English (machine translation)

Translation of Shrutabodha (Śrutabodha)

Language: English
Extent: 234 passages, 11,298 words
Text: complete digital text
Source: pramana-mt · Machine translation by Gemini 3.8 Flash (2026-10-10) of in.vedanga.chanda.srutabodha · Machine output without human authorship: no copyright is claimed (CC0 1.0). The original text keeps its own…

Text

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Composed by the venerable great poet Kālidāsa:

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Together with the commentary 'Parīkṣopakāriṇī' and Hindi translation made by Mukunda Śāstrī, surnamed Khiste.

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Bhārgavabhūṣaṇa Press, was printed and published.
CC-O Pt. Chakradhar Joshi and Sons, Dev Prayag. Digitized by eGangotri.

1

the vernacular translation.
Undertaking of the treatise.
That by merely hearing which the definition of metres is understood, / that concise Śrutabodha I will explain in full. (1)

Syntactic prose order: ahaṃ avistaraṃ taṃ śrutabodhaṃ sampravakṣyāmi, yena śrutamātreṇa chandasāṃ lakṣaṇaṃ budhyate.
Meaning: 'ahaṃ'—I, Kālidāsa; 'avistaram'—that in which there is no extension, that is to say, prolixity or useless presentation, meaning full of useful matter; 'tam'—that which is well known as composed by a great poet; 'śrutabodha'—the metric text of that name; 'sampravakṣyāmi'—I shall delineate; 'yena'—by which treatise; 'śrutamātreṇa'—by merely hearing, that is, merely upon reaching the ear; 'chandasām'—of the metres like āryā, anuṣṭubh, etc.; 'lakṣaṇam'—the characteristic nature of syllables and morae; 'budhyate'—is understood. (1)

1_14

Vernacular: By merely hearing which Śrutabodha the definition of metres is known, that treatise named Śrutabodha I (Kālidāsa) state in brief. (1)

2

General rule: / That preceding a conjunct consonant, a long [syllable], one with anusvāra, and one joined with a visarga / is to be known as a heavy syllable, and [one] standing at the end of a quarter-verse optionally. (2)

2_15

Syntactic prose order: saṃyuktādyaṃ, dīrghaṃ, sānusvāraṃ, visargasaṃmiśraṃ, akṣaraṃ guru vijñeyam, pādāntasthaṃ (akṣaram) vikalpena (guru vijñeyam).
Meaning: 'saṃyuktādyam'—preceding a conjunct consonant; 'dīrgham'—of two morae; 'sānusvāram'—existing together with an anusvāra; 'visargasaṃmiśram'—existing together with a visarga; 'akṣaram'—a syllable; 'guru'—not light; 'vijñeyam'—is to be understood; 'pādāntastham'—standing at the end of a quarter-verse; 'vikalpena'—optionally, is to be understood as heavy or light. At the end of a quarter-verse even a heavy syllable may be light, and in some places even a light syllable may be heavy. And so it is stated in another treatise: 'Or at the end of a quarter-verse it is curved [heavy], while another having one mora is to be known as light.' (2) / Vernacular: A syllable preceding a conjunct consonant is long, and a syllable joined with an anusvāra or a visarga should also be known as heavy; and at the end of a quarter-verse, a light syllable should also be understood as heavy optionally. (2)

2_16

A short [syllable] consists of one mora, a long is declared to consist of two morae, / and a protracted is to be known as consisting of three morae, while a consonant consists of half a mora.

3

Definition of the metrical triplets.
At the beginning, middle, and end, bha, ja, and sa attain heaviness; / ya, ra, and ta attain lightness; while ma and na [have] heaviness and lightness [throughout]. (3)

3_17

Syntactic prose order: bhajasāḥ ādimadhyāvasāneṣu gauravaṃ yānti, yaratāḥ (ādimadhyāvasāneṣu) lāghavaṃ yānti, manau tu (ādimadhyāvasāneṣu) gurulāghavaṃ yātaḥ. (3)

3_18

Meaning: 'bhajasāḥ'—the bha-triplet, ja-triplet, and sa-triplet; 'ādimadhyāvasāneṣu'—in the beginning, middle, and end; that is, in the first, middle, and last [positions]; 'gauravam'—heaviness; 'yānti'—they attain. Thus: the bha-triplet has an initial heavy [syllable] (– u u); the ja-triplet has a medial heavy [syllable] (u – u); the sa-triplet has a final heavy [syllable] (u u –). 'yaratāḥ'—the ya-triplet, ra-triplet, and ta-triplet; attain lightness in the beginning, middle, and end. Thus: the ya-triplet has an initial light [syllable] (u – –); the ra-triplet has a medial light [syllable] (– u –); the ta-triplet has a final light [syllable] (– – u). 'tu'—further; 'manau'—the ma-triplet and the na-triplet; go to heaviness and lightness [in the beginning, middle, and end]: thus the ma-triplet has all heavy syllables (– – –), and the na-triplet has all light syllables (u u u). (3)

3_19

Vernacular: At the beginning, middle, and end the bha-triplet, ja-triplet, and sa-triplet are heavy; and the ya-triplet, ra-triplet, and ta-triplet are light at the beginning, middle, and end; and the ma-triplet and na-triplet are respectively [all] heavy and light.

4

The āryā metre.
She in whose first quarter-verse there are twelve morae, and likewise in the third, / eighteen in the second, and fifteen in the fourth, is the āryā metre. (4)

4_20

Syntactic prose order: yasyāḥ prathame tathā tṛtīye api pāde dvādaśa, dvitīye aṣṭādaśa, caturthake pañcadaśa mātrāḥ (syuḥ), sā āryā (bhavati).

15

Meaning: 'yasyām'—in which metre; 'prathame pāde'—in the first quarter-verse, there are twelve morae; 'tathā'—likewise in the third quarter-verse of that count there are twelve morae; 'dvitīye pāde'—in the second quarter-verse, eighteen morae; 'caturthake'—in the fourth, there are fifteen morae; 'sā'—that metre; is named āryā. In the quarter-verses of the āryā metre the morae in order are 12-18-12-15. (4)

15_21

Vernacular: A verse in whose first and third quarter-verses there are 12 morae, in the second 18, and in the fourth 15 morae, is called the āryā metre. (4)

15_22

The gīti metre (āryā).

