Vilambita, Vi-labi-ta: 21 definitions
Introduction:
Vilambita means something in Hinduism, Sanskrit, Buddhism, Pali, Marathi. If you want to know the exact meaning, history, etymology or English translation of this term then check out the descriptions on this page. Add your comment or reference to a book if you want to contribute to this summary article.
In Hinduism
Natyashastra (theatrics and dramaturgy)
1) Vilambita (विलम्बित, “slow”) refers to one of six “ornaments”, or ‘figures of speech’ (alaṃkāra). According to the Nāṭyaśāstra chapter 19, these six ornaments are part of the ‘vocal representation’ (vācika), which is used in communicating the meaning of the drama and calling forth the sentiment (rasa). The term is used throughout nāṭyaśāstra literature. These ornaments dictate the type of recitation, eg. vilambita and mandra should be used in words expressing sharpness and roughness.
(Uses of Vilambita): Vilambita should be used in the Erotic, the Comic and the Pathetic sentiment. The slow note proceeds from the throat register and is of slightly low pitch; it is to be used in love, deliberation, discrimination, anger, envy, saying something which cannot be expressed adequately, bashfulness, anxiety, threatening, surprise, censuring, prolonged sickness, squeezing and the like.
2) Vilambita (मध्य, “slow”) refers to one of the three tempos (laya) according to the Nāṭyaśāstra chapter 31. Accordingly, “the totality of syllables penultimate to the yati, will indicate the tempo, and from the tempo the measure of these will change. A decrease of kalās should be made in other pāṇis. In the slow tempo, there should be one sannipāta, in the medium tempo two sannipātas, and in the quick tempo the number of sannipātas should be four. That which is indicated by this difference, is called the quick and the medium tempo, and the avapāṇi is dependent on a medium tempo. When the tālas of one kalā become the antarakalā played in quick tempo, then it is called the uparyuparipāṇi”.
3) Vilambitā (विलम्बिता) is the name of a meter belonging to the Uṣṇik class of Dhruvā (songs) described in the Nāṭyaśāstra chapter 32:—“the metre which has in its feet of seven syllables the second, the fourth and the last two long, is vilambitā”.
Vilambitā is also the name of a meter belonging to the Apakṛṣṭā class of Dhruvā (songs) described in the Nāṭyaśāstra chapter 32:—“the metre which has in its feet of thirteen syllables, the third, the fifth, the ninth, the eleventh and the last one long, is vilambitā”. The Apakṛṣṭā ones which are to be applied in case of women of the best and the middling class.
4) Vilambitā (विलम्बिता) refers to one of the six kinds of songs (dhrūva) according to the Nāṭyaśāstra 32.384:—“the vilambitā-dhruvā is that which according to the dramatic convention, moves always slowly or not very quickly. At the entrance of middling characters the dhruvā should be of the druta-vilambita class, and in case of inferior characters it should be of the natkuṭā and khañjaka classes”.
Vilambitā (विलम्बिता) refers to a particular Laya or Parikrama-Gati (“movement-gait”).—See Abhinavabhāratī, Commentary on Nāṭyaśāstra 12.113-114 (GOS Vol. II, p.148).—Abhinava comments on this portion by saying that the word ‘viṣkambha’ indicates stability. At the outset, the feet are to be placed firmly on the ground. Then they are to be dragged with an effort similar to ploughing land. Bharata gives us an example for this by saying ‘paṅkalagna’—which means stuck in a mire. Abhinava says that in order to present such a gait, the khañjaka, helā and vilambitā gaits described by Kohala are appropriate.
The definition of Vilambitā according to Kohala is given by M. R. Kavi’s footnote: “Kohala says that the vilambitā gait is a variety of the ṣaḍhpitāputraka tāla and has the following aṅgas—One guru, two laghus, two gurus, two laghus and one guru. This gait is used for women who wish to walk unnoticed while looking for their lovers. Rāga mālavakaiśika and the dvipadī metre is to be used in this gait”.
Natyashastra (नाट्यशास्त्र, nāṭyaśāstra) refers to both the ancient Indian tradition (shastra) of performing arts, (natya—theatrics, drama, dance, music), as well as the name of a Sanskrit work dealing with these subjects. It also teaches the rules for composing Dramatic plays (nataka), construction and performance of Theater, and Poetic works (kavya).
