effected through m^rcnrrfEr. It is said that
^'almiki befofeSdmmencing the act ja! composition of the
story of R ama not satisfied with the elaborate preparations
made by him remained in meditation and visualized
everything pertaining to the nature of the chara-
cters of the story. The advaitic theory of perception is
very relevant in this context To see an object, according
to Advaita. means that the mind (srt:*^) which is of a
luminons nature (fatf) goes out through the ey« and esta -1 *
blishe* contact with it and subsequently assumes its form-
Similarly dn conceiving an idea the mind assumes its form
(trciftK^frf). The case of creative activity and that of appre-
ciation bear resemblance to this- If Identification is esta-
blished creation and appreciation become easy- The poet
gives exrpession to the moods and feelings by falling into
a trance as it were. The critic has tofall into a similar
trance to reprodue thee moods and feelings of the poet, so
that he might have the full appreciation of the poem. This
idea has been explicitly brought out by Kalidasa both with
reference to the composition of poetry a id the appreciation
of painting. If the critic is sympathetic to the poet appre
ciation becomes lively. This also is implied in the follow-
ing passages
Sakuntala is engaged in the act of meditating on the
way in which her love-letter is to be worded. As she was
ftill of the thoughts of her lover identification became very
^asy. Thfe is indicated by horripilation on her cheeks.
Her ^otttitt MA an eyebrow lifted points to the Ievd est
iv
concentration she has been able to achitve-
Sakuntala HI, 13
While appreciating with remorse the picture of Sakun
tala the king forgot that it was only a picture. As one who
painted her he could bestow all his feelings on it and it was
easy for him to imagine as if she herself were before him*
By associatinn with sympathy for the king the Vidusaka
also was lifted away from reality and made to forget that
it was only a picture. In the frenzy of love the king rea-
lizes Sakuntala hereself in the picture* the Vidusaka says.
He adds that his association with the king has made him
share the latter 's condition-
Sakuntala VI
Not only the Vidusaka but also Sanumati. the divine,
damsel came under the influence of the art especially beca-
use she was moved by affection towards Sakuntala:
Sakuntala VI
On reminding that it was only a picture the king complained
that the Vidusaka's act was ill-advised beeause he was
enjoying the sight of Sakuntala as if she were before him
through identification of the heart by the jrae4iatioa of the
picture. Recollection of reality caused the dissolution of
concentration and she is once again reduced to the state of
the picture.
Sakuntala IV, 21.
Identification of actor with character:
While staging a drama* the actor enacting the role
of a particular character should completely merge his per-
sonality id and establish identity with the latter- Other-
wise the acting itself will go wrong. This has been exem-
plified by the experience of Urvasi. the divine nymph*
while enacting the role of Laksmi in a drama staged in
heaven. Urvasi when asked by her friend 'whom do
yoti love T answered PururaVas, instead of Purusottama,
forgetting that she was in the role of Laksmi. She was
really ia love with Pururavas at that time. The slip that
invited a curse from the sage Bharata was caused by her
failure to merge her personality in that of the character.
Aesthetic transport:
On achieving identity with the object depicted the
enjoyer of art feels it in all its glory. This enjoyment lifts
the • connoisseur to a higher plane from the mundane life
Xfeis aesthetic transport is implied ia the following stanza
of the Sutradhara of Sakuntala,
vr
t
?rflT?«t •JTMTCfW' ^ffw STOW fn: 1
Sakuntala I. 5.
As a result of this aesthetic transport the activities
of the sense organs become suspended for thv time-being
bringing forth a state of rapt attention* wftiok wra be
rightly described as "willing suspension of disbelief*" The
sta^e of the audience preseat to witness the presentation
of Sakuntaia after being enchanted by the soog.of the
actress is to the point*
Sakuntala- L
The iheffable-ekpeflenee of l elijbytnfc taraitf6 is aWefl
to aesthetic tranport A mysterious uneasiness ivdfs Hfe
in the mind on ]istenitf| to enchanting VtficiB dr fa
stfeiag beautiful object*. This may be attributed t© thd
remembrance of friendships, formed, in former births*
This is the feeling of Dushyanrta. on hearing; the-aausic^
Hamsapadika with whom he was once very, fondly* in
love:
T^nfw #ter 55tt» ffiw ifsi%
<pfej^t *r*n%^ gN^sfa 5FJ: I
«IHlR«Klfil «MMkd<*flt|4lPl II
Sakuntala V» 2-
A Similar idfca of nostalgic re rtrembr a tlcft rbuSfcd W
a beautiful object in nature has ; bo6ti ^ptei«W by^ Hal
dasa in the Meghasandesa. Even the mindk of be>#d»
4*
in the company of their beloved oa$& wiU b* subject to
uneasiness on the advent of clouds, then what will be
the state of those separated fiwn their spouses*
«
Meghasandesa.