15_23

Where the second [half] also is equal to the first half of an āryā metre, O [maiden] with the gait of a swan, / then those who know metre call that the gīti metre, O [lady] of nectar-sweet speech. (5)

15_24

Syntactic prose order: he haṃsagate, yatra dvitīyamapi āryāpūrvārdhasamaṃ bhavati, he amṛtavāṇi, chandovidaḥ tadānīṃ tāṃ gītiṃ bhāṣante. (5)

18

Meaning: 'he haṃsagate'—O she whose gait is like that of a swan! In that vocative address; 'yatra'—in which metre; 'dvitīyamapi'—the second half as well; 'āryāyāḥ pūrvārdhena samam'—equal to the first half of an āryā metre; 'bhavati'—is; 'he amṛtavāṇi'—O she whose speech is like nectar, in that vocative address; 'chandovidaḥ'—those versed in prosody; 'tadānīm'—then; 'tāṃ gītim'—that metre named gīti; 'bhāṣante'—call. In the quarter-verses of the gīti metre the morae in order are 12-18-12-18. (5)

18_25

Vernacular: O woman whose gait is like that of a swan! A verse whose first half and second half are both like the first half of an āryā metre, O sweet-speaking woman, those who know the science of metrics call that the gīti metre; that is to say, one should know that a verse which has twelve morae in the first and third quarter-verses, and eighteen in the second and fourth quarter-verses, is the gīti metre. (5)

18_26

The upagīti metre (āryā)

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If the first half also is employed equal to the second half of an āryā,
O lovely woman, great poets make that known as the upagīti metre. (6)

18_28

Syntax: O passionate woman (he kāmini), if (cet) the first half also (prathamārdham api) is employed equal to the second half of an āryā (āryottarārdhatulyaṃ prayuktam), great poets (mahākavayaḥ) make that known as the upagīti metre (tām upagītiṃ prakāśayante). (6)

18_29

Meaning: O passionate woman, that is, one who is filled with desire; if, that is, should it be; even the first half, that is, both the first and second quarter-verses; is equal, that is, similar; to the second half of an āryā, that is, to the second and fourth quarter-verses; is employed, that is, uttered in the verse; [then] great poets, that is, lords among poets; make that known, that is, manifest, under that name as the upagīti metre. The morae in the quarter-verses of an upagīti metre are in order: 12-15, 12-15. (6)

18_30

Vernacular: O passionate woman! A verse whose first half also is like the second half of the āryā metre, great lords among poets call that the upagīti metre; that is to say, a metre which has twelve morae in its first and third quarter-verses, and fifteen in the second and fourth, is called the upagīti metre.

18_31

The akṣarapaṅkti metre.
If where the first, the fourth, and the fifth
should be heavy, that is the akṣarapaṅkti metre. (7)

18_32

Syntax: If (cet) where (yatra) the first, fourth, and fifth [syllable] (ādyacaturtha-pañcamakam akṣaram) should be heavy (guru syāt), that [is to be known as] the akṣarapaṅkti metre (sā akṣarapaṅktiḥ jñeyā).

18_33

Meaning: If, that is, when, in which syllabic metre; the first, that is, initial; fourth, that is, the fourth; [and] fifth syllable should be heavy, that is, long; that is the akṣarapaṅkti—the metre named paṅkti, the word akṣara being for the purpose of completing the quarter-verse, should be understood. Syllables in a quarter-verse of akṣarapaṅkti: 5; triplets: bha, guru, guru: – ᴗ ᴗ, –, –.

18_34

Vernacular: The metre in which the first, fourth, and fifth syllables are heavy (long) is called the akṣarapaṅkti metre. (7)

18_35

The śaśivadanā metre.
A set of four is light, two are heavy,
O woman of firm breasts, this is the śaśivadanā metre. (8)

18_36

Syntax: O woman of firm breasts (he ghanakucayugme), [where] the set of four is light (catuṣkaṃ aguru bhavati), [and] two are heavy (dvau gurū bhavataḥ), this [is to be known as] the śaśivadanā metre (asau śaśivadanā jñeyā).

18_37

Meaning: O woman of firm breasts; in the vocative to one whose pair of breasts is firm, that is, hard; [in which syllabic metre] the set of four, that is, the set of four syllables from the beginning in the four quarter-verses; is not heavy, that is, light; [and] two, that is, the fifth and sixth; are heavy, that is, not light; [then] this, that is, that [metre], is to be understood as śaśivadanā. (8) Syllables in a quarter-verse: 6; triplets: na, ya: ᴗ ᴗ ᴗ, ᴗ – –.
Vernacular: O woman with a pair of hard breasts! The metre in which the first four syllables are light and the subsequent two, that is, the fifth and sixth syllables, are heavy, is called the śaśivadanā metre. (8)

18_38

The madalekhā metre.

18_39

If the fourth and fifth are light, O young woman,
that is called madalekhā by the wise, O deer-eyed one! (9)

18_40

Syntax: O young woman (he bāle), if (cet) where (yatra) the fourth and fifth [syllable] should be light (turyam pañcamakam akṣaraṃ laghu syāt); O deer-eyed one (he mṛganetre), that is called madalekhā by the wise (vidvadbhiḥ sā madalekhā proktā). (9)

18_41

Meaning: O young woman, that is, one in fresh youth! If, that is, should it be; where, that is, in which syllabic metre; the fourth, that is, fourth, [and] the fifth syllable should be light, that is, short; [then,] O deer-eyed one, that is, one with restless eyes! That, this metre named madalekhā; is called, that is, stated, by the wise, that is, scholars. Syllables in a quarter-verse of madalekhā: 7; triplets: ma, sa, guru: – – –, ᴗ ᴗ –, –. (9)

18_42

Vernacular: O young woman, in whatever verse the fourth and fifth syllables are light, O deer-eyed one, scholars call that the madalekhā metre. (9)

18_43

The class of eight syllables: anuṣṭubh and other metres.
In a verse, the sixth should be known as heavy everywhere, the fifth light;
the seventh short in the second and fourth quarter-verses, [and] long in the other two. (10)

18_44

Syntax: In a verse (śloke), everywhere (sarvatra) the sixth is heavy (ṣaṣṭhaṃ guru), the fifth light (pañcamaṃ laghu), the seventh in the second and fourth quarter-verses is short (dvicatuṣpādayoḥ saptamaṃ hrasvam), [and] in the other two [the seventh] should be known as long (anyayoḥ saptamaṃ dīrghaṃ jñeyam). (10)

18_45

Meaning: In a verse, that is, in a metrical stanza (in an anuṣṭubh); everywhere, that is, in all four quarter-verses; the sixth, that is, that syllable; should be known, that is, understood, as heavy, that is, long; the fifth syllable as light, that is, having one mora; and in the second and fourth quarter-verses, the seventh, that is, the seventh syllable, should be known as short, that is, light; in the other two, that is, in the first and third quarter-verses, the seventh syllable should be known as long, that is, having two morae.
Vernacular: In whatever verse the sixth syllable is heavy and the fifth syllable is light in all four quarter-verses, and the seventh syllable is short in the second and fourth quarter-verses, but the seventh syllable is long in the first and third quarter-verses, they call that the anuṣṭubh metre. (10)