Vyakarana (Sanskrit grammar)
Vilambita (विलम्बित).—A kind of tone where the interval between the utterance of two letters as also the time required for the utterance of a letter is comparatively longer than in the other two kinds, viz. द्रुत (druta) and मध्य (madhya); cf. ये हि द्रुतायां वृत्तौ वर्णाः त्रिभागाधिकास्ते मध्यमायाम्,ये मध्यमायां वर्णास्त्रिभागाधिकास्ते विलम्बितायाम् (ye hi drutāyāṃ vṛttau varṇāḥ tribhāgādhikāste madhyamāyām, ye madhyamāyāṃ varṇāstribhāgādhikāste vilambitāyām) M. Bh. on P.I.1.70: cf. also द्रुतविलम्बितयोश्चानुपदेशात् (drutavilambitayoścānupadeśāt) P. I.1.69 Vārt. 11.
Vyakarana (व्याकरण, vyākaraṇa) refers to Sanskrit grammar and represents one of the six additional sciences (vedanga) to be studied along with the Vedas. Vyakarana concerns itself with the rules of Sanskrit grammar and linguistic analysis in order to establish the correct context of words and sentences.
Chandas (prosody, study of Sanskrit metres)
Vilambitā (विलम्बिता) is another name for Helā (only when possessed of a Yamaka) is the name of a catuṣpadi metre (as popularly employed by the Apabhraṃśa bards), as discussed in books such as the Chandonuśāsana, Kavidarpaṇa, Vṛttajātisamuccaya and Svayambhūchandas.—Helā (Vilambitā) has 22 mātrās in each of its four lines, divided into the groups of 6, 4, 4, 4 and 4 mātrās, where the 2nd and the 5th caturmātras which must either be [ISI] or [IIII].
Chandas (छन्दस्) refers to Sanskrit prosody and represents one of the six Vedangas (auxiliary disciplines belonging to the study of the Vedas). The science of prosody (chandas-shastra) focusses on the study of the poetic meters such as the commonly known twenty-six metres mentioned by Pingalas.
Shaivism (Shaiva philosophy)
Vilambita (विलम्बित) refers to “slow (recitation)”, as quoted by Hṛdayaśiva in his Prāyaścittasamuccaya (verse 10.27-35).—Accordingly, “Having recited [a particular mantra] along with [the practice of one of the] observances in accordance with the rules, and having bathed [at the end of the observance], one may recite that mantra for attaining supernatural powers. The skilled practitioner should do his recitation not too slowly (vilambita), not indistinctly, not without taking [the meaning of what he recites] in, not too fast, not without counting, and not with his thoughts in confusion. [...]”.
Shaiva (शैव, śaiva) or Shaivism (śaivism) represents a tradition of Hinduism worshiping Shiva as the supreme being. Closely related to Shaktism, Shaiva literature includes a range of scriptures, including Tantras, while the root of this tradition may be traced back to the ancient Vedas.
Gitashastra (science of music)
Vilambita (विलम्बित) refers to a “slow (tempo)” (in Indian Music), and represents one of the three types of tempo (laya), according to the Viṣṇudharmottarapurāṇa, an ancient Sanskrit text which (being encyclopedic in nature) deals with a variety of cultural topics such as arts, architecture, music, grammar and astronomy.—In the Viṣṇudharmottarapurāṇa, the laya i.e., the tempo of Music is also determined according to the sentiments. The Nāṭyaśāstra accepts three kinds of layas. According to the Viṣṇudharmottarapurāṇa, the tempo should be vilambita i.e., slow in bībhatsa and bhayānaka.
Vilambita (विलम्बित) refers to one of the twelve Tālas classified as Bhaṅgatāla, which are associated with the Dhruvā-gāna.—[...] Though belonged to the mārga tradition, Dhrūvā-gāna included some tālas which were employed in nāṭya and yet not described in Nāṭyaśāstra. These tālas were classified as bhaṅga [e.g., vilambita-tāla], upabhaṅga and vibhaṅga-tālas. These have not been mentioned by Bharata, but they are still considered to be a part of mārga. They do not belong to the deśī tradition. M. R. Kavi also gives a list of tālas associated with Dhruvāgāna.
Gitashastra (गीतशास्त्र, gītaśāstra) refers to the ancient Indian science of Music (gita or samgita), which is traditionally divided in Vocal music, Instrumental music and Dance (under the jurisdiction of music). The different elements and technical terms are explained in a wide range of (often Sanskrit) literature.
