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626. Prosody is that part of Grammar which treats of the laws of versification.
627. The mark ˘ represents a short syllable, and the mark ¯ a long syllable. A foot containing two long syllables is termed gaa, that is, ga+ga, the initial syllable ga of the word garu being used to represent a long syllable. A foot of two short syllables is termed laa, that is la+la, the initial syllable of the word lahu being employed to represent a short syllable.
628. The following are the four varieties of a disyllabic foot.
Syllables | Paali | English |
˘ ˘ | la la or laa | Pyrrhic |
¯ ¯ | ga ga or gaa | Spondee |
˘ ¯ | la ga | Lambus |
¯ ˘ | ga la | Trochee |
629. The eight-syllable feet, known in Paali as the a.t.thaga.na are as follows:
Syllables | Paali | English |
¯ ¯ ¯ | ma | Molossus |
˘ ˘ ˘ | na | Tribach |
¯ ˘ ˘ | bhaa | Dactyl |
˘ ¯ ¯ | ya | Bacchic |
˘ ¯ ˘ | ja | Amphibrach |
˘ ˘ ¯ | sa | Anapaest |
¯ ˘ ¯ | ra | Cretic |
¯ ¯ ˘ | ta | Antibacchic |
630. The short vowels in Paali are a, i, u, the long vowels are aa, ii, uu, e, o. When a, i or u is followed by a double consonant, it is prosodically long. For instance, the first as well as the second a in cakka~nca, is long because followed by kk and ~nc respectively. Before niggahita (.m) a short vowel is also always prosodically long. Thus in sacca.m, the a before .m is long. In poetry, a naturally short vowel is occasionally lengthened and a naturally long one shortened to meet the exigencies of the metre. In order to make a short vowel long, the consonant following it is sometimes doubled.
631. There are three classes of metres, termed sama, addhasama, and visama. When the syllables in all the paadas are exactly alike the metre is called sama; when those in the first and third and those in the second and fourth paadas are alike it is addhasama; and when all the paadas or verses are different, the metre is termed visama.
632. In gaathas of this class, the syllables in each paada may range from six up to twenty-two. The names of the seventeen kinds of metres are as follows:
633. These are again subdivided according to the kind of feet employed in each stanza; as the four paadas are similar, the scheme of only one paada is given for each kind of metre:
Remark. When the quarter-verses of indavajiraa and upavajiraa are mixed together in a stanza in any order, the stanza is them called upajaati.
Remark. There are pauses after the fourth and seventh syllables.
Remark. There are pauses after the fourth and twelfth syllables.
Remark. There are pauses after the fifth and twelfth syllables.
Remark. There are pauses after the third and thirteenth syllables.
Remark. There are pauses after the fourth and thirteenth syllables.
Remark. There are pauses after the seventh and fourteenth syllables.
Remark. There are pauses after the seventh and fourteenth syllables.
Remark. There are pauses after the eighth and fifteenth syllables.
Remark. There is a pause after the eighth syllable.
Remark. There are pauses after the sixth and seventeenth syllables.
Remark. There are pauses after the fourth, tenth and seventeenth syllables.
Remark. There are pauses after the sixth and thirteenth, and nineteenth syllables.
Remark. There are pauses after the twelfth and nineteenth syllables.