18_46

Definition of the padya metre.
The fifth light everywhere, the seventh in the second and fourth;
one should know the sixth as heavy: this is the definition of the padya metre. (11)

18_47

Syntax: Everywhere the fifth is light (sarvatra pañcamaṃ laghu), in the second and fourth [quarter-verses] the seventh [is light] (dvicaturthayoḥ pādayoḥ saptamaṃ laghu), one should know the sixth as heavy (ṣaṣṭhaṃ guru vijānīyāt): this is the definition of the padya metre (etat padyasya lakṣaṇam asti). (11)

18_48

Meaning: [In which syllabic metre] everywhere, that is, in the four quarter-verses, the fifth syllable is light, that is, not heavy; [and] in the second and fourth, that is, in the second and fourth quarter-verses, the seventh syllable is light, that is, not heavy; one should know, that is, understand, the sixth everywhere, that is, the syllable of that number, as heavy, that is, long: this, that is, this, is the definition, that is, the nature, of the padya metre, that is, the metre named that. Padya: syllables in a quarter-verse: 8; there is no rule of metrical triplets. (11)

18_49

Vernacular: In a verse where the fifth syllable is light in all four quarter-verses, the seventh syllable is light in the second and fourth quarter-verses, and the sixth syllable is heavy in all four quarter-verses, they call that the padya metre. || 11

18_50

The māṇavaka metre.
If the initial, the fourth, the fifth, and the final [syllable] / should be heavy, this is declared the māṇavakākrīḍa [metre]. || 12

18_51

Syntactic connection: If the initial, the fourth, the fifth, and the final [syllable] should be heavy, this is declared the māṇavakākrīḍa [metre]. || 12

18_52

Meaning: If (ced) the first syllable (ādigatam), the fourth (turyagatam), the fifth (pañcamakam), and the one residing at the end (antyagatam), that is, the eighth, should be heavy (guruḥ), that is, long (dīrgham)—this (idam) metre of this name, the māṇavakākrīḍa, is declared (saṅkathitam) by poets. || 12

18_53

māṇavaka: syllables per quarter-verse: 8; metrical triplets: bha, ta, light, heavy: – ⏑ ⏑, – – ⏑, ⏑, –.

18_54

Vernacular: The metre in which the first, fourth, fifth, and the final (eighth) syllable is heavy is called the māṇavakākrīḍa metre. || 12

18_55

The pramāṇikā [or] nagasvarūpiṇī [metre].
When the second, fourth, sixth, and eighth [syllable] are employed as heavy, / then the wise proclaim that [metre] to be nagasvarūpiṇī. || 13

18_56

Syntactic connection: When the second, fourth, sixth, and eighth [syllable] employed should be heavy, then the wise proclaim that [metre] to be nagasvarūpiṇī. || 13

18_57

Meaning: When (yadā), that is, if, the second, fourth, sixth, and eighth [syllable] (dvituryaṣaṣṭham aṣṭamam ca) employed (prayogīkṛtam) should be heavy (guruḥ), that is, long—then the wise (budhāḥ), that is, scholars, proclaim (nivedayanti), that is, explain, that (tām) syllabic metre named nagasvarūpiṇī. || 13

18_58

Syllables per quarter-verse: 8; metrical triplets: ja, ra, light, heavy: ⏑ – ⏑, – ⏑ –, ⏑, –.

18_59

Vernacular: The metre in which the second, fourth, sixth, and eighth syllables are used as long is called the nagasvarūpiṇī metre by scholars. || 13

18_60

The vidyunmālā metre.
That [metre] in which all syllables are long, and where there is a caesura at every four [syllables], / has been explained by assemblies of scholars as vidyunmālā, O woman whose voice is like a lute! || 14

18_61

Syntactic connection: O woman whose voice is like a lute! In which all syllables should be long, [and] there should be a caesura after every four [syllables]—that is explained by assemblies of scholars as vidyunmālā. || 14

18_62

Meaning: In the vocative case for one whose speech is like a lute: O woman whose voice is like a lute! In which syllabic metre (yasyām) all syllables (sarve varṇāḥ)—every single syllable—should be long (dīrghāḥ), that is, consisting of two morae; and there should be a caesura (viśrāmaḥ), that is, a pause (yatiḥ), after every four syllables (vedairvedaiḥ); that (sā) syllabic metre bearing that name has been explained (vyākhyātā), that is, stated, by assemblies of scholars (vidvadvṛndaiḥ). || 14

18_63

Syllables per quarter-verse: 8; metrical triplets: ma, ma, heavy, heavy; caesura: 4, 4; – – –, – – –, –, –.

18_64

Vernacular: O woman who speaks sweetly like a lute! The metre in which all syllables are long and there is a caesura—that is, a pause—after every 4 syllables, such a verse scholars call the vidyunmālā metre. || 14

18_65

The campakamālā metre.
O slender woman, if the first, fourth, fifth, sixth, final, and penultimate should be heavy, / [and] where there is a caesura at the senses and arrows [5 and 5], that is to be declared campakamālā. || 15

18_66

Syntactic connection: O slender woman, where the first, fourth, fifth, sixth, final, and penultimate [syllables] should be heavy, [and] where there should be a caesura at the senses and arrows [5 and 5], that is to be declared campakamālā. || 15

18_67

Śrutabodha.

18_68

Meaning: O slender woman (tanvi), that is, of delicate limbs! In which verse (yatra) the first (ādyam), the fourth (caturtham), the fifth, the sixth (ṣaṣṭham), the final (antyam), that is, the tenth, and the penultimate (upāntyam), that is, the ninth near the end, [syllable] should be heavy (guruḥ), that is, long; and there should be a caesura (virāmaḥ)—a pause—at the senses and arrows (indriyabāṇaiḥ), that is, after every 5 syllables; that syllabic metre bearing that name is to be declared (kathanīyā), that is, stated. Campakamālā: syllables per quarter-verse: 10; metrical triplets: bha, ma, sa, heavy; caesura: 5, 5; – ⏑ ⏑, – – –, ⏑ ⏑ –, –. || 15

18_69

Vernacular: O slender-limbed woman! The metre in which the first, fourth, fifth, sixth, final (that is, tenth), and penultimate (that is, ninth) syllables are heavy, and in which there is a caesura after every five syllables, should be called the campakamālā metre. || 15

18_70

The maṇibandha metre.
Where campakamālā lacks its final [syllable], O treasure of love, / poets skilled in metre call that maṇibandha. || 16

18_71

Syntactic connection: O treasure of love! Where campakamālā should be devoid of the final [syllable], those poets who are skilled in metre call that maṇibandha. || 16