Languages of India and abroad
Pali-English dictionary
vilambita : (pp. of vilambati) loitered; tarried; hung about. (pp. of vilambeti), mocked; derided.
vilambita (ဝိလမ္ဗိတ) [(ti) (တိ)]—
[vi+labi+ta．vilambita-saṃ．vilaṃbia-prā,vilaṃbita,vilaṃbiya-addhamāgadhī．]
[ဝိ+လဗိ+တ။ ဝိလမ္ဗိတ-သံ။ ဝိလံဗိအ-ပြာ၊ ဝိလံဗိတ၊ ဝိလံဗိယ-အဒ္ဓမာဂဓီ။]
[Pali to Burmese]
vilambita—
(Burmese text): (၁) တွဲလျားဆွဲ-တွဲလွဲဆွဲ-ချိတ်ဆွဲထား-အပ်သော။ (န) (၂) အချိန်ဆွဲ-ဖင့်နွဲ့-ဆိုင်းငံ့-အနည်းငယ်ကြာမြင့်စေ-၍ ပြောဆိုခြင်း။
(Auto-Translation): (1) Entangled - Detangled - Connected - Attached. (a) (2) Time extension - Delay - Pause - To make it last a little longer - To express.
Pali is the language of the Tipiṭaka, which is the sacred canon of Theravāda Buddhism and contains much of the Buddha’s speech. Closeley related to Sanskrit, both languages are used interchangeably between religions.
Marathi-English dictionary
vilambita (विलंबित).—p (S Pendulous.) Delayed, protracted, lengthened out in performance, or deferred--a business. 2 a Slow--time in music, adagio. vilaṃ- bitavṛtti Slow time or measure.
vilambita (विलंबित).—p Delayed; protracted. a Slow.
Marathi is an Indo-European language having over 70 million native speakers people in (predominantly) Maharashtra India. Marathi, like many other Indo-Aryan languages, evolved from early forms of Prakrit, which itself is a subset of Sanskrit, one of the most ancient languages of the world.
Sanskrit dictionary
Vilambita (विलम्बित).—p. p.
1) Hanging, depending.
2) Pendent, pendulous.
3) Depending on, closely connected with.
4) Tardy, delayed, retarded.
5) Slow (as time in music opp. to druta).
-tam Delay.
-tam ind. Slowly, tardily.
Vilambita (विलम्बित).—mfn.
(-taḥ-tā-taṃ) 1. Falling, pendulous, hanging or falling down. 2. Slow, tardy, retarded. 3. Closely connected with. 4. Slow, (as time in music,) adagio. n.
(-taṃ) Delay. E. vilamba delay, itac aff.
Vilambita (विलम्बित).—[adjective] hanging down; laggering, loitering, retarded, slow; [neuter] [impersonally], as [adverb], or as subst. delay.
1) Vilambita (विलम्बित):—[=vi-lambita] [from vi-lamba > vi-lamb] mfn. hanging down, pendulous, [Harivaṃśa; Kāvya literature]
2) [v.s. ...] (ifc.) dependent on, closely connected with, [Bhāgavata-purāṇa]
3) [v.s. ...] delayed, retarded, loitering, tardy, slow, measured (in music opp. to druta q.v.), [Mahābhārata; Kāvya literature] etc.
4) [=vi-lambita] [from vi-lamba > vi-lamb] m. a [particular] class of heavy animals, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
5) [v.s. ...] n. slowness, delay, procrastination (also [impersonal or used impersonally] ‘it has been delayed’), [Mahābhārata; Kāvya literature] etc.
6) Vilambitā (विलम्बिता):—[=vi-lambi-tā] [from vi-lambin > vi-lamba > vi-lamb] f. slowness, measuredness, [cf. Lexicographers, esp. such as amarasiṃha, halāyudha, hemacandra, etc.]
Vilambita (विलम्बित):—[(taḥ-tā-taṃ) a.] Falling, pendulous; slow, tardy.
Vilambita (विलम्बित):—adj. langsam, gemessen s. u. 1. lamb mit vi und füge noch hinzu Śikṣā [?22 in Weber’s Indische Studien 4, 269. NĀG. in MAHĀBH. S. 772.] vilambitam adv. [ŚIKṢĀ 35] in [Weber’s Indische Studien 4, 271.] avilambitam [LĀṬY. 6, 10, 18 ebend. 468, Nalopākhyāna] — Vgl. a .
--- OR ---
Vilambitā (विलम्बिता):—(von vilambin) f. Langsamkeit, Gemessenheit: nātivilambitā vācaḥ [Hemacandra’s Abhidhānacintāmaṇi 70.]
