944. Atijagatí (13 syllables to the Páda or quarter-verse).

Of this there are 16 varieties. The commonest are

948. Śakvari or Sakkarí or Śarkarí (14 syllables to the Páda).

Of this there are 20 varieties. The commonest is

949. Vasanta-tilaká,

I 2 3 4 5 6 7 8 9 10 II 12 13 14

-

950. Atiśakvarí or Atiśakkarí (15 syllables to the Páda).

Of this there are 18 varieties. The commonest is

I 2 3 4 5 6 7 8 9 10 11 12 13 14 15

951. Máliní or Mániní, ~ C

There is a cæsura at the 8th syllable.

952.

Ashți (16 syllables to the Páda or quarter-verse).

Of this there are 12 varieties; none of which are common.

953. Atyashti (17 syllables to the Páda or quarter-verse).

Of this there are 17 varieties. The commonest are

954. Sikhariní,

I 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

Cæsura at the 6th syllable.

955. Mandákrántá,

I 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17

-

Casura at the 4th and 10th syllables.

957. Dhriti (18 syllables to the Páda or quarter-verse).

Of this there are 17 varieties, one of which is found in the Raghu-vansa—

* The mark is meant to shew that the last syllable is long at the end of the Páda or quarter-verse, but long or short at the end of the half-verse.

959. Atidhṛiti (19 syllables to the Páda or quarter-verse).

Of this there are 13 varieties. The commonest is

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

961.

Kriti (20 syllables to the Páda or quarter-verse).

Of these there are 4 varieties; none of which are common.

962. Prakriti (21 syllables to the Páda or quarter-verse). 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21

964. Of the remaining metres determined by the number of syllables in the Páda, Ákṛiti has 22 syllables, and includes 3 varieties; Vikriti 23 syllables, 6 varieties; Sankṛiti 24 syllables, 5 varieties; Atikriti 25 syllables, 2 varieties; Utkriti 26 syllables, 3 varieties; and Dandaka is the name given to all metres which exceed Utkriti in the number of syllables.

965. There are two metres, called Gáyatrí and Ushnik, of which the first has only 6 syllables to the quarter-verse, and includes II varieties; the second has 7 syllables to the quarter-verse, and includes 8 varieties.

a. When the Páda is so short, the whole verse is sometimes written in one line. b. Observe, that great license is allowed in metres peculiar to the Vedas; thus

which may be regarded as consisting of a triplet of 3 divisions of 8 syllables each, or of 6 feet of 4 syllables each, generally printed in one line, the quantity of each syllable is very irregular. The following verse exhibits the most usual quantities :

but even in the b verse of each division the quantity may vary.

B. Metres, consisting of two half-verses, determined by the number of SYLLABLES* in the HALF-VERSE (each half-verse being alike, ardha-sama).

967. This class contains 7 genera, but no varieties under each genus. Of these the commonest are

* This class of metres is said to be regulated by the number of feet or Mátrás in the half-verse, in the same way as class II. But as each half-verse is generally distributed into fixed long or short syllables, and no option is allowed for each foot between a spondee, anapæst, dactyl, proceleusmaticus, and amphibrach, it will obviate confusion to regard this class as determined by syllables, like class I. A.

969.

There is a cæsura at the 10th syllable.

Aupaćehandasika (23 syllables to the half-verse).

The scheme of this metre is the same as the last, with a long syllable added after the 10th and last syllable in the line; the cæsura being at the 11th syllable.

CLASS II.-Mátrá-vṛitta, consisting of two half-verses, determined by the number of FEET in the whole verse (each foot containing generally four Mátrás).

971. Note-Each foot is supposed to consist of four Mátrás or instants, and a short syllable is equivalent to one instant, a long syllable to two. Hence only such feet can be used as are equivalent to four Mátrás; and of this kind are the dactyl (-), the spondee (--), the anapæst (-), the amphibrach (~~), and the proceleusmaticus (~ ~ ~ ~); any one of which may be employed.

Of this class of metres the commonest is the

Each half-verse consists of seven and a half feet; and each foot contains four Mátrás, excepting the 6th of the second half-verse, which contains only one, and is therefore a single short syllable. Hence there are 30 Mátrás in the first halfverse, and 27 in the second. The half-foot at the end of each half-verse is generally, but not always, a long syllable; the 6th foot of the first half-verse must be either an amphibrach or proceleusmaticus; and the 1st, 3rd, 5th, and 7th feet must not be amphibrachs. The cæsura commonly takes place at the end of the 3rd foot in each half-verse, and the measure is then sometimes called Pathyá. The following are a few examples:

973. The Udgíti metre only differs from the Áryá in inverting the half-verses, and placing the short half-verse, with 27 Mátrás, first in order.

974. There are three other varieties :—In the Upagíti, both half-verses consist of 27 Mátrás; in the Gíti, both consist of 30 Mátrás; and in the Áryágíti, of 32.