18_72

Meaning: In the vocative case for one who is like a treasure of love or affection: O treasure of love! In which syllabic metre (yatra) the metre named campakamālā—though complete in all other parts—should be devoid of the final [syllable] (antyavihīnā), that is, lacking the tenth syllable; those poets who are skilled (dakṣāḥ), that is, clever, in metre (chandasi), call (bruvate), that is, describe, that as the metre named maṇibandha. || 16

18_73

maṇibandha: syllables per quarter-verse: 9; metrical triplets: bha, ma, sa; caesura: 5, 4; – ⏑ ⏑, – – –, ⏑ ⏑ –. || 16

18_74

Vernacular: O treasure of love! The metre in which the characteristics of campakamālā are found without its final syllable is called the maṇibandha metre by poets skilled in prosody. || 16

18_75

The śālinī metre.
Where the sixth syllable becomes short, / and likewise the penultimate, O woman with a conch-shell neck! / [and] where, O slender woman, there is a caesura at the Vedas and the horses [4 and 7], / prosodists declare that [metre] to be śālinī. || 17

18_76

Syntactic connection: O woman with a conch-shell neck, where the sixth syllable becomes short, and likewise the penultimate; [and] where, O slender woman, there should be a caesura at the Vedas and the horses [4 and 7], prosodists declare that [metre] to be śālinī. || 17

18_77

Meaning: O conch-necked woman! She whose neck is like a conch-shell, in that vocative, O conch-necked woman, O conch-throated woman. Where—in which verse, the sixth syllable—the sixth phoneme, just so—in this very manner, the next after the eighth—the ninth, becomes light—short, O slender-limbed woman—O delicate-limbed woman. [And likewise,] caesura—a pause should occur at [the interval of] the four Vedas and the seven horses, those versed in metrics call that the metre named śālinī. Śālinī: 11 syllables per quarter-verse; metrical triplets: ma, ta, ta, heavy, heavy; caesura at 4, 7; — — —, — — ᴗ, — — ᴗ, —, —. (17)

18_78

Vernacular: O woman with a neck like a conch! O slender-bodied woman! In which metre the sixth and the next after the eighth, that is, the ninth syllable is light, and there is a pause at the fourth and seventh syllables, the knowers of metrics call it the śālinī metre. (17)

18_79

The mandākrāntā metre.
First the four [syllables], O fair-formed woman, are heavy; and if the eleventh and twelfth [are heavy], / O lovely girl; thereafter, O [sweet] with the fragrance of the night-lotus, the two syllables following the twelfth [are heavy]; // and likewise the final two [are heavy]; where, O darling, the caesura is at [intervals of] the ages, the rasas, and the horses, / the foremost poets, O slender woman, proclaim that to be mandākrāntā. (18)

18_80

Construal: O fair-formed woman, [where] first the four [syllables] and the eleventh and twelfth syllables should be heavy; O lovely girl, O woman fragrant as a night-lotus, thereafter the two syllables following the twelfth, and likewise the final [two] syllables should be heavy; O darling, where a caesura occurs at [intervals of] the ages, the rasas, and the horses; O slender woman, the foremost poets proclaim that to be mandākrāntā. (18)

18_81

Meaning: O fair-formed woman—O woman of beautiful limbs, first—at the beginning, the four—numbering four syllables—phonemes, should be heavy—long; likewise, the eleventh and twelfth—these two syllables [should be heavy]; O lovely girl—O beautiful woman! She whose fragrance—scent is like a night-lotus, in that vocative; thereafter—after that, the two syllables following the twelfth—the thirteenth and fourteenth syllables [become heavy]; likewise—in that manner, the final two—the sixteenth and seventeenth also [become heavy]; O darling! Where—in which syllabic metre, caesura—a pause [occurs] at [intervals of] the ages, the rasas, and the horses—by four, six, and seven [syllables] successively; O slender woman—delicate-limbed woman, the foremost poets—the best of poets, proclaim—teach that syllabic metre to be mandākrāntā—bearing that name. Mandākrāntā: 17 syllables per quarter-verse; metrical triplets: ma, bha, na, ta, ta, heavy, heavy; caesura at 4, 6, 7; — — —, — ᴗ ᴗ, ᴗ ᴗ ᴗ, — — ᴗ, — — ᴗ, —, —.

18_82

Vernacular: O fair-formed woman, in which the first four syllables are heavy, and O lovely girl, the eleventh, twelfth, thirteenth, and fourteenth, and the last two syllables are heavy, and there is a pause at the fourth, sixth, and seventh syllables, that is called mandākrāntā. (18)

19

The haṃsī metre.
If that mandākrāntā is deprived of its final caesura, / O adorned woman, then by the learned it is known for certain to be called haṃsī, O lotus-faced woman! (19)

19_83

Construal: O adorned woman, if mandākrāntā becomes deprived of its final caesura, O lotus-faced woman, then that, proclaimed by the learned, is for certain to be known as haṃsī. (19)

19_84

Meaning: O adorned woman—O woman adorned with ornaments, if—in case, the mandākrāntā—the metre of that name, is deprived of its final caesura—is without the seven-syllable pause, that is, formed of ten-syllable quarter-verses, becomes—is produced; O lotus-faced woman—she whose face—countenance is like a lotus by qualities such as beauty and fragrance, in that vocative; proclaimed—taught for certain—without doubt by the learned—by scholars, that is to be known—to be understood as haṃsī—the metre of that name. Haṃsī: 10 syllables per quarter-verse;

19_85

metrical triplets: ma, bha, na, heavy; caesura at 4, 6; — — —, — ᴗ ᴗ, ᴗ ᴗ ᴗ, —. (19)

19_86

Vernacular: O wearer of ornaments! O woman with a face like a lotus! When mandākrāntā is without its final caesura (pause), then know it certainly as called by the learned the haṃsī metre. That is, in mandākrāntā there are 17 syllables and a pause on the fourth, sixth, and seventh syllables. But in the haṃsī metre there are 10 syllables, in which the first 4 syllables are long, from the fifth to the ninth are light, the tenth syllable is long, and there is a pause on the 4th and 6th syllables. (19)

20

The dodhaka syllabic metre.
Where the first, the fourth, O woman of broad hips, the seventh, the tenth, and likewise the final [syllables] / are heavy, O embodiment of manifest love's power! that indeed is declared the dodhaka syllabic metre. (20)

20_87

Construal: O woman of broad hips, where the first, the fourth, the seventh, the tenth, and likewise the final [syllables] should be heavy, O embodiment of manifest love's power, that indeed is declared the dodhaka syllabic metre. (20)