634. In the addhasama class of metres, the first and the third, and the second and fourth paadas are similar. The following table shows eleven kinds of metres that come under this head:
Name of Metre Odd quarter (verses 1st.-3rd.) Even quarter (verses 2nd.-4th.) upacitta ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ¯ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ¯ ratamajjhaa ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ¯ ˘ ˘ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ¯ vegavati ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ¯ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ¯ bhaddaviraaja.m ¯ ¯ ˘ ˘ ¯ ˘ ¯ ˘ ¯ ¯ ¯ ¯ ¯ ˘ ˘ ¯ ˘ ¯ ˘ ¯ ¯ ketumati ˘ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ¯ ¯ ˘ ˘ ¯ ˘ ¯ ˘ ˘ ˘ ¯ ¯ akhyaanikaa ¯ ¯ ˘ ¯ ¯ ˘ ˘ ¯ ˘ ¯ ¯ ˘ ¯ ˘ ¯ ¯ ˘ ˘ ¯ ˘ ¯ ¯ viparitapubba ˘ ¯ ˘ ¯ ¯ ˘ ˘ ¯ ˘ ¯ ¯ ¯ ¯ ˘ ¯ ¯ ˘ ˘ ¯ ˘ ¯ ¯ hari.napaluta ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ¯ ˘ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ¯ aparavutta ˘ ˘ ˘ ˘ ˘ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ˘ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ¯ ˘ ¯ pubbittaggaa ˘ ˘ ˘ ˘ ˘ ˘ ¯ ˘ ¯ ˘ ¯ ¯ ˘ ˘ ˘ ˘ ¯ ˘ ˘ ¯ ˘ ¯ ˘ ¯ ¯ yavaadikaamatii ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯ ˘ ¯
Remark. The aparavutta corresponds to the vetaaliya explained, referred to lower down.
635. The paadas in this division of verses are all dissimilar. Under this head comes the metre known as Vatta, the heroic measure of Pali literature, eight syllables being employed in each paada, the first and last syllables therein being free, and this, a short or long syllable may be optionally used in those syllables. The syllables between the first and last, form two seats, having three syllables in each seat of foot. In the first seat in all the quarters, any foot may be employed except a Tribrach and an Anapaest, that is to say, three short syllables ( ˘ ˘ ˘ ) or two short and one long ( ˘ ˘ ¯ ) must not be used. In the second seat of the first and third quarters, any foot may be used, but in the second seat of the second and fourth quarters only ya (Bacchic) or ja (Amphibrach) (i.e., ˘ ¯ ¯ or ˘ ¯ ˘ ) must be employed. It should be noted, however, that the Vatta proper has ja in the second seat of both the second and the fourth paadas.
Remark. The sign ̶̆ means that the syllable may be optionally short or long.
636. (i) Vatta Proper
Free 1st seat 2nd seat Free 1st paada ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ 2nd paada ̶̆ ̶̆ ̶̆ ̶̆ ˘ ¯ ¯ ̶̆ 3rd paada ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ ̶̆ 4th paada ̶̆ ̶̆ ̶̆ ̶̆ ˘ ¯ ¯ ̶̆
637. Sometimes the Gaathaa contains six paadas - the fifth following the rule for the first and third; the sixth that for the second and fourth.
638. Besides the Vatta Proper above shown, there are six kinds of Vatta metres:
(ii) Vipariitapathyaavatta
Paadas 1 & 3: ̶̆ | ̶̆ ˘ ̶̆ | ˘ ¯ ˘ | ̶̆ Paadas 2 & 4: ̶̆ | ̶̆ ˘ ̶̆ | ˘ ¯ ¯ | ̶̆
(iii) Capalaavatta