ACCENTUATION.

975. Accentuation (svara, 'tone') in Sanskrit is only marked in the Vedas. Probably the original object of the marks used was to denote that peculiar change in the ordinary intonation practised in reciting the hymns, which consisted in the occasional raising of the voice to a higher pitch than the usual monotone. Only three names for different kinds of accent or tone are generally recognized by grammarians; viz. 1. Udátta, ‘raised,' i. e. the elevated tone or high pitch, marked in Roman writing by the acute accent; 2. An-udátta, ‘not raised,' i. e. the accentless tone; 3. Svarita, 'sounded,' i. e. the moderate tone, neither high nor low, but a combination of the two (samáhára, Páṇ. 1. 2, 32), which is produced in the following manner: In pronouncing the syllable immediately following the hightoned syllable, the voice unable to lower itself abruptly to the level of the low intonation, is sustained in a tone not as high as the udátta, and yet not so low as the an-udátta. A syllable uttered with this mixed intonation is said to be svarita, 'sounded.' These three accents, according to native grammarians, are severally produced, through intensifying (áyáma), relaxing (viśrambha), and throwing out the voice (ákshepa); and these operations are said to be connected with an upward, downward, and horizontal motion (tiryag-gamana) of the organs of utterance, which may be illustrated by the movements of the hand in conducting a musical performance *.

976. But although there are only three general names for the accents, it is clear that there are only two positive tones, viz. the udáttu or high tone, and svarita or mixed tone, the an-udátta representing the neutral, monotonous, accentless sound, which lies like a flat horizontal line below the two positive sounds. There remains

* In native grammars the udátta sound of a vowel is said to result from employing the upper half of the organs of utterance, and the an-udátta from employing the lower half. In my recent travels in India I frequently heard the Vedas recited and intoned by Pandits at Benares, Calcutta, Bombay, Poona, &c., and found to my surprise that the voice is not now raised in pronouncing the udátta syllable. Great stress is laid on the an-udátta and svarita, but none upon the udátta ; and I was told that the absence of all mark on this latter syllable is an indication of the absence of accent in intoning.

no designation for the low tone, properly so called, i. e. the tone which immediately precedes the high and is lower than the flat horizontal line taken to represent the general accentless sound. The fact is that the exertion required to produce the high tone (udátta) is so great that in order to obtain the proper pitch, the voice is obliged to lower the tone of the preceding syllable as much below this flat line as the syllable that bears the udátta is raised above it; and Páṇini himself explains this lower tone by the term sannatara (compar. of sanna, 'sunk,' for which the commentators have substituted the expression anudáttatara), while he explains the neutral, accentless tone by the term eka-śruti, i. e. the one accentless sound in which the ear can perceive no variation.

977. The expression anudáttatara, then, is now adopted to designate the lowest sound of all, or that immediately preceding the udátta or high tone. But no special mark distinguishes this sound from the an-udátta. It must be borne in mind that no simple uncompounded word, whatever the number of its syllables, has properly more than one syllable accented. This syllable is called either udátta or svarita, according as it is pronounced with a high or mixed tone. But if a word have only a svarita accent, then this svarita must be of the kind called independent, although it may have arisen from the blending of two syllables, one of which was originally udátta, as in (for tanu-á, where the middle syllable was udátta). A word having either the udátta or the svarita accent on the first syllable is called in the one case ády-udátta, in the other ádi-svarita; having either the one or other accent on the middle is in the one case madhyodátta, in the other madhya-svarità; having either the one or other accent at the end is in the one case antodátta, in the other anta-svarita. All the syllables of a word except the one which is either an udátta or independent svarita are an-udátta. Although, however, no one word can have both an udátta and an independent svarita, yet, if a word having an udátta is followed by an an-udátta, this an-udátta becomes a dependent svarita, which is really the commonest form of svarita accent.

978. As to the method of marking the tones, the udátta or high tone is never marked at all, so that if a word of one syllable is udátta it remains simply unmarked, as :; if a monosyllable is an-udátta it has a horizontal stroke underneath, as; if svarita, it has an upright mark above, as. A word of two syllables, both of which are an-udátta, has two horizontal marks below, thus ; and if the first syllable is udátta it is marked thus, :; if the last is udátta, thus af. A word of more than two syllables being entirely an-udátta (sarvánudátta) has horizontal marks under all the syllables, thus ; but if one of the syllables is udátta, the horizontal stroke immediately preceding it marks the anudáttatara, as in, where the first and second syllables are an-udátta and the third anudáttatara, the fourth being udátta; and if the udátta syllable is followed by another an-udátta, this becomes a dependent svarita, and is marked by an upright stroke, as in (Ṛig-veda III. 3, 1). Similarly, in a word of three syllables like, the syllable is anudáttatara,

is udátta, and T is svarita.