20_88

Meaning: O woman of broad hips—she whose hips, the rear portions of the waist, are broad, thick, in that vocative, O woman of wide hips. Where the first and fourth—the first and the fourth, the seventh—the seventh, the tenth—numbering ten, and likewise—in this manner, the final—and the eleventh [syllable], should be heavy—long. O embodiment of manifest love's power! She whose love's power—the power of passion is manifest—revealed, in that vocative; that metre indeed—certainly is declared—taught [by poets] to be the dodhaka syllabic metre—bearing that name. Dodhaka: 11 syllables per quarter-verse; metrical triplets: bha, bha, bha, heavy, heavy; — ᴗ ᴗ, — ᴗ ᴗ, — ᴗ ᴗ, —, —. (20)

20_89

Vernacular: O woman with full hips! O revealer of the power of the god of love! In which the first, fourth, seventh, tenth, and the final (eleventh) syllables are heavy, that is called the dodhaka syllabic metre. (20)

21

The indravajrā metre.
In which the third, sixth, and seventh syllables are short, O woman of beautiful thighs! / and likewise the ninth; O woman whose beauty eclipses the swan by her gait! the sovereign poets call that indravajrā. (21)

21_90

Syntax: O woman of beautiful thighs! That in which the third, sixth, and seventh, and likewise the ninth syllable is short, O woman whose beauty surpasses a female swan by her gait!—that the lords of poets call indravajrā. || 21

21_91

Meaning: "O woman of beautiful thighs!" in the vocative to one who has well-formed, splendid thighs. "In which"—in which syllabic metre; the "third, sixth, and seventh syllable"—sound; "likewise"—just so, the syllable numbering nine is "short"—light; "is"—becomes. "O woman whose beauty surpasses a female swan by her gait!" in the vocative to one by whom the mate of a swan, the female swan, is outshone through her gait. "Lords of poets"—the foremost among poets; "that indravajrā"—the metre of this name; "call"—they say. indravajrā: 4 quarter-verses, 11 syllables; metrical triplets: ta, ta, ja, guru, guru; caesura: 5, 6; – –, – ᴗ –, ᴗ – –, ᴗ – –.

21_92

Vernacular translation: O woman with beautiful thighs! O woman who shames the female swan by her gait! The metre in which the third, sixth, seventh, and ninth syllables are short, the lords of poets call the indravajrā metre. || 21

22

Upendravajrā.
If in the quarter-verses of indravajrā the first syllables are light, O woman of beautiful complexion,
when love intensely intoxicates, then it is declared upendravajrā by the lords of poets. || 22

22_93

Syntax: O woman of beautiful complexion! If in the quarter-verses of indravajrā the first syllables are light, O woman in whom love intensely intoxicates!—then it is declared upendravajrā by the lords of poets. || 22

22_94

Meaning: "O woman of beautiful complexion!"—one of splendid color; "if"—in case; "in the quarter-verses of indravajrā"—in the four quarter-verses of the metre of that name; "the first"—the initial; "syllables"—sounds; "are light"—become short. "O woman in whom love intensely intoxicates!"—vocative to one in whom Madana, passion, is "intense"—excessive, and "intoxicating"—causing delight; "then"—at that time; "lords of poets"—the best of poets; "upendravajrā"—the metre of that name; "declared"—spoken. Upendravajrā: 4 quarter-verses, 11 syllables; metrical triplets: ja, ta, ja, guru, guru; caesura: 5, 6; ᴗ – ᴗ, – – ᴗ, ᴗ – ᴗ, – –. || 22

22_95

Vernacular translation: O woman of fair complexion! If in the four quarter-verses of indravajrā the initial syllables are short, then, O woman of intense passion!—the lords of poets call that the upendravajrā metre. || 22

23

Upajāti.
Where quarter-verses of both of these two occur,
O woman with parted hair, lovely as the moon!
let this, proclaimed by the ancient sages
as upajāti, be employed. || 23

23_96

Syntax: O woman with parted hair! O woman lovely as the moon! Where the quarter-verses of both of these two indeed occur, let this one, proclaimed by the ancient sages as upajāti, be employed. || 23

23_97

Meaning: "O woman with parted hair!"—in the vocative to one who has a parting, an arrangement of hair; "O woman lovely as the moon!"—in the vocative to one whose beauty is like the moon; "where"—in which syllabic metre; "of these two"—of indravajrā and upendravajrā; "even of both"—of both indeed; "quarter-verses"—lines; "occur"—are present; as in: the definition of indravajrā is in the first and third quarter-verses, but the definition of upendravajrā is in the second and fourth quarter-verses; "by the ancients"—by early; "sages"—wise men; "proclaimed"—declared; "that"—it; "this"—this; "upajāti"—the metre named as such; "thus let it be employed"—let it be made an object of usage; "by you" is understood. Upajāti: quarter-verses: 4; syllables: 11. || 23

23_98

Vernacular translation: O woman of beautiful hair! O woman lovely as the moon! The metre in which there are quarter-verses of both indravajrā and upendravajrā—that is, the first and third quarter-verses are of indravajrā, and the second and fourth quarter-verses are of upendravajrā—the ancient poets call that the upajāti metre. || 23

24

The ākhyānakī metre.
It is ākhyānakī, O woman who discloses her intention,
if there is a quarter-verse of indravajrā first,
and the other three are quarter-verses of upendravajrā;
by the wise it is spoken of as having an inverted beginning. || 24

24_99

Syntax: O woman who discloses her intention! If first [there should be] an indravajrā quarter-verse, [and] the other three [should be] upendravajrā quarter-verses, that is declared by the wise as an ākhyānakī with an inverted beginning. || 24

24_100

Meaning: "O woman who discloses her intention!" in the vocative to one by whom the intention, the personal desire, has been manifested, made clear; "if"—in case; "first"—the first; "quarter-verse"—line (should be) like indravajrā; "the other"—the remaining; "three"—second, third, and fourth quarter-verses, lines (should be) like upendravajrā; "that"—this; "by the wise"—by a learned person; "declared"—stated; "ākhyānakī with an inverted beginning"—it would be viparītākhyānakī. Ākhyānakī: 4 quarter-verses, 11 syllables; first quarter-verse like indravajrā, others like upendravajrā. 24.

24_101

Vernacular translation: O woman who reveals her purpose! If the first quarter-verse is of indravajrā and the remaining three quarter-verses are of the upendravajrā metre, scholars have named it the viparītākhyānakī metre. || 24

24_102

The rathoddhatā metre.