Poet and critic:
Jg$li4a^ W3g,<a pqejt of inborn genius. His genius
wa* j#£tej»ed^ tw Ki^ unstinted training (wH*q{jfWwr) ami
^awia^ Brinmupg witaself-coaf idence hft had high regard
f<?r t£e cpnpoisseur because he, was fully conscious of the
fec$ th^t poetry finds its alter-ego in the latter. In the
M&tevikagnimitra he has pi id a glorious tribute to the
*5*r otherwise called wot by stating that the latter forms
httcowfr opinio* on literary works* after having himself
t^he? &et trouble, of going* through them in, conti adistin-
qtiqn of ^ fool whp, is, earned awqy by the opinion, of
others.
M^lavikagnimitta I. 2.
In the Sakuntala he has expressed his regard for
the sfw here called fen* through the words of the stage-
director. Only when the learned appreciate a work a
poet can feel confident however; much the latter might
be experienced.
M
«M«Kfll fa fadHl -
Sakuntala I. 2.
The mind of ihe critic is, according to Kalidasa, the
real touchstone to find out the merits and demerits of a
poem. (GISflpqfiG^l*:)
Art and nature:
That art is complementary to nature is almost uni-
versally accepted* Art is ideal in as much as it depicts
what ougtht to happen- It has the capacity to correct
nature- What is by nature imperfect can be depicted
as perfect in art. Ev6n unpleasant objects and incidents
put in poetry give rise to pleasure. This view of Indian
aestheticiana is shared by Kalidasa- A painting, is not
an exact replica of what is in nature- Whatever is wan-
ting in nature can be supplied by art. Kalidasa has
twice hinted at this idea in the Sakuntala- Even thotigh
the Vidusaka admired the picture of Sakuntala drawn by
Dushyanta the latter felt that the special power of painting
to complete nature has failed in this case because her beauty
was beyond the supreme power of art. Art has failed even
in reproducing at least a fraction of her beauty.
Sakuntala V, 14
IX
That perfection can be attained in art is once again
alluded to in Sakuntala when the king was driving home
to the Vidusaka the extra-ordinary beauty of Sakuntalai-
He has said that her creation might have been by the pro-
cess of drawing her in a picture first and then infusing life
into it*
Sakuntata II. ».
Poetry and Painting :-
u
Sdme pronouncements of Kalidasa on the art of painting
bring forth its difference from poetry. The most important
feature of painting is that it depicts an important moment
in life* That is to say. it is still. Even though it can
create the illusion of movement it can never depict move-
ment whereas poetry can easily do it. A lover leaning to
kiss his sweetheart cannot ever hope to accomplish it ^nil
the unkissed kiss becomes thus immortalised- The myste-
rious smile of Mona lisa can be enchantingly port rayed,but
never the movement of her lips- To put it in the words
of Keats.
'Bold lover never, canst thou kiss.
Though winning near the goal-yet do not griev
She cannot fade though thou hast not thy bliss,
For ever wilt thou love and she be fair'*
.•*•
This peculiarity of the art of painting seems to have
been uppermost in the mind of Kalidasa from his references
to it in his works* When Dilip a attempted to take an
arrow from his quiver to shoot the lion that had captured
t&e cpw under, feis protection ha found bis bands bgpum-
betf. His posture then. 901^4 be compared to an ( aqtiqn
Raghuvamsa II. 31
The very same words ar^Fopcate^fci the^ Air* canto
of KumarasambUav^ .When, Cupid (God of love) with
his retinue came to the forest where Siva was doing penance
the followers cf Siva were about to^sU^Uifn^^ iHP-tfefr
feeliugof love- Nandikesa, the chief of His hosts imme-
cfcM c^s^^itlwji.afl^ aa a result tfc gQ&m fortst
Tfatee , rfati^iMritmial e&pdr.
By a judicious and dexterous use of light ajid shade
the iUusioa of the t)aii4<demension is effected ippaipUftgs
and pictures. Only an accomplished artist can giyeria*
to ths feeling that there is uneven ness in [pictures* because
there is no high or low plane in them; still they a«t seen
due to the skill of the artist, (jmt icftsji «nfca
% vnti aw w 1 Mahayana sutralaml^ar^ Xlflk 17.
Quoted by Ananda K. Copqia.raswafliy; The Tcaijsfor-
mation of nature in Art P. 30 [and also P 145) Kalidasa
was aware of this peculiarity and has directly hinted at it
in the Sekuutaja where the Vidusaka lpoking at, the pictr
urepf the heroine observed that he felt as if his eye^
were stumbliog at upwes places* Saaqmati's statompift
xt
endorsing the view of the Vidusaka also points to the
same fact.
Form and Content:
In the benedictory verse of Raghuvamsa Kalidasa
has foreshadowed the idea that form and content are inse
parable. He says that sound and sense representing form
and content are inseperable like the pair of Parvati and
Parameswara.
e
This brief survey reveals that Kalidasa had certain
definite ideas about the nature and function of poet, critic
music* painting and the like. The depth of his learning
and the sublimity of his genius become evident from this
enquiry* It is for the reason of possessing in abundance
poetic qualities of a high order that he became endeared
to the minds of generation after generation of Indians*
r.
f s c '•,'
"»o< * i
• r* * • ;• «
^•■r*
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