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Two: Description of the Metres

2.1 The types of metre

In most metres a verse (gàthà) is made up of 4 lines (pàda), though sometimes we find verses with 6 lines, or more rarely 5. Pàëi metres are constructed according to the amount of syllables or measures there are in the line, and the patterns that are made through the alternation of the light and heavy syllables.

The metres can be divided into two main types according to their method of construction, in outline they are:

1) The syllabic metres (vaõõacchandas)

2) The measure metres (mattàchandas)

We can usefully divide these into two further groups, according to the specific basis for their construction, numbers 1 and 4 below are syllabic metres, further divided according to whether their syllables are flexible or fixed; numbers 2 and 3 are types of measure metres, according to whether they have been further organized into bars or not. We then have four main groups:

1) The flexible syllabic metres, e.g Siloka, Tuññhubha, Jagatã

2) The measure metres (proper), e.g. Vetàlãya, Opacchandasaka, & âpàtalikà

3) The bar metres, e.g. Gãti, Ariyà, Gubbinã

4) The fixed syllabic metres, e.g. Upajàti, Rathoddhatà, Uggatà

In the flexible syllabic metres it is the number of syllables that make up a line that is the organizing principle, e.g. Siloka has 8 syllables to the line, Tuññhubha 11, & Jagatã 12. Variations are allowed in regard to the weight of a numbers of the syllables in these metres (the various patterns that can occur are discussed in the descriptions that follow).

In the measure metres the syllables may vary in amount, but the total amount of measures should remain fixed (Û = 1 measure, Ü = 2 measures), e.g. Vetàlãya has 14 measures (mattà) in the 1st & 3rd lines, and 16 in the 2nd & 4th; Opacchandasaka 16 in the 1st & 3rd, 18 in the 2nd & 4th; âpàtalikà has the same mattà count as Vetàlãya, but the cadence is different.

In the bar metres a secondary organising principle is employed over and above that of counting the measures, which is to organize the syllables into bars, normally of 4 measures to the bar. e.g Ariya has 16 bars, with 30 measures in its 1st line, and 27 in the second; Gãti has 16 bars, with 30 measures in both lines (how these figures are arrived at will be explained below).

In the fixed metres virtually all of the syllables in the lines are of fixed quantity, with normally only the weight of the beginning and end syllables being variable, e.g. Upajàti is a fixed form of the Tuññhubha metre, having 11 syllables to the line; Vaüsaññhà is a fixed form of Jagatã, having 12 syllables to the line.

After this brief outline of the different structural principles involved we can examine the metres in more depth.

 

2.2 The flexible syllabic metres, vaõõacchandas
(varnacchandas) type 1
(aka akkharacchandas [Skt: akùaracchandas])

In these the line length is determined by the number of syllables there are in a line, e.g. Siloka normally has 8; Tuññhubha 11; Jagatã 12. These metres have a more or less fixed cadence (i.e. the closing rhythm of a line), but allow a greater freedom in the rest of the line, in which they differ from vaõõacchandas type 2. The syllabic metres are the most common type found in the canon.

 

2.3 Siloka (øloka)
aka Vatta (Vaktra) & Anuññhubha (Anuùñubh)

The most important and prevalent metre in canonical Pàëi is the Siloka, which has a great deal of flexibility, and seems to be equally well adapted to aphorism, question & answer, narrative, and epic.

A Siloka verse normally consists of 4 lines (sometimes 6, rarely 5) with 8 syllables to the line, organised in dissimilar pairs which are repeated to make up a verse (note that owing to resolution sometimes a Siloka line may contain 9 syllables).

Here is an analysis of the pathyà (normal) structure of the Siloka:

Odd (prior) line:

Even (posterior) line:

É Å Å Å Ð Û Ü Ü X

É Å Å Å Ð Û Ü Û X    (x 2)

In the 2nd & 3rd positions two successive light syllables ÛÛ are normally avoided, as we can see through occasional changes of syllabic weight in words that occur in these positions. However, there appear to be texts (e.g. Dhammapada) in which this rule is not always applied.

 

2.4 Siloka Variations

The cadence at the end of the even lines ÛÜÛX is very well established and normally adhered to, but occasionally other patterns show up in this position, and we should perhaps take them as acceptable, even if extraordinary, variations, they are: ÜÜÛX and ÛÜÜX, others are doubtful.