25

Where the first syllable, and after that the third,
and the seventh, ninth, and likewise the last
is long, O moon-faced woman!
poets call that rathoddhatā. || 25

25_103

Syntax: Where the first, then the third, the seventh, and the ninth, and likewise the final syllable becomes long, O moon-faced woman, poets call that rathoddhatā. || 25

25_104

Meaning: "Where"—in which syllabic metre; "the first"—the beginning of the quarter-verses; "then"—thereafter; "the third"—the third; "the seventh and the ninth, and likewise"—just so; "the final"—the eleventh; "syllable"—sound; "becomes long"—is not light. In the vocative to one whose face is like the moon: "O moon-faced woman!"; "poets"—makers of poetry; "that"—this; "rathoddhatā"—the metre of that name; "call"—they speak of. Rathoddhatā:

25_105

4 quarter-verses, 11 syllables; metrical triplets: ra, na, ra, laghu, guru; caesura: 7, 4; – ᴗ –, ᴗ ᴗ ᴗ, – ᴗ –, ᴗ, –.

25_106

Vernacular translation: O moon-faced one! In whichever metre the first, third, seventh, ninth, and final (eleventh) syllable is long, the lords of poets call that rathoddhatā metre. || 25

26

The svāgatā metre.
If the ninth and tenth syllables are inverted, O modest one, / from what has been taught, O fawn-eyed one, that very metre is called svāgatā by poets. || 26

26_107

Syntactical analysis: O modest one, where the ninth and tenth syllables are by inversion, if [the rest is] as stated [in rathoddhatā], O fawn-eyed one, that very metre is called svāgatā by poets. || 26

26_108

Meaning: "O modest one" means humble. In whichever syllabic metre, the ninth and tenth syllable are "by inversion," that is, by reversal (namely, contrary to rathoddhatā, the ninth syllable becomes light and the tenth syllable becomes heavy), if [the rest is] as stated, that is, as explained; "O fawn-eyed one" means one whose eyes are like the eyes of a fawn or deer; that very metre is called svāgatā by poets, that is, scholars. Svāgatā: quarter-verse: 11 syllables; metrical triplets: ra, na, bha, guru, guru; caesura: 7, 4; - u -, u u u, - u u, -, - || 26

26_109

Vernacular translation: O modest lady! O beautiful-eyed one! In whichever (rathoddhatā) metre the ninth and tenth syllables are inverted—that is, the ninth is in place of the tenth syllable and the tenth syllable in place of the ninth—poets have called that svāgatā metre. In rathoddhatā the ninth is long and the tenth is short, but in this one the tenth is long and the ninth is short. || 26

26_110

The vaiśvadevī metre.
Where the seventh syllable is short, O young woman,

27

as well as the one preceding the eleventh, placed [likewise], O bimba-lipped one; / if there is a caesura at five or at seven [syllables], / that is designated by name as vaiśvadevī, O fair-browed one. || 27

27_111

Syntactical analysis: O young woman, where the seventh, as well as, O bimba-lipped one, the syllable preceding the eleventh, is placed short, and if there is a caesura at five [and] at seven [syllables], O fair-browed one, that [metre] is designated by name as vaiśvadevī. || 27

27_112

Meaning: "O young woman" means a girl of sixteen years. In whichever metre the seventh syllable [is short], and likewise, "O bimba-lipped one!" means one whose lips are like bimba fruit; "preceding the eleventh" means the tenth syllable is placed "short," that is, light; if, in that stanza, there should be a "caesura," that is, a pause, at five and at seven syllables, then, "O fair-browed one" means one who has well-formed, beautiful eyebrows; that syllabic metre is designated, that is, spoken of, by the name vaiśvadevī. Vaiśvadevī: quarter-verse: 12 syllables; metrical triplets: ma, ma, ya, ya; caesura: 5, 7; - - -, - - -, u - -, u - - || 27

27_113

Vernacular translation: O young girl, O one with lips like the bimba fruit! In whichever metre the seventh and tenth syllables are short, and O fair-browed one, in which there is a pause after the fifth and seventh syllables, that they call vaiśvadevī metre. || 27

28

The toṭaka metre.
If the third, together with the sixth, the ninth, and that which arises at the pause, are heavy, / O you who are bent under the weight of firm, swelling breasts, / then surely this is spoken of as toṭaka metre. || 28

28_114

Syntactical analysis: O you of endless delight, if the third together with the sixth, the ninth, and that which arises at the pause (the final syllable) should be heavy, O you bent under the weight of firm, swelling breasts, surely this is spoken of as toṭaka metre. || 28

28_115

Meaning: "O you of endless delight!" means she whose delight is endless or boundless. If the ninth syllable together with the third and sixth syllables, and the one "arising at the pause," that is, standing at the end of the quarter-verses, should be "heavy," that is, long; "O you bent under the weight of firm, swelling breasts!" means she who is bowed by the weight or heaviness of breasts that are firm, or hard, and swelling, or plump; (then) surely, that is, certainly, this metre is called or proclaimed as toṭaka metre. Toṭaka: quarter-verse: 12 syllables; metrical triplets: sa, sa, sa, sa; caesura: 6, 6; u u -, u u -, u u -, u u - || 28

28_116

Vernacular translation: O lady of boundless delight! O you bowed with the weight of dense and plump breasts! In whichever metre the third, sixth, ninth, and final syllable is heavy, they call that toṭaka metre. || 28

28_117

The bhujaṅgaprayāta metre.
When the first, the fourth, and likewise the seventh, and just so the syllable preceding the eleventh, is short, / O lotus-faced one rivaling the autumn moon, / that is declared by the foremost of poets to be bhujaṅgaprayāta. || 29

29

Syntactical analysis: O lotus-faced one rivaling the autumn moon, when the first, fourth, seventh, and likewise the syllable preceding the eleventh is short, (then) that is declared by the foremost of poets to be bhujaṅgaprayāta. || 29

29_118

Meaning: "O lotus-faced one rivaling the autumn moon" means she whose lotus-face is a rival, an enemy, to the moon of the autumn season. When, in whichever stanza, the first, the fourth, the seventh, and likewise the syllable preceding the eleventh, that is, the tenth syllable, should be "short," that is, light, (then) that is declared, or taught, by the lords of poets, the greatest of poets, as bhujaṅgaprayāta. Bhujaṅgaprayāta: quarter-verse: 12 syllables; metrical triplets: ya, ya, ya, ya; caesura: 6, 6; u - -, u - -, u - -, u - - || 29

29_119

Vernacular translation: O lady who shames the autumn moon with her lotus face! In whichever metre the first, fourth, seventh, and tenth syllables are short, the lords of poets have declared that to be bhujaṅgaprayāta metre. || 29

30

The drutavilambita metre.
Ah, slender-waisted lady! Where the fourth [syllable] is heavy,
and the seventh as well as the tenth,
and likewise that which arises at the pause,
that is taught by the wise as the drutavilambita metre. (30)

31

Syntax: Ah, slender-waisted lady! Where the fourth, seventh, and tenth, and likewise the syllable arising at the pause should be heavy, that is taught by the wise as drutavilambita. (31)

31_120

Meaning: "Ayi" is in gentle address. O slender-waisted lady!—

31_121

she whose waist, that is, middle part, is slender, thin: in the vocative case for that; "where": in which stanza;
"the fourth": the fourth; "the seventh": the seventh; "as well as": in that very manner; "the tenth": having that number; "likewise": in that very way; "arising at the pause": the final, twelfth syllable; should be heavy, that is, long: then
by the wise, that is, the learned, it is taught, that is, spoken of, under that name, "drutavilambita".

