Part 6.2 - Metres Employed in the Mālatīmādhava

Bhavabhūti is very skilful in the handling of metres. This mastery is the radiant feature in the style of Bhavabhūti. He has employed 25 metres in this Prakaraṇa.

Here he has aptly [employed the following metres]:

1. Anuṣṭup,
2. Indravajrā,
3. Upendravajrā,
4. Upajāti,
5. Rathoddhatā,
6. Śālinī,
7. Viyogiṇi,
8. Aparavaktra,
9. Aupacaṃdasika,
10. Drautavilamvita,
11. Vaṃśasthavila,
12. Puṣpitāgrā,
13. Praharṣiṇi,
14. Mañjubhāṣiṇī,
15. Vasantatilaka,
16. Mālinī,
17. Pṛthvī,
18. Mandākrāntā,
19. Nardaṭaka,
20. Śikhariṇī,
21. Hariṇī,
22. Śārdūlavikrīḍita,
23. Sragdharā,
24. Daṇḍaka and
25. Āryā.

He has taken care of the propriety in the use of metres in this play.

The aforesaid metres have been discussed briefly in the following way——

(a) Anuṣṭup:

The Anuṣṭup metre belongs to viṣamavṛtta where all the pādas are constituted with different number of syllabic instances. According to Gaṅgādāsa, in Anuṣṭup metre the fifth syllable ought to be short and the sixth long in all quarters. The seventh should be short in the second and the fourth quarters only. Other syllables are governed by no rule. ^[1] In the Mālatīmādhava fifteen examples of Anuṣṭup metre are found. ²⁵⁶

As for example in [the following verse…]—

tathā vinayanamrāpi mayā mālatyupāyataḥ /
nītā katipayāhobhiḥ sakhīvisrambhasevyatām // ^[2] etc.

[...] the fifth syllable in all the quarters are short and the sixth syllable in all the quarters are long while the seventh syllable in the second and the fourth quarters are short. Hence, the verse is an example of Anuṣṭup metre.

(b) Indravajrā:

The Indravajrā is preferred to be used in describing the beauty of a noble heroine or of spring like that of Upajāti metre. In the Mālatīmādhava, Bhavabhūti has composed several verses by using this metre. This metre has eleven syllables in each pāda or caraṇa and it falls under the group of triṣṭup metre.

Gaṅgādāsa defines Indravajrā metre as—

“In Indravajrā metre there should be two tagaṇas followed by a jagaṇa and a pair of long syllables with a pause only at the end.”^[3]

There are found altogether nine numbers of verses composing in Indravajrā metre in this Prakaraṇa.^[4]

As for instance in the verse—

bhūmnā rasānāṃ gahanāḥ prayogāḥ sohārdahṛdyāni viceṣṭitāni /
auoddhyatamāyojitakāmasūtraṃ citrāḥ kathā vāci vidagdhatā ca // ^[5] etc.

Two tagaṇas followed by a jagaṇa and a pair of long syllable at the end of each caraṇa are found. Hence, this verse is the suitable example of Indravajrā metre.

(c) Upendravajrā:

The Upendravajrā metre belongs to triṣṭup class of metre. Where the gaṇas in a quarter are jagaṇa, tagaṇa, jagaṇa and a pair of long syllable then the metre is called Upendravajrā metre.^[6] This metre consists of eight syllables. Again, when the initial letter of each quarter of the Indravajrā becomes short, it makes Upendravajrā. In the Mālatīmādhava, Bhavabhuti has composed only one verse in Upendravajrā metre.

The [following verse…]—

apatyasambandhavidhipratijñā priyasya nītā suhṛdaḥ smṛtiṃ ca /
alokasāmānyaguṇastanūjaḥ praronārthaṃ prakaṭīkṛtaśca // ^[7] etc.

[...] bears gaṇas like jagaṇa, tagaṇa, jagaṇa and a pair of long syllable in a quarter.

Hence this is an example of Upendravajrā metre.