In the odd lines 7 variations (vipulà) occur, besides the normal structure, they are:

    aka

javipulà

navipulà

bhavipulà

mavipulà

ravipulà

savipulà

tavipulà

ÉÅÅÅ Ð ÛÜÛX

ÉÜÅÜ Ð ÛÛÛX

ÉÜÅÜ Ð ÜÛÛX

ÉÜÅÜ Ð ÜÜÜX

ÉÅÅÅ Ð ÜÛÜX

ÉÅÅÅ Ð ÛÛÜX

ÉÜÛÜ Ð ÜÜÛX

Anuññhubha   

1st vipulà

2nd vipulà

3rd vipulà

4th vipulà

5th vipulà

6th vipulà (very sporodic)

There is normally a caesura (word break) after the fifth syllable in the mavipulà, and after the fourth syllable in the ravipulà.

Occasionally other patterns show up in the opening of the na- and bha-vipulàs such as ÅÛÜÜ, but only rarely. As can be seen in the descriptions above, resolution of the first syllable is quite common and acceptable. The 6th & 4th are occasionally resolved, and apparently the 3rd, 5th, & 7th can be also, but not the 2nd or the 8th. By applying the rule of resolution described in 1.15 above, it is possible to help identify the underlying structure of a vipulà, take the case of an odd line showing the following structure:

ÅÜÛÜÛÛÛÜX

if the caesura (word break) occurs after the fourth syllable, it is ravipulà:

ÅÜÛÜ, ÐÛÛÛÜX

if the caesura occurs after the 5th syllable, it is pathyà:

ÅÜÛÜÐÛ, ÛÛÜX

 

2.5 Siloka periods

The Siloka metre in the canon can be divided roughly into two periods, the early and the late, according to whether the Anuññhubha variation occurs in the prior lines, or whether it is normally avoided. In the early period the pathyà accounts for about 60% or more of the prior lines, and the Anuññhubha at that time is the most important variation accounting for about 15%. As the metre comes closer to its classical form in the later part of the canon the Anuññhubha occurs only sporadically, and the pathyà greatly predominates, sometimes accounting for as much as 85% of all the lines (for more on the development of the Siloka, see the Appendix).

An interesting comparison is afforded between the early Siloka of the questions and answers in Pàràyanavagga of Suttanipàta, and the late Siloka of the Introductory Verses (Vatthugàthà). We may note here that in Hemakamàõavàpucchà (Sn V:8) (vs 1084 ff) we may have a case of the Anuññhubha being used as an independent metre in the canon, but as it is only 4 vs long it is too short to be sure.

Early Siloka from Jatukaõõãmàõavapucchà (Sn V: 12) (vs 1098-99):

        ÜÜÛÛÐÛÛÜÜÐÐÜÜÜÜÐÛÜÛÜ    savipulà
Kàmesu vinaya gedhaü, nekkhammaü daññhu khemato,

        ÜÛÜÜÐÛÜÜÜÐÐÜÜÜÜÐÛÜÛÜ    Pathyà
uggahãtaü nirattaü và mà te vijjittha ki¤canaü.

        ÜÜÜÜÐÛÜÜÜÐÐÜÜÜÜÐÛÜÛÜ    Pathyà
Yaü pubbe taü visosehi, pacchà te mà 'hu ki¤canaü.

        ÜÜÜÜÐÛÜÛÜÐÐÛÛÜÜÐÛÜÛÜ    Anuññhubha
Majjhe ce no gahessasi upasanto carissasi.

 

Late Siloka (Sn V vs 1-3) (vs 976-978), narrative style:

        ÜÛÜÜÐÛÜÜÜÐÐÛÛÜÜÐÛÜÛÜ    Pathyà
Kosalànaü purà rammà agamà Dakkhiõàpathaü

        ÜÜÜÜÐÜÛÜÜÐÐÜÛÜÜÐÛÜÛÜ    ravipulà
àki¤ca¤¤aü patthayàno, bràhmaõo mantapàragå.

        ÜÜÛÜÐÛÛÛÜÐÐÛÛÜÛÐÛÜÛÜ    navipulà
So Assakassa visaye, Aëakassa samàsane,

        ÛÜÜÜÐÛÜÜÜÐÐÜÜÛÛÐÛÜÛÜ     Pathyà
vasã Godhàvarãkåle u¤chena ca phalena ca.

        ÜÜÛÛÐÛÜÜÜÐÐÜÜÛÛÐÛÜÛÜ     Pathyà
Tass' eva upanissàya gàmo ca vipulo ahå,

        ÛÜÜÜÐÛÜÜÜÐÐÛÜÜÛÐÛÜÛÜ     Pathyà
tato jàtena àyena mahàya¤¤am-akappayi.

 

2.6 Tuññhubha (Triùñubh), & Jagatã

Tuññhubha in the canon occurs in basically three forms. In the early period Tuññhubha verses are used in the main independently. Only occasionally do we find Jagatã lines in the early verses, and then only as an expedient, as it were. 1 Later in the middle period we find that these two metres are frequently intermixed in composition, and at that point we might better describe the metre as being Tuññhubha-Jagatã. Later still these metres are replaced by their classical counterparts Upajàti and Vaüsaññhà (described in 2.8 below).

As the variations that occur in the one also occur in the other, we can take the two metres together for description.

Tuññhubha normally has 11 syllables to the line, and is defined thus:

É Ü Û Ü Ð Å Û Å Ð Ü Û Ü X    (x 4)

Jagatã is similar, but has an extra light syllable in penultimate position, giving a line of 12 syllables, thus:

É Ü Û Ü Ð Å Û Å Ð Ü Û Ü Û X    (x 4)

 

2.7 Tuññhubha Variations

The normal opening in both metres is described as being ÅÜÛÜ , but there are a significant number of occasions when variations are seen (especially in the early period), the most common being ÅÜÜÜ, but also we come across ÅÜÛÛ, ÅÛÜÜ & ÜÛÛÜ. Others occur only very rarely.

In the break (syllables 5-7) the pattern ÜÛÛ prevails (85% approx), with resolution occasionally giving ,ÛÛÛÛ. Other patterns that occur in this position are ÛÛÜ, ÜÛÜ, & ÛÛÛ. Rarely we also find the patterns ÜÜÛ and ÛÜÛ, so that the 6th syllable, though normally light, may occasionally be heavy.

Sometimes an extended form is produced by resolution at the first syllable, which then gives a line of 12 (13) syllables - note that the pattern of the cadence will help identify the metre in these cases.

Another extended form may be produced by a line having a caesura at the 5th syllable, and restarting from the same syllable, giving the line:

   5 & 5

Å Ü Û Ü Ð Ü, É Û Å Ð Ü Û Ü (Û) X

Occasionally replacement takes place, whereby two light syllables are presumed in the 6th & 7th positions, and replaced by one heavy one. The line then has one syllable less than expected (see 1: 16 above for an example):

       6 & 7

É Ü Û Ü Ð Ü Ü Ð Ü Û Ü (Û) X

Examples: early Tuññhubha, Khaggavisàõasutta Sn I:3; the "Aññhaka" suttas Sn IV:2-5; and the Tuññhubha verses in Pàràyanavagga Sn V. The second of the extended forms described above is used extensively in the Vatthugàthà to Nàlakasutta Sn III:11 (vs 679ff). Late Tuññhubha tends to conform to the fixed patterns that emerged during this time and which are described below (for more on the development of the Tuññhubha, see the Appendix).

Example of early Tuññhubha from Guhaññhakasutta (Sn IV: 2) (vs 776-779):

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ
Passàmi loke pariphandamànaü,

        ÛÜÛÜÐÜÜÛÐÜÛÜÜ
pajaü imaü taõhàgataü bhavesu,

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ
hãnà narà maccumukhe lapanti -

        ÛÜÛÜÐÜÜÛÐÜÛÜÜ
avãtataõhàse bhavàbhavesu.

 

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ
Mamàyite passatha phandamàne,

        ÜÜÛÜÐÜÛÜÐÜÛÜÜ
macche va appodake khãõasote,

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ
etam-pi disvà amamo careyya,

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ
bhavesu àsattim-akubbamàno.

 

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ
Ubhosu antesu vineyya chandaü,

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ
phassaü pari¤¤àya anànugiddho,

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ
yad-attagarahã tad-akubbamàno:

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ
na lippatã diññhasutesu dhãro.

 

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ
Sa¤¤aü pari¤¤à vitareyya oghaü,

        ÛÜÛÜÐÛÛÛÐÜÛÜÜ
pariggahesu muni nopalitto,

        ÜÜÛÜÐÜÛÜÜÛÜÜ
abbåëhasallo caraü appamatto,

        ÜÜÛÜÐÜÜÛÐÜÛÜÜ
nàsiüsatã lokaü imaü paraõ-cà ti.

 

Mixed Tuññhubhajagatã, from Ratanasutta (Khp 6:8):

        ÛÜÛÜÐÜÛÛÐÜÛÜÛÜ    Jagatã
Yath' indakhãlo pañhaviü sito siyà

        ÛÜÛÜÐÜÛÛÐÜÛÜÛÜ    Jagatã
catubbhi vàtehi asampakampiyo,

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ    Tuññhubha
tathåpamaü sappurisaü vadàmi,

        ÜÜÛÜÐÜÛÛÐÜÛÜÛÜ    Jagatã
yo ariyasaccàni avecca passati -

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ    Tuññhubha
idam-pi Sanghe ratanaü paõãtaü:

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ    Tuññhubha
etena saccena suvatthi hotu!

 

Extended Tuññhubha, from Nàlakasutta (Sn III: 11) (vs 679-680):

        ÜÜÛÜÐÜÛÛÛÛÐÜÛÜÜ
ânandajàte tidasagaõe patãte

        ÜÜÛÜÐÜÛÛÛÛÐÜÛÜÜ

sakkacca Indaü sucivasane ca deve,

        ÜÜÛÜÐÜÛÛÛÛÐÜÛÜÜ
dussaü gahetvà atiriva thomayante

        ÛÛÜÛÛÐÜÜÛÛÐÜÛÜÜ
Asito isi addassa divàvihàre. 2

    

        ÜÜÛÜÐÜÛÛÛÛÐÜÛÜÜ
Disvàna deve muditamane udagge,

        ÜÜÛÜÐÜÛÛÛÜÐÜÛÜÜ
cittiükaritvà idam-avocàsi tattha: 3

        ÜÜÛÜÐÜÛÛÛÛÐÜÛÜÜ
Kiü devasangho atiriva kalyaråpo?

        ÜÜÛÜÐÜÛÛÛÛÐÜÛÜÜ
Dussaü gahetvà bhamayatha kiü pañicca?

 

2.8 Upajàti, Vaüsaññhà (Vaü÷asthà), and Rucirà

These are the fixed metres in the canon that have been derived from Tuññhubha and Jagatã, their profile looks like this:

i) Upajàti (from Tuññhubha):

Å Ü Û Ü Ð Ü Û Û Ð Ü Û Ü X  (x 4)

ii) Vaüsaññhà (from Jagatã):

Å Ü Û Ü Ð Ü Û Û Ð Ü Û Ü Û X  (x 4)

As can be seen these are the "normal" forms of their respective metres, but now allowing only little flexibility.

 

iii) Rucirà (from Jagatã, with resolution of the 5th syllable, giving a 13 syllable line):

Å Ü Û Ü Ð Û Û Û Û Ð Ü Û Ü Û (x 4)

Examples: Upajàti and Vaüsaññhà are used to great effect, both mixed and independently in Tàlaputta's gàthàs Th 1091-1145. Vaüsaññhà and Rucirà both appear as independent metres in Lakkhaõasuttanta DN.30 (see 2.24)

Example Upajàti/Vaüsaññhà, Th 1091-2:

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ    Upajàti
Kadà nu 'haü pabbatakandaràsu,

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ    Upajàti
ekàkiyo addutiyo vihassaü,

        ÛÜÛÜÐÜÛÛÐÜÛÜÜ    Upajàti
aniccato sabbabhavaü vipassaü,

        ÜÜÛÜÐÜÛÛÐÜÛÜÛÜ    Vaüsaññhà
taü me idaü taü nu kadà bhavissati?

 

        ÛÜÛÜÐÜÛÛÐÜÛÜÛÜ    Vaüsaññhà
Kadà nu 'haü bhinnapañandharo muni,

        ÜÜÛÜÐÜÛÛÐÜÛÜÛÜ    Vaüsaññhà
kàsàvavattho amamo niràsayo,

        ÜÜÛÜÐÜÛÛÐÜÛÜÜ    Upajàti
ràga¤-ca dosa¤-ca tath' eva mohaü

        ÜÜÛÜÐÛÛÛÛÐÜÛÜÜ    Upajàti
hantvà, sukhã pavanagato vihassaü? 4

 

Rucirà from Lakkhaõasuttanta (D. 30. 2. 9):

        ÛÜÛÜÐÛÛÛÛÐÜÛÜÛÜ
Na pàõinà na ca pana daõóaleóóunà,

        ÜÜÛÜÐÛÛÛÛÐÜÛÜÛÜ
satthena và maraõavadhena và puna,

        ÜÜÛÜÐÜÛÛÐÜÛÜÛÜ
ubbàdhanàyà paritajjanàya và, 5

        ÛÜÛÜÐÛÛÛÛÐÜÛÜÛÜ
na heñhayã janatam-aheñhako ahu.  

        ÜÜÛÜÐÛÛÛÛÐÜÛÜÛÜ
Ten' eva so sugatim-upecca modati

        ÛÜÛÜÐÛÛÛÛÐÜÛÜÛÜ
sukhapphalaü kariya 6 sukhàni vindati.

 

 

End Notes

1 The last two sections of Suttanipàta are considered to contain some of the earliest texts in the canon. And in the first of these books, Aññhakavagga (Sn IV), there are only 4 Jagatã lines among nearly 400 lines of Tuññhubha (there is also one Jagatã verse, no 836). In Pàràyanavagga (Sn V), the Jagatã lines amount to approx 7% of the lines in the Tuññhubha verses.

2 1st syllable is resolved, 4th syllable is short, we might have expected to find a reading isã

3 Perhaps we should understand avÖcƒsi m.c.

4 Showing resolution of the 5th syllable

5 This is an Upajàti line

6 Reading kariya as having 3 syllables

 

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