31_122

Drutavilambita metre: quarter-verse, 12 syllables; metrical triplets: na, bha, bha, ra. Light-light-light, heavy-light-light, heavy-light-light, heavy-light-heavy. (30)

31_123

Vernacular: O slender-waisted lady! In which metre the fourth, seventh, tenth, and final (twelfth) syllable are heavy (long), the learned call that the drutavilambita metre. (30)

31_124

The pramitākṣarā metre.

31_125

If in toṭaka metre the fifth syllable
is made heavy, playful woman,
and that numbered by the rasas is not heavy, frail lady,
it is called pramitākṣarā by the poets. (31)

31_126

Syntax: If the fifth syllable of toṭaka metre is made heavy, O playful woman, O frail lady, and if that numbered by the rasas should not be heavy, that is called pramitākṣarā by the poets. (31)

31_127

Meaning: "If": in case; "of toṭaka": of that named thus; "fifth syllable": fifth syllable; "heavy": long; "made": should be employed.
"O playful woman": she who has playfulness, charm: in the vocative case for that; "O frail lady": heroine; "numbered by the rasas": the sixth; "if": in case; "heavy": long; "not": should not be;
that is called, that is, spoken of, as "pramitākṣarā", the metre of that name, by the poets, that is, the learned.
Pramitākṣarā metre: quarter-verse, 12 syllables; triplets: sa, ja, sa, sa. Light-light-heavy, light-heavy-light, light-light-heavy, light-light-heavy. (31)

31_128

Vernacular: O playful lady! O frail woman! If the fifth syllable of toṭaka metre is heavy and the sixth syllable is light, then poets have called that the pramitākṣarā metre. (31)

32

The hariṇīplutā metre.
If there is no initial syllable in the first and third
quarter-verses of drutavilambita metre,
then, lotus-eyed lady, O beautiful woman,
that becomes the hariṇīplutā metre. (32)

32_129

Syntax: O lotus-eyed lady! If there is no first syllable in the first and third quarter-verses of drutavilambita metre, O beautiful woman, then that becomes hariṇīplutā. (32)

32_130

Meaning: "O lotus-eyed lady": she whose eyes, sight, are like lotuses: in the vocative case for that; "if": in case; "of drutavilambita": of the metre of that name; "and": filling out the verse-quarter; "in the first and third": in the first and third; "quarter-verses": lines; "initial syllable": first syllable; "if not": should not be. O beautiful woman, fair-limbed lady! Then, at that time, that metre becomes, is produced as, "hariṇīplutā", of that name.
Hariṇīplutā metre:
Quarter-verses 1 and 3: 11 syllables; triplets: sa, sa, sa, light, heavy;
light-light-heavy, light-light-heavy, light-light-heavy, light, heavy.
[Quarter-verses] 2 and 4: 12 syllables; triplets: na, bha, bha, ra;
light-light-light, heavy-light-light, heavy-light-light, heavy-light-heavy. (32)

32_131

Vernacular: O lotus-eyed lady! O beautiful woman! If in the first and third quarter-verses of this drutavilambita metre there is no initial syllable, then it becomes the hariṇīplutā metre. (32)

33

The vaṃśastha metre.
When in the quarter-verses of upendravajrā
the penultimate syllables are made light,
O you whose eyebrows, sparkling with passion, conquer the bow of the God of Love,
the wise then call this the vaṃśastha metre. (33)

33_132

Syntax: O you whose eyebrows, sparkling with passion, conquer the bow of the God of Love! If when the penultimate syllables are made light in the quarter-verses of upendravajrā, then the wise call this vaṃśastha. (33)

33_133

Meaning: "O you whose eyebrows, sparkling with passion, conquer the bow of the God of Love": she by whom the bow of Love is conquered by eyebrows radiant with passion: in the vocative case for that. "If": in case;
"in the quarter-verses of upendravajrā": in the four quarter-verses of this metre;
"penultimate syllables": the syllables positioned next to the end; "when": in which stanza; "light": short; "made": set down; should be, then, in that stanza, the wise, that is, the learned,
speak of, that is, describe, this metre as "vaṃśastha", named thus.

33_134

Vaṃśastha metre: quarter-verse, 12 syllables; triplets: ja, ta, ja, ra; caesura: 5, 7. Light-heavy-light, heavy-heavy-light, light-heavy-light, heavy-light-heavy. (33)

33_135

Vernacular: O you who conquer the bow of the God of Love by the grace of eyebrows splendid with passion! If in the four quarter-verses of upendravajrā the penultimate syllable—that is, the eleventh syllable before the twelfth syllable—is short, and the twelfth syllable is heavy, then the learned call that the vaṃśastha metre. (33)

33_136

The indravaṃśā metre.

34

In which, O maiden whose hand-shoot is like an aśoka sprout,
the quarter-verses of vaṃśastha have their initial syllable heavy,
O you who long for the pleasure-stage of youthful dalliance,
that [metre] the poets declare to be indravaṃśā. (34)

34_137

Syntax: O maiden whose hand-shoot is like an aśoka sprout! In which the quarter-verses of vaṃśastha have their initial syllable heavy, O you who long for the pleasure-stage of youthful dalliance, the poets declare that to be indravaṃśā. (34)

34_138

Meaning: O you whose sprout-like hands are like the shoots of the Aśoka tree! (in the vocative case for one whose sprout-like hands—that is, two hands—are like the sprout—that is, a bud—of the Aśoka tree, a particular species of tree!) In which [syllabic metre] the quarter-verses of vaṃśastha—the four quarter-verses of the vaṃśastha metre—have their first syllable heavy—that is, the initial syllables are heavy! O you who long for the stage of love-play with youthful wantonness! (in the vocative case for one who has a longing—a desire—for the stage of sexual love—in the battle of love-making—through the wanton dalliances—the play—of youthfulness—youth!) Poets—those who know poetry—call this indravaṃśā—a metre of this name. Indravaṃśā: 12 syllables per quarter-verse; metrical triplets: ta, ta, ja, ra; caesura at 5 and 7; – – ⏑, – – ⏑, ⏑ – ⏑, – ⏑ –. 34.