(d) Upajāti:

The Upajāti metre belongs to the triṣṭup class of metre. when quarters in the metres Indravajrā as well as Upendravajrā are combined in manifold ways in a single stanza, the metre is styled as Upajāti metre.^[8] In the Mālatīmādhava, Bhavabhūti has composed two verses in Upajāti metre.²⁶⁴

As for example [the following verse…]—

nikāmaṃ kṣāmāṅgī sarasakadalīgarbhasubhagā /
kalāśeṣā mūrtiḥ śaśina iva netrosavakarī //
avasthāmāpannā madanadahanoddāhavidhuā /
mlyṃ naḥ kalyānī ramayati mannnnaḥ kampayati ca // etc.^[9]

[...] is the combination of both metres Indravajrā and Upendravajrā and hence this verse is an example of Upajāti metre.

(e) Rathoddhatā:

This metre belongs to the triṣṭup class of metre as it consists of eleven syllables in a foot. When the gaṇas in a quarter ragaṇa, nagaṇa, ragaṇa, a short nd a a long syllable exist then the metre is termed as Rathoddhatā metre.^[10] The metrical pause of this metre exists at the end of each quarter.

Bhavabhūti has composed about three verses in Rathoddhatā metre.^[11]

As for instance [the following verse…]—

jīva jīvitasamāya jīvitaṃ dehi jīvatu suhṛdjanaśca te/
aṅgakaistuhinasaṅgaśītalaiḥ putri māṃ priyasakhīṃ ca jīvaya //^[12] etc.

[...] contains are ragaṇa, nagaṇa, ragaṇa, a short syllable and a long in a quarter. Hence the verse is a suitable example of Rathoddhatā metre.

(f) Śālinī:

This metre belongs to triṣṭup class. Where one magaṇa followed by a pair of tagaṇa in succession, and two long syllables at the end then the metre is termed as Śālinī metre. There is a pause after the fourth the seventh syllable in each foot.^[13] Whereas Kavikarṇapura defines this metre as Śālinī is a metre where the gaṇas in each quarter are magaṇa, bhagaṇa, ragaṇa and bhagaṇa. Further the pause or yati exists at the fourth and seventh letter. In the Mālatīmādhava, Bhavabhūti has composed two verses in Śālinī metre.

The employment of this metre is found in following verses of the Mālatīmādhava—

preyo mitraṃ bandhutā vā samagrā/
sarve kāmāḥ śevadhirjīvitaṃ//
strīṇāṃ bhartā dharmadārāśca puṃsā/
mityanyonyaṃ vatsayaurjñātamastu //^[14]
bhāraḥ kāyo jīvitaṃ vajrakīlam /
kāṣṭhaḥ śūnyā niṣphalānīndriyāṇi //
kaṣṭaḥ kālo māṃ prati tvatprayāṇe /
śāntālokaḥ sarvato jīvalokaḥ // ^[15]

(g) Aparavaktra:

The Aparavaktra metre falls under the ardhasamavṛtta class of metre.When there are a pair of nagaṇa, ragaṇa, a short and a long syllable in its odd quarters and nagaṇa, a pair of jagaṇa and ragaṇa in its even quarters then the metre is called the Aparavaktra metre.^[16]

In [the following verse…]—

akaruṇa vitara smitojjvalām /
dṛśamatidāruṇa dehi me giram //
sahacaramanuraktacetasam /
priyamakaranda kathaṃ na manyase // etc.^[17]

[...] a pair of nagaṇa, ragaṇa, a short and a long syllable are found in the first and the third quarters, while in the second and the fourth quarters nagaṇa, a pair of jagaṇa and ragaṇa are found. Hence the verse is an example of Aparavaktra metre.

(h) Aupaccandasika:

Aupaccandasika is a variety of jāti class. In this kind of metre each pāda is regulated by a number of syllabic instance or measures i.e. matrās. That is ardhasamavṛtta metre which has got a pair of sagaṇa, jagaṇa and a pair of long syllable in its odd quarters, sagaṇa, bhagaṇa, ragaṇa, yagaṇa in its even quarters.This metre is a combination of eleven and twelve syllables in alternate feet. In the Mālatīmādhava, Bhavabhūti has composed one metre in this metre.

[The following verse…]—

yadi tadviṣayonurāgavandhaḥ /
sphuṭametadvi phalaṃ guṇajñatāyāḥ //
iti nanditamapyavyavasthayāsyā /
hṛdayaṃ dāruṇayā vidīryate me // ^[18] etc.

[...] is the example of Aupaccandasika metre. Here a pair of sagaṇa, jagaṇa and a pair of long syllable are found in its odd quarters. While sagaṇa, bhagaṇa, ragaṇa, yagaṇa are found in its even quarters. Therefore, this verse is an example of Aupaccandasika metre.