Vilambita (विलम्बित) in the Sanskrit language is related to the Prakrit word: Vilaṃbia.
Sanskrit, also spelled संस्कृतम् (saṃskṛtam), is an ancient language of India commonly seen as the grandmother of the Indo-European language family (even English!). Closely allied with Prakrit and Pali, Sanskrit is more exhaustive in both grammar and terms and has the most extensive collection of literature in the world, greatly surpassing its sister-languages Greek and Latin.
Kannada-English dictionary
Vilaṃbita (ವಿಲಂಬಿತ):—
1) [adjective] = ವಿಲಂಬಿ [vilambi]1.
2) [adjective] running slowly (said of the tempo of music).
3) [adjective] relying (on another) for support or aid; dependent.
--- OR ---
Vilaṃbita (ವಿಲಂಬಿತ):—
1) [noun] the fact or an instance of delaying; period for which something is delayed.
2) [noun] (mus.) a slow tempo.
3) [noun] a particular mode of hitting in a mace fight.
--- OR ---
Viḷaṃbita (ವಿಳಂಬಿತ):—
1) [adjective] = ವಿಳಂಬಿ [vilambi]1.
2) [adjective] running slowly (as the tempo of music).
3) [adjective] relying (on another) for support or aid; dependent.
--- OR ---
Viḷaṃbita (ವಿಳಂಬಿತ):—
1) [noun] the fact or an instance of delaying; period for which something is delayed.
2) [noun] (mus.) a slow tempo.
3) [noun] a particular mode of hitting in a mace fight.
Kannada is a Dravidian language (as opposed to the Indo-European language family) mainly spoken in the southwestern region of India.
Nepali dictionary
Vilambita (विलम्बित):—adj. 1. hanging; depending;
Nepali is the primary language of the Nepalese people counting almost 20 million native speakers. The country of Nepal is situated in the Himalaya mountain range to the north of India.
See also (Relevant definitions)
Partial matches (+0): La bi, Vi, Luo, Da, Ta.
Starts with (+0): Vilambita Laya, Vilambitagati, Vilambitakala, Vilambitam, Vilambitaphala, Vilambitavritti.
Full-text (+29): Drutavilambita, Avilambita, Avilambitam, Mavilambitam, Nativilambitam, Vilambitagati, Laya, Vilambitavritti, Bhasuravilambitakesara, Nativilambita, Dutavilambita, Pravilambita, Vyakshepa, Vilambitam, Druta, Lamb, Vilambitakala, Bilambita, Khanjaka, Hela.
Relevant text
Search found 32 books and stories containing Vilambita, Vilambitā, Vilaṃbita, Viḷaṃbita, Viḷambita, Vi-labi-ta; (plurals include: Vilambitas, Vilambitās, Vilaṃbitas, Viḷaṃbitas, Viḷambitas, tas). You can also click to the full overview containing English textual excerpts. Below are direct links for the most relevant articles:
Kohala in the Sanskrit textual tradition (Study) (by Padma Sugavanam)
Kohala and Gītā (14): Tālas for specific Gaits < [Chapter 2 - Kohala as seen in citations]
Kohala and Gītā (13): The concept of Tāla < [Chapter 2 - Kohala as seen in citations]
Part 4 - Citations of Kohala in the Abhinavabhāratī < [Chapter 3 - Kohala as seen in citations—an analysis]
Markandeya Purana (by Frederick Eden Pargiter)
Natyashastra (English) (by Bharata-muni)
Chapter XXXII - The Dhruvā Songs
Chapter XVI - Metrical Patterns (chandas)
Part 7 - Data of India’s Cultural History in the Nāṭyaśāstra < [Introduction, part 1]
Dictionaries of Indian languages (Kosha)
Page 323 < [Hindi-English-Nepali (1 volume)]
Page 141 < [English-Gujarati-Hindi (1 volume)]
Page 63 < [English-Gujarati-Hindi (1 volume)]
Some Important Shiksha Vedangas (study) (by Mala Laha)
Part 2 - Types of articulation according to Māṇḍūkī Śikṣā < [Chapter 5 - Māṇḍūkī Śikṣā]
Part 3 - Place of articulation < [Chapter 3 - Nāradī Śikṣā]
Garga Samhita (English) (by Danavir Goswami)
Verse 3.6.29 < [Chapter 6 - The Test of Śrī Kṛṣṇa]
Verse 6.1.26 < [Chapter 1 - Jarāsandha’s Defeat]