Paadas 1 & 3: ̶̆ | ̶̆ ̶̆ ̶̆ | ˘ ˘ ˘ | ̶̆ Paadas 2 & 4: ̶̆ | ̶̆ ˘ ̶̆ | ˘ ¯ ¯ | ̶̆
(iv) Na-Vipulaa
Paadas 1 & 3: ̶̆ | ̶̆ ̶̆ ̶̆ | ˘ ˘ ˘ | ̶̆ Paadas 2 & 4: ̶̆ | ̶̆ ˘ ̶̆ | ˘ ¯ ˘ | ̶̆ or All paadas: ̶̆ | ̶̆ ̶̆ ̶̆ | ˘ ˘ ˘ | ̶̆
(v) Vipulaa of Setava
(vi) Vipulaa of Pi`ngala
(vii) Bha-Vipulaa
Paadas 1 & 3: ̶̆ | ̶̆ ̶̆ ̶̆ | ¯ ˘ ˘ | ̶̆ Paadas 2 & 4: ̶̆ | ̶̆ ˘ ̶̆ | ˘ ¯ ˘ | ̶̆ or All paadas: ̶̆ | ̶̆ ̶̆ ̶̆ | ¯ ˘ ˘ | ̶̆
(viii) Ra-Vipulaa
Paadas 1 & 3: ̶̆ | ̶̆ ̶̆ ̶̆ | ¯ ˘ ¯ | ̶̆ Paadas 2 & 4: ̶̆ | ̶̆ ˘ ̶̆ | ˘ ¯ ˘ | ̶̆ or All paadas: ̶̆ | ̶̆ ̶̆ ̶̆ | ¯ ˘ ¯ | ̶̆
(ix) Ta-Vipulaa
Paadas 1 & 3: ̶̆ | ̶̆ ̶̆ ̶̆ | ¯ ¯ ˘ | ̶̆ Paadas 2 & 4: ̶̆ | ̶̆ ˘ ̶̆ | ˘ ¯ ˘ | ̶̆ or All paadas: ̶̆ | ̶̆ ̶̆ ̶̆ | ¯ ¯ ˘ | ̶̆
640. Besides the metres noted above, there are some that are regulated by time (kaala). Such metres are termed Jaati. They are of three kinds:-
641. In the first of these, the ariyaa, the first two paadas of half a gaathaa contain seven and a half feet; in the even, that is, in the second, fourth, and sixth feet, any of the following, namely, bha, ja, sa, gaa, or four short syllables may be employed, but ja must not be used in the odd feet, that is, in the first, third, and fifth. The sixth foot may be la or four short syllables. The second-half stanza must fulfil the same conditions. It is necessary to observe that in the jaati metre a foot consists of four syllabic instants, the time taken up in pronouncing a short syllable being taken as an instant of time; thus a long syllable being taken equal to two short ones, each foot used in the ariyaa is equal to four syllabic instants. The following is an illustration of an ariyaa stanza:
1st 2nd 3rd 4th 5th 6th 7th 8th foot First half stanza ¯ ¯, ˘ ˘ ˘ ˘, ¯ ¯, ˘ ˘ ¯, ¯ ¯, ˘ ¯ ˘, ¯ ˘ ˘, ¯ Second half stanza ˘ ˘ ¯, ˘ ˘ ˘, ¯ ¯, ¯ ¯, ¯ ¯, ˘, ¯ ¯, ¯
642. The vetaaliya is so formed that it usually consists of fourteen syllabic instants in the odd quarters and sixteen in the even, while the mattaasamaka consists of sixteen syllabic instants in each quarter. The metres of the jaati class furnish many varieties, but it is not within the scope of this work to treat of them in detail. As, however, the vetaaliya is of rather frequent occurrence, we give below the scheme of it. Each paada is divided into three seats; the first seat in the first and third paadas must have six syllabic instants; the first seat of the second and fourth paadas must contain eight syllabic instants; the second seat must be a cretic foot and the third a lambic foot:
1st seat 2nd seat 3rd seat Number of syllabic instants Cretic Lambus 1st paada 6 six syllabic instants ¯ ˘ ¯ ˘ ¯ 2nd paada 8 eight syllabic instants ¯ ˘ ¯ ˘ ¯ 3rd paada 6 six syllabic instants ¯ ˘ ¯ ˘ ¯ 4th paada 8 eight syllabic instants ¯ ˘ ¯ ˘ ¯
Remarks.
(a) The above is a perfect ve.taaliya. In the third seat, the following feet may be found instead of the lambus:
˘ ˘ pyrrhic ¯ ¯ spondee ˘ ¯ ¯ bacchic ˘ ¯ ˘ amphibrac
(b) The sign of the long syllable ( ¯ ) must be counted as 2 since it is equal to two short syllables.