(i) Drutavilambita:

Drutavilambita is a jagatī class of metre. It has twelve syllables in a foot. This metre contains the gaṇas of nagaṇa, two bhagaṇas and a ragaṇa with a metrical pause at the end of its foot.^[19] In this metre the fourth, seventh, tenth, eleventh and twelve syllable are long and rest are short and its metrical pause exists at the end of each quarter of a stanza. In the Mālatīmādhava, Bhavabhūti has composed four verses in this metre.^[20]

For example [the following verse…]—

suhṛdiva prakaṭayya sukhapradadaḥ/
prathamamekarasāmanukūlatām//
punarakāṇḍavivartanadārūṇaḥ/
praviśinaṣṭi vidhirmanasau rūjam //^[21] etc.

[...] contains nagaṇa, two bhagaṇas and a ragaṇa with a metrical pause at the end of its foot. Hence the verse is an example of Drutavilamvita metre.

(j) Vaṃśasthavila:

This metre belongs to the jagatī class of metre.When the gaṇas in each quarter of a stanza are jagaṇa, tagaṇa, jagaṇa and ragaṇa then the metre is called Vaṃśasthavila metre.^[22] This metre has twelve syllables in each quarter. In the Mālatīmādhava, Bhavabhūti has composed two number of verses in this metre.

[The following verse…]—

vayaṃ tathā nāma yathātha kiṃ vadā /
myaṃ tvakasmādvikalaḥ kathāntare /
kadamvagolākṛtimāśritaḥ katham/
viśuddhamugdhah kulakanyakājanaḥ // ^[23] etc.

[...] bears suitable example of Vaṃśasthavila metre. Here the gaṇas like jagaṇa, tagaṇa jagaṇa and ragaṇa are found.

Similarly [the following verse…]—

akāraṇasmaramanoharānanaḥ...........^[24] ..etc.

[...] holds the another example of Vaṃśasthavila metre.

(k) Puṣpitāgrā:

Puṣpitāgrā belongs to ardhasamavṛtta class of metre. This metre contains a pair of nagaṇa, ragaṇa, yagaṇa in its odd quarters and nagaṇa, a pair of jagaṇa and ragaṇa followed by a long syllable in its even quarters.^[25] In the Mālatīmādhava, Bhavabhūti has enumerated six verses in this metre.^[26]

For example in [the following verse…]—

jvalayati manobhavāgniṃ madayati hṛdayaṃ kṛtārthayati cakṣuḥ /
parimṛditacampakāvalivilāsalalitālasa haiḥ// ^[27] etc.

[...] a pair of nagaṇa, ragaṇa and yagaṇa are displayed in its odd quarters whereas in its even quarters nagaṇa, a pair of jagaṇa, ragaṇa and a long syllable are found.

(l) Praharṣiṇī:

This metre belongs to the atijagatī class of metre. This Praharṣiṇī metre consists of a magaṇa, nagaṇa, jagaṇa, ragaṇa and ultimate long syllable.^[28] It has a pause at the end of the third and tenth syllable in a foot. This metre contains thirteen syllables in a quarter of the stanza. Moreover, the definition of this metre is found in the Vṛttamālā as when the gaṇas in every quarter are magaṇa, nagaṇa, jagaṇa,ragaṇa and bhagaṇa and the pause or yati exists after the third and the tenth syllable, the metre is called Praharṣiṇī.^[29] Bhavabhūti has composed seven verses in this metre.^[30]

For example [the following verse…]—

unmīlanamukulakarālakundakośa /
praścayotaddhanamakarandagandhavandho //
tāmīṣatpracalavilocanāṃ natāṅgī /
māliṅganpavan mama spṛśāṅgamaṅgam // ^[31] etc.

[...] contains respective gaṇas viz., magaṇa, nagaṇa, jagaṇa, ragaṇa and a long syllable at the end. So the verse is a suitable example of Praharṣiṇī metre.

(m) Mañjubhāṣiṇī:

Mañjubhāṣiṇī belongs to atijagatī class of metre. It is a favourite metre of poets as well as of playwrights. When there are gaṇas like sagaṇa, jagaṇa, sagaṇa, jagaṇa and a long syllable at the end then the metre is styled as Mañjubhaṣiṇī metre^[32] . Hence this metre has thirteen syllables in each quarter and also the third, fifth, ninth, tenth, eleventh and thirteenth syllable of this metre are long with a pause which falls at the end of the foot. In the Mālatīmādhava, Bhavabhūti has composed seven verses in this metre. ^[33]

As for example in [the following verse…]—

paripāṇḍupāṃsulakapolamānanam/
dadhati monoharataratvamāgatā //
ramaṇīyajanmani jane paribhrama/
lalito vidhirvijayate hi mānmathaḥ // ^[34] etc.

[...] sagaṇa, jagaṇa, sagaṇa, jagaṇa and a long syllable are found in each quarter of the verse. Hence the verse is an example of Mañjubhāṣiṇī.

(n) Vasantatilaka:

Vasantatilaka is a well-known metre and it is most frequently used by the authors in their works. It belongs to śarkarī class of metre. This metre contains gaṇas like tagaṇa, bhagaṇa, a pair of jagaṇa and a pair of long syllables in each quarter of a stanza.^[35] It has fourteen syllables in each quarter and it has a pause only at the close of its foot. In the Mālatīmādhava, several verses are found in this metre.^[36]

For instance [the following verse…]—

sā rāmaṇīyakanidheradhidevatā vā /
saundaryasārasamudāyaniketanaṃ vā //
tasyāḥ sakhe niyatamindusudhāmṛṇāla /
jyotsnādi kāraṇamabhūnmadana vedhāḥ // etc.

[...] contains tagaṇa, bhagaṇa, a pair of jagaṇa and a pair of long syllables in each quarter.

So this verse is an example of Vasantatilaka metre.

(o) Mālinī:

The Mālinī metre falls under the class of atiśarkarī metre. In this metre the scheme of gaṇas are a pair of nagaṇa,magaṇa and a pair of yagaṇa remain in each quarter of the stanza and the metrical pause exists after the eighth and the seventh syllable.^[37] In the Mālatīmādhava, numerous verses are found in this metre.^[38]

For example in the verse—

vyatiṣajati padārthānāntaraḥ ko’api hetur/
na khalu bahirupādhīnprītayaḥ saṃśrayante//
vikasati hi pataṅgasyodaye puṇḍarīkaṃ /
dravati ca himaraśmāvudgate candrakāntaḥ // ^[39] etc.

[...] the gaṇas viz., a pair of nagaṇa, magaṇa and a pair of yagaṇa are found. Hence the verse is an example of Mālinī metre.

(p) Pṛthvī

The Pṛthvī metre belongs to the atyaṣṭi class of metre. Whenever the gaṇas in every quarter of a stanza are jagaṇa, sagaṇa,jagaṇa,sagaṇa, yagaṇa, a short and a long syllable and the metrical pause lies after the eighth and ninth syllables then the metre is termed as Pṛthivī metre. This metre contains seventeen syllables.^[40] In the Mālatīmādhava, Bhavabhūti has composed four verses in this metre.^[41]

For instance in [the following verse…]—

hareratulavikramapraṇayalālasaḥ sāhase /
sa eva bhavati kkaṇatkararuhapracaṇḍaḥ sakhā //
sphuṭatkaraṭakoṭaraskhalitadānasiktānan /
dvipeśvaraśiraḥsthidalanaikavīraḥ karaḥ // ^[42] etc.

[...] the gaṇas jagaṇa, sagaṇa, jagaṇa, sagaṇa, yagaṇa, a short and a long syllable are present in each quarter. The verse is an example of Pṛthvī metre.

(q) Mandākrāntā:

The Mandākrantā metre belongs to the atyaṣṭi class of metre. It is the most popular metre among the classical Sanskrit authors. This metre contains seventeen syllables. When every quarter of a stanza contains the gaṇas namely magaṇa, bhagaṇa, nagaṇa, a pair of tagaṇa and a pair of long syllables then the metre is termed as Mandrākrāntā. The metrical pause of this metre exists after the fourth, the sixth and the seventh syllable.^[43] In the Mālatīmādhava, employment of this metre is found in a good number verses.^[44]

For example [the following verse…]—

kalyāṇānāṃ tvamsi mahsāṃ bhājanaṃ viśvamūrte /
dhūryāṃ lakṣīmatha mayi bhṛśaṃ dhehi deva prasīda //
yadyatpāpaṃ pratijahi jagannātha namrasya tanme /
bhadraṃ bhadraṃ vitara bhagavanbhūyase maṅgalāya // ^[45] etc.

[...] is the suitable example of Mandākrāntā metre. Here respective gaṇas are magaṇa, bhagaṇa, nagaṇa, a pair of tagaṇa and a pair of long syllables.

(r) Nardaṭaka:

The Nardaṭaka metre belongs to atyaṣṭi class of metre. When there are gaṇas like nagaṇa, jagaṇa, bhagaṇa, a pair of jagaṇa with a short and a long syllable successively found in each quarter then the metre is called as Nardaṭaka metre. The metrical pause of this metre exists after the seventh or tenth syllable. ^[46] It has seventeen syllables. In the Mālatīmādhava, Bhavabhūti has composed two verses in this metre.^[47]

As for instance [the following verse…]—

praṇayisakhīsalīlaparihāsarasādhigatair /
lalitaśirīṣapuṣpahanairapi tāmyati yat //
vapuṣi vadhāya tatra tava śastramupakṣipataḥ /
patatu śirasyakāṇḍyamadaṇḍa iveṣa bhujaḥ // ^[48] etc.

[...] is a beautiful example of Nardaṭaka metre as the verse is consisted of nagaṇa, jagaṇa, bhagaṇa, a pair of jagaṇa with a short and a long syllable in each quarter.

(s) Śikhariṇī:

ikhariṇīŚ belongs to the atyaṣṭi class of metre. When the gaṇas like yagaṇa, magaṇa, nagaṇa, sagaṇa, bhagaṇa, a short and a long syllable exists in every quarter and the pause exists after the sixth and the eleventh syllable then the metre is styled as Śikhariṇī metre.^[49] It consists of seventeen syllables. In the Mālatīmādhava, Bhavabhūti has composed a large number of verses in Śikhariṇī metre.^[50]

As for example [the following verse…]—

manorāgastīvraṃ viṣamiva visarpatyaviratam /
pramāthī nirdhūmo jvalati vidhutaḥ pāvaka iva //
hinasti pratyaṅgaṃ jvara iva garīyānita ito /
na mā trātuṃ tātaḥ prabhavati na cāmbā na bhavatī // ^[51] etc.

[...] is a suitable example of Śikhariṇī metre as the verse contains yagaṇa, magaṇa, nagaṇa, sagaṇa, bhagaṇa, a short and a long syllable in its every quarter.

(t) Hariṇī:

The Hariṇī metre belongs to atyaṣṭi class of metre. This metre contains nagaṇa, sagaṇa, magaṇa, ragaṇa, sagaṇa, a short and a long syllable in every quarter of a stanza and the metrical pause of this metre exists after the sixth, fourth and seventh syllable in a foot and it has seventeen syllables.^[52] Bhavabhūti has composed altogether twelve verses in Hariṇī metre.^[53]

(u) śārdūlavikrīḍita:

The Śārdūlavikrīḍita metre belongs to the atidhṛti class of metre. When there exists gaṇas like magaṇa, sagaṇa, jagaṇa, sagaṇa, a pair of tagaṇa and a long syllable then the metre is termed as Śārdūlavikrīḍita metre. This metre is constituted of nineteen syllables in a foot. The metrical pause of this metre lies after the twelfth and the seventeenth syllables.^[54] In the Mālatīmādhava, Bhavabhūti has composed a few verses in Śārdūlavikrīḍita metre.^[55]

As for instance in [the following verse…]—

yadvedādhyanaṃ tathopaniṣadāṃ sāṃkhyasya yogasya ca /
jāñnaṃ tatkathanena kiṃ nahi tataḥ kaścidguṇo nāṭake //
yatpauḍitvamudāratā ca vacasāṃ yaccārthato gauravaṃ /
taccedasti tatastadeva gamakaṃ pāṇḍityavaidagdhyayoḥ //^[56] etc.

[...] gaṇas like magaṇa, sagaṇa, jagaṇa, sagaṇa, a pair of tagaṇa and a long syllable are found.

(v) Sragdharā:

The Sragdharā metre belongs to the prakṛti class of metre. This metre contains magaṇa, ragaṇa, bhagaṇa, nagaṇa and three yagaṇas respectively. The metrical pause of this metre lies after the every seventh syllable in a quarter.This metre has twenty one syllables in a quarter.^[57] In the Mālatīmādhava, a few verses of this Sragdharā metre are found.^[58]

For example in [the following verse…]—

viṣvagvṛttirjaṭānāṃ pracalati nibiḍagranthivadhoapi bhārah /
saṃskārakvāṇadīrghaṃ paṭu raṭati kṛtāvṛttikhaṭvāṅgaghaṇṭā //
ūrdhvaṃ dhūnoti vāyurvivṛtaśavaśiraḥśreṇikuñjeṣu guñja /
nuttālaḥ kiṅkiṇīnāmanavarataraṇatkārahetuḥ patākāḥ // ^[59] etc.

[...] magaṇa, ragaṇa, bhagaṇa, nagaṇa and three yagaṇas occur. So this verse is an example of Sragdharā metre.

(w) Daṇḍaka:

Daṇḍaka is a metre each quarter of which has two nagaṇas followed by sixteen ragaṇas thus consisting of 54 letters. Bhavabhūti has composed mere one verse in Daṇḍaka metre.

[The following verse…]—

pracalitakarikṛttiparyantacañcannakhādhātabhinnenduniḥsyandamānāmṛtasyota-
  jīvatkapālāvalīmuktacaṇḍāṭṭahāsatrasadbhūribhūtapravṛttastuti /
śvasadasitabhujaṅgabhogāṅgadgranthiniṣpīḍanasphāraphullatphaṇāphīṭhaniryardviṣa-
  jyotirujjṛmbhaṇoḍḍāmaravyastavistāridoḥkhaṇḍaparyāsitakṣamādharam /
jvaladanalapiśaṅkanetracaṭāsāṭabhīmottamāṅgabhramiprastutālātacakrakriyāsyūta-
  digbhāgamuttuṅgakhaṭvāṅgakoṭdhvajodbhūtivikṣiptatārāgaṇam/
pramuditakaṭapūtanottālavetālatālasphuṭakarṇasaṃbhrāntagaurīghanāśleṣa-
  hṛṣyanmanatryambakānandivastāṇḍavaṃ devi bhūyādabhīṣṭyai ca hṛṣṭayai ca naḥ //^[60] etc.

[...] contains two nagaṇas followed by sixteen ragaṇas. Hence the verse is a suitable example of Daṇḍaka metre.

(x) Āryā:

The metre Āryā is a variety of jāti class where each pāda is regulated by a number of syllabic instance or measures (mātrās). Here the first half of a stanza consists of seven gaṇas and the long in the last position and the first, third, fifth and seventh of these seven gaṇas must not have jagaṇa respectively. In this metre the sixth gaṇa becomes jagaṇa in the second half of the said stanza. Sometimes nagaṇa occurs with one short syllable in second half of the stanza. In the first half of a stanza, there are four short syllables in the sixth gaṇa and the metrical pause exists before second short syllable. ^[61] In the Mālatīmādhva, Bhavabhūti has composed altogether eleven verses in Āryā metre.^[62]

For example [the following verse…]—

tāṃ yācate narapaternamasuhṛdnandanau nṛpamukhena/
tatsākṣātpratiṣedhaḥ kaupāya śivastvayamupāyaḥ //^[63] etc.

[...] is a beautiful example of Āryā metre.

Footnotes and references:

[1]:

pañcamaṃ laghu sarvatra saptamaṃ dvicaturthayoḥ //
guru ṣaṣṭhañca pādānāṃ śeṣeṣvaniyamo mataḥ //
Ibid.,IV.7²⁵⁶ I.8, 12, 13 V.12, 21, 33 VI.11 IX.41,51,52 X.4,7,19,22

[2]:

Mālatīmādhava, III.1

[3]:

syādindravajrā yadi tau jagau gaḥ /
Chandomañjarī, II.p.36

[4]:

I.4, 5, 33 III.4, 11 IV.5 VI.1 X.13

[5]:

Mālatīmādhava,I.2

[6]:

upendravajrā prathame laghau sā /
Chandomañjarī,II.p.37 upendravajrā jatajāstato go /

[7]:

Mālatīmādhava, I.10

[8]:

anantarodīritalakṣmabhājau pādau yadīyāvupajātayastāḥ /
Chandomañjarī,II.38 ²⁶⁴ II.33 IX.27

[9]:

Mālatīmādhava,II.33

[10]:

rātaparairnaralagai rathoddhatā /
Chandomañjarī, II.p.43 rādatho maragā rathoddhatā /
Vṛttamālā, 29

[11]:

VIII.3 IX. 21 X.18

[12]:

Mālatīmādhava,X.18

[13]:

mātto gau cechālinī vedalokaiḥ /
Chandomañjarī,II.p.41

[14]:

Mālatīmādhava, Act VI.18

[15]:

Ibid.,IX.37

[16]:

ayuji nanaralā guruḥ same tadaparavaktramidaṃ najau jarau /
Chandomañjarī, p.145

[17]:

Mālatīmādhava, IX.23

[18]:

yadi tadviṣayonurāgavandhaḥ /
sphuṭametadvi phalaṃ guṇajñatāyāḥ //
iti nanditamapyavyavasthayāsyā /
hṛdayaṃ dāruṇayā vidīryate me //
Mālatīmādhava, III.13

[19]:

drutavilamvitamāha nabhau bharo /
Chandomañjarī, II. p. 55

[20]:

I.10 IV.7 VII.11 X.16

[21]:

Mālatīmādhava, IV.7

[22]:

vadanti vamśasthavilam jatau jarau /
Ibid.,II.p.49

[23]:

Mālatīmādhava,VII.1

[24]:

Ibid., X.6

[25]:

ayuji nayagarephato yakāro, yuji ca najau jaragasśca puṣpitāgrā /
Chandomañjarī, III. P.45

[26]:

II.6, 10 III.6,15 V.15 X. 2

[27]:

Mālatīmādhava, III.6

[28]:

tryāśābhirmanajaragāḥ praharṣiṇīyam /
Chandomañjarī,II.p.63

[29]:

mno jro vastridasayatiḥ praharṣiṇī /
Vṛttamālā,42

[30]:

I.37, 38 III.17 IV.1 V.3, 25 IX.14

[31]:

Mālatīmādhava,I.38

[32]:

sajasā jagau ca yadi mañjubhāṣiṇī /
Chandomañjarī,II.p.67

[33]:

I.39 II.4 III.7 V.8 IX.9, 43, 48

[34]:

Mālatīmādhava, II.4

[35]:

jñeyaṃ vasantatilakaṃ tabhajā jagau gaḥ /
Chandomañjarī, II.p.73

[36]:

I. 6, 9, 18,19, 20, 21, 23,25, 26, 29,32, 34, 40 II.8 III. 5 IV.8 V.27, 32
VI.4, 8, 9, 12, 13, 14, 17, 20 VII.2, 3, 4 VIII.4, 5, 8, 14
IX.1,2, 3, 13, 22, 31, 36, 40, 44, 47, 50, 54 X.1, 9, 20, 21

[37]:

nanamayayayuteyaṃ mālinī bhogilokaiḥ /
Ibid, II.p 80

[38]:

I.27, 28, 41 II.9 III.8, 14, 16 IV.10 V.1 VI.16 VII.1, 12, 13 IX. 5,6, 24, 28, 53 X.8

[39]:

Mālatīmādhava,I.24

[40]:

jasau jasayalā vasugrahayatiśca pṛthvī guruḥ /
Chandomañjarī,II.p.16

[41]:

III.13 VIII.7 IX.35, 38

[42]:

Mālatīmādhava,VIII. 7

[43]:

mandākrāntāambudhirasanagairmobhano tau gayugmam /
Chandomañjarī, II. p.98

[44]:

I.3,15, 35 II.5 III.12 IV.2 V.20 VI.2 VII.5 VIII.2 IX.20, 25, 26, 46 X. 5

[45]:

Mālatīmādhava,I.3

[46]:

yadi bhavato najau bhajajalā guru nardaṭkam /
Chandomañjarī, II. P.100

[47]:

V.31 IX.18

[48]:

Mālatīmādhava,V.31

[49]:

rasai rudraischinnā yamanasabhalā gaḥ śikharinī / Ibid., II.1

[50]:

I. 14, 16, 30, 31 II.3, 7, 11, 12, 13 III.9 IV.3, 4, 6, 9 V.30, 34 VI.7, 15
IX.8, 29, 45

[51]:

Mālatīmādhava, II.1

[52]:

nasamarasalā gaḥ ṣaḍavedairhayairhariṇī matā /