34_139

Vernacular explanation: O woman whose fingers are like the sprouts of an Aśoka tree! O woman who longs for amorous sport through the charms of youth! The stanza in which the first syllable of all four quarter-verses of the vaṃśastha metre is long, poets call the indravaṃśā metre. 34.

34_140

The prabhāvatī metre.

35

O beloved, that in which the first pair of syllables,
the fourth, and likewise the ninth, the [syllable] after the tenth, [and]
with the final are heavy, if there is a caesura at the [four] yugas and the [nine] planets,
that indeed, O nectar-creeper, is defined as prabhāvatī. 35.

35_141

Word-order: O beloved, that in which the first pair of syllables, the fourth, the ninth, and likewise the [syllable] after the tenth, together with the final, are heavy, if there is a caesura at the yugas and the planets, that indeed, O nectar-creeper, is defined as prabhāvatī. 35.

35_142

Meaning: O beloved!—O darling! In which [syllabic metre] the first—initial—pair of syllables—couple of syllables, the fourth, the ninth—having that number, and likewise—in that very manner, with the final—together with the thirteenth syllable, the [syllable] after the tenth—the eleventh, is heavy—long; if—supposing that, there is a caesura—pause—at the [four] yugas—four—[and] the [nine] planets—nine syllables; O nectar-creeper!—O you who stand like a creeper of nectar—ambrosia! That indeed—certainly that—syllabic metre named prabhāvatī is defined—stated. Prabhāvatī: 13 syllables per quarter-verse; ⏑ – ⏑, – ⏑ ⏑, ⏑ ⏑ –, ⏑ – ⏑, –; triplets: ja, bha, sa, ja, guru; caesura at 4 and 9. 35.

35_143

Vernacular explanation: O nectar-creeper! That in which the first two syllables, that is, the first and second, the fourth, the ninth, the eleventh, and the final syllable are long, and where there is a pause at the fourth and the [subsequent] ninth syllable, know that to be the prabhāvatī metre. 35.

36

The praharṣiṇī metre.
O sweet-spoken one, if the first triad, and then the eighth, the [syllable] after the ninth,
and the two final [syllables] are heavy at the end,
[and] there is a caesura at the [three] eyes of Maheśa and the [ten] directions,
know that indeed, O fortunate woman, to be praharṣiṇī. 36.

36_144

Word-order: O sweet-spoken one! If the first triad, and then the eighth, the [syllable] after the ninth, were [heavy], and the two final [syllables] are heavy at the end, [and] a caesura occurs at the eyes of Maheśa and the directions, know that indeed, O fortunate woman, to be praharṣiṇī. 36.

36_145

Meaning: O sweet-spoken one!—O one of fair speech! If, the first—standing at the beginning—triad—group of three syllables, and then—after that, the eighth—having that number, the [syllable] after the ninth—the tenth, is heavy—long; and the two final [syllables]—the twelfth and thirteenth standing at the end—are heavy at the end; [and] there is a caesura—pause—at the [three] eyes of Maheśa—three—[and] the [ten] directions—ten (syllables); know that indeed—certainly—to be the syllabic metre named praharṣiṇī, O fortunate woman!—O one endowed with splendid fortune! Praharṣiṇī: 13 syllables per quarter-verse; triplets: ma, na, ja, ra, guru; caesura at 3 and 10; – – –, ⏑ ⏑ ⏑, ⏑ – ⏑, – ⏑ –, –. 36.

36_146

Vernacular explanation: O gentle-spoken one! O fortunate woman! That in which the first three, and the eighth, the tenth, the twelfth, and the thirteenth syllables are long, and there is a pause at the third and tenth syllables, know that to be the praharṣiṇī metre. 36.

36_147

The vasantatilakā metre.

37

Where the first and second, as well as the fourth,
and the eighth, the [syllable] after the tenth, the penultimate, and the final are heavy,
O you who have goaded the lordly elephant of lovers with the goad of desire,
poets indeed call that, O beloved, vasantatilakā. 37.

37_148

Word-order: O you who have goaded the lordly elephant of lovers with the goad of desire! Where, if the first, the second, that fourth, the eighth, the [syllable] after the tenth, the penultimate, and the final (syllables) are heavy, they indeed call that, O beloved, vasantatilakā. 37.

37_149

Meaning: In the vocative for one by whom lovers themselves—lustful men—who are like lordly elephants—elephants of the quarters—have been goaded—brought under control—by the goad that is desire—Madana! Where—in which stanza, if, the first, the second—endowed with the number two, that—likewise the fourth, the eighth, the [syllable] after the tenth—the eleventh, the penultimate—the thirteenth, and the final—the fourteenth (syllables) are heavy—long; they indeed—certainly—call that syllabic metre, O beloved!—O darling!, vasantatilakā. 14 syllables per quarter-verse; triplets: ta, bha, ja, ja, guru, guru; – – ⏑, – ⏑ ⏑, ⏑ – ⏑, ⏑ – ⏑, –, –. 37.

37_150

Vernacular explanation: O passionate woman! O beloved! The stanza in which the first, second, fourth, eighth, eleventh, thirteenth, and fourteenth syllables are long, learned men call that the vasantatilakā metre. 37.

38

The mālinī metre.
Where, O beloved, the first sextet is not heavy,
and thereafter the tenth and the [syllable] after the twelfth syllables [are not heavy],
[and] where, O beloved, the pause is at the [seven] mountains and the [eight] horses,
that, delightful to good poets, is celebrated as mālinī. 38.

38_151

Word-order: O beloved, where the first sextet, and thereafter the tenth and the [syllable] after the twelfth syllables are not heavy, [and] where, O beloved, the pause is at the mountains and the horses, that, delightful to good poets, is celebrated as mālinī. 38.

38_152

Meaning: O beloved (kānte = priye), in which [metre] (yatra = yasmin chandasi), the first six (prathamaṃ ṣaṭkam = six syllables from the start in the quarter-verses), and then (tadanu = tadanantaram), the tenth (daśamam = that numbered [syllable]) and that which is at the end of the twelfth (dvādaśāntyam = the thirteenth syllable, varṇaḥ) if (ced = yadi) light (aguru = laghu) is found (vidyate = bhavati); O beloved (kānte = priye), by the mountains (giribhiḥ = by eight), then (atha = anantaram) by the horses (turaṅgaiḥ = by seven), where (yatra = in which verse) [there is] a caesura (virāmaḥ = viśrāmaḥ), that [metre] (sā = asau), charming to good poets (sukavijanamanojñā = pleasing to fine learned men), is renowned (prasiddhā = prathitā) as mālinī (mālinī = the syllabic metre of that name).
Syllables per quarter-verse: 15; triplets: na, na, ma, ya, ya; caesura: 8, 7; [pattern:] |||, |||, sss, |ss, |ss. || 38

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