Dear friends,

this is a discussion based upon Chapter 15 of Charles Duroiselle's
Grammar. From some materials I recently acquired, I learnt that this
chapter is primarily based on the classical text Vuttodaya. I further
learnt that Vuttodaya may not be a representative account of canonical
prosody.

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:

1. gaayatti, having paadas of six syllables. There is one variety.
(i) tanumajjhaa, ¯ ¯ ˘ | ˘ ¯ ¯

2. u.nhi, having paadas of seven syllables. There is one variety.
(i) kumaaralatitaa, ˘ ¯ ˘ | ˘ ˘ ¯ | ¯

3. anu.t.thubha.m, having paadas of eight syllables. There are five
varieties.
(i) citrapadaa, ¯ ˘ ˘ | ¯ ˘ ˘ | ¯ ¯
(ii) vijjummala, ¯ ¯ ¯ | ¯ ¯ ¯ | ¯ ¯
(iii) maa.navaka.m, ¯ ˘ ˘ | ¯ ¯ ˘ | ˘ ¯
(iv) saama.nika, ¯ ˘ ¯ | ˘ ¯ ˘ | ¯ ˘
(v) paama.nikaa, ˘ ¯ ˘ | ¯ ˘ ¯ | ¯ ¯

4. brahati, having paadas of nine syllables. There are two varieties.
(i) halamukhii, ¯ ˘ ¯ | ˘ ˘ ˘ | ˘ ˘ ¯
(ii) bhujagasusu, ˘ ˘ ˘ | ˘ ˘ ˘ | ¯ ¯ ¯

5. panti, having paadas of ten syllables. There are seven varieties.
(i) suddhaviraajitam, ¯ ¯ ¯ | ˘ ˘ ¯ | ˘ ¯ ˘ | ¯
(ii) panavo, ¯ ¯ ¯ | ˘ ˘ ˘ | ˘ ¯ ¯ | ¯
(iii) rummavati, ¯ ˘ ˘ | ¯ ¯ ¯ | ˘ ˘ ¯ | ¯
(iv) matta, ¯ ¯ ¯ | ¯ ˘ ˘ | ˘ ˘ ¯ | ¯
(v) campakamala, ¯ ˘ ˘ | ¯ ¯ ¯ | ˘ ˘ ¯ | ¯
(vi) manorama, ˘ ˘ ˘ | ¯ ˘ ¯ | ˘ ¯ ˘ | ¯
(vii) ubbhasakam, ¯ ¯ ˘ | ¯ ¯ ¯ | ¯ ˘ ¯ | ¯

6. tu.t.thubha.m, having paadas of eleven syllables. There are eleven
varieties.
(i) upa.t.thitaa, ¯ ¯ ˘ | ˘ ¯ ˘ | ˘ ¯ ˘ | ¯ ¯
(ii) indavajiraa, ¯ ¯ ˘ | ¯ ¯ ˘ | ˘ ¯ ˘ | ¯ ¯
(iii) upavajiraa, ˘ ¯ ˘ | ¯ ¯ ˘ | ˘ ¯ ˘ | ¯ ¯
Remark. When the quarter-verses of indavajiraa and upavajiraa are
mixed together in a stanza in any order, the stanza is them called
upajaati.
(iv) sumukkhii, ˘ ˘ ¯ | ˘ ¯ ˘ | ˘ ¯ ˘ | ˘ ¯
(v) dodhaka.m, ¯ ˘ ˘ | ¯ ˘ ˘ | ¯ ˘ ˘ | ¯ ¯
(vi) saalinii, ¯ ¯ ¯ | ¯ ¯ ˘ | ¯ ¯ ˘ | ¯ ¯
(vii) vaatummissaa, ¯ ¯ ¯ | ¯ ˘ ˘ | ¯ ¯ ˘ | ¯ ¯
Remark. There are pauses after the fourth and seventh syllables.
(viii) surasasirii, ¯ ˘ ˘ | ¯ ¯ ˘ | ˘ ˘ ˘ | ¯ ¯
(ix) rathoddhataa, ¯ ˘ ¯ | ˘ ˘ ˘ | ¯ ˘ ¯ | ˘ ¯
(x) svaagata, ¯ ˘ ¯ | ˘ ˘ ˘ | ¯ ˘ ˘ | ¯ ¯
(xi) bhaddikaa, ˘ ˘ ˘ | ˘ ˘ ˘ | ¯ ˘ ¯ | ˘ ¯

7. jagati, having paadas of twelve syllables. There are fourteen
varieties.
(i) vasama.t.tha, ˘ ¯ ˘ | ¯ ¯ ˘ | ˘ ¯ ˘ | ¯ ˘ ¯
(ii) indava.msaa, ¯ ¯ ˘ | ¯ ¯ ˘ | ˘ ¯ ˘ | ¯ ˘ ¯
(iii) to.taka, ˘ ˘ ¯ | ˘ ˘ ¯ | ˘ ˘ ¯ | ˘ ˘ ¯
(iv) dutavila.mbita, ˘ ˘ ˘ | ¯ ˘ ˘ | ¯ ˘ ˘ | ¯ ˘ ¯
(v) pu.ta, ˘ ˘ ˘ | ˘ ˘ ˘ | ¯ ¯ ¯ | ˘ ¯ ¯
Remark. There are pauses after the fourth and twelfth syllables.
(vi) kusumavicittaa, ˘ ˘ ˘ | ˘ ¯ ¯ | ˘ ˘ ˘ | ˘ ¯ ¯
(vii) bhuja`ngappayaata, ˘ ¯ ¯ | ˘ ¯ ¯ | ˘ ¯ ¯ | ˘ ¯ ¯
(viii) piyamvada, ˘ ˘ ˘ | ¯ ˘ ˘ | ˘ ¯ ˘ | ¯ ˘ ¯
(ix) lalitaa, ¯ ¯ ˘ | ¯ ˘ ˘ | ˘ ¯ ˘ | ¯ ˘ ¯
(x) pamitakkaraa, ˘ ˘ ¯ | ˘ ¯ ˘ | ˘ ˘ ¯ | ˘ ˘ ¯
(xi) ujjalaa, ˘ ˘ ˘ | ˘ ˘ ˘ | ¯ ˘ ˘ | ¯ ˘ ¯
(xii) vessadevii, ¯ ¯ ¯ | ¯ ¯ ¯ | ˘ ¯ ¯ | ˘ ¯ ¯
Remark. There are pauses after the fifth and twelfth syllables.
(xiii) taamarasa.m, ˘ ˘ ˘ | ˘ ¯ ˘ | ˘ ¯ ˘ | ˘ ¯ ¯
(xiv) kamalaa, ˘ ˘ ¯ | ˘ ¯ ¯ | ˘ ˘ ¯ | ˘ ¯ ¯

8. atijagati, having paadas of thirteen syllables. There are two
varieties.
(i) pahaasinii, ¯ ¯ ¯ | ˘ ˘ ˘ | ˘ ¯ ˘ | ¯ ˘ ¯ | ¯
Remark. There are pauses after the third and thirteenth syllables.
(ii) ruciraa, ˘ ¯ ˘ | ¯ ˘ ˘ | ˘ ˘ ¯ | ˘ ¯ ˘ | ¯
Remark. There are pauses after the fourth and thirteenth syllables.

9. sakkarii, having paadas of fourteen syllables. There are three
varieties.
(i) aparaajitaa, ˘ ˘ ˘ | ˘ ˘ ˘ | ¯ ˘ ¯ | ˘ ˘ ¯ | ˘ ¯
Remark. There are pauses after the seventh and fourteenth syllables.
(ii) pahara.nakalikaa, ˘ ˘ ˘ | ˘ ˘ ˘ | ¯ ˘ ˘ | ˘ ˘ ˘ | ˘ ¯
Remark. There are pauses after the seventh and fourteenth syllables.
(iii) vasantatilakaa, ¯ ¯ ˘ | ¯ ˘ ˘ | ˘ ¯ ˘ | ˘ ¯ ˘ | ¯ ¯

10. atisakkarii, fifteen syllables. There are four varieties.
(i) sasikala, ˘ ˘ ˘ | ˘ ˘ ˘ | ˘ ˘ ˘ | ˘ ˘ ˘ | ˘ ˘ ¯
(ii) ma.nigunaanikaro, ˘ ˘ ˘ | ˘ ˘ ˘ | ˘ ˘ ˘ | ˘ ˘ ˘ | ˘ ˘ ¯
Remark. There are pauses after the eighth and fifteenth syllables.
(iii) malinii, ˘ ˘ ˘ | ˘ ˘ ˘ | ¯ ¯ ¯ | ˘ ¯ ¯ | ˘ ¯ ¯
Remark. There is a pause after the eighth syllable.
(iv) pabhaddaka.m, ˘ ˘ ˘ | ˘ ¯ ˘ | ¯ ˘ ˘ | ˘ ¯ ˘ | ¯ ˘ ¯

11. a.t.thi, having paadas of sixteen syllables. There is one variety.
(i) vaaninii, ˘ ˘ ˘ | ˘ ¯ ˘ | ¯ ˘ ˘ | ˘ ¯ ˘ | ¯ ˘ ¯ | ¯

12. atya.t.thi, having paadas of seventeen syllables. There are three
varieties.
(i) sikharinii, ˘ ¯ ¯ | ¯ ¯ ¯ | ˘ ˘ ˘ | ˘ ˘ ¯ | ¯ ˘ ˘ | ˘ ¯
Remark. There are pauses after the sixth and seventeenth syllables.
(ii) harinii, ˘ ˘ ˘ | ˘ ˘ ¯ | ¯ ¯ ¯ | ¯ ˘ ¯ | ˘ ˘ ¯ | ˘ ¯
(iii) mandakkantaa, ¯ ¯ ¯ | ¯ ˘ ˘ | ˘ ˘ ˘ | ¯ ¯ ˘ | ¯ ¯ ˘ | ¯ ¯
Remark. There are pauses after the fourth, tenth and seventeenth
syllables.

13. dhuti, having paadas of eighteen syllables. There is one variety.
(i) kusumitalataavellitaa, ¯ ¯ ¯ | ¯ ¯ ˘ | ˘ ˘ ˘ | ˘ ¯ ¯ | ˘ ¯ ¯ | ˘ ¯ ¯

14. atidhuti, having paadas of nineteen syllables. There are two
varieties.
(i) meghavipphujjitaa, ¯ ¯ ¯ | ¯ ¯ ¯ | ˘ ˘ ˘ | ˘ ˘ ¯ | ¯ ¯ ˘ | ¯ ¯ ˘ | ¯
Remark. There are pauses after the sixth and thirteenth, and
nineteenth syllables.
(ii) sadduulavikkiiitii, ¯ ¯ ¯ | ˘ ˘ ¯ | ˘ ¯ ˘ | ˘ ˘ ¯ | ¯ ¯ ˘ | ¯ ¯ ˘ | ¯
Remark. There are pauses after the twelfth and nineteenth syllables.

15. kati, having paadas of twenty syllables. There is one variety.
(i) vutta, ¯ ˘ ¯ | ˘ ¯ ˘ | ¯ ˘ ¯ | ˘ ¯ ˘ | ¯ ˘ ¯ | ¯ ¯ ˘ | ¯ ˘

16. pakati, having paadas of twenty-one syllables. There is one variety.
(i) saddharaa, ¯ ¯ ¯ | ¯ ˘ ¯ | ¯ ˘ ˘ | ˘ ˘ ˘ | ˘ ¯ ¯ | ¯ ¯ ¯ | ˘ ¯ ¯

17. akati, having paadas of twenty-two syllables. There is one variety.
(i) bhaddaka, ¯ ˘ ˘ | ¯ ˘ ¯ | ˘ ˘ ˘ | ¯ ˘ ¯ | ˘ ˘ ˘ | ¯ ˘ ¯ | ˘ ˘ ˘ | ¯



metta,
Yong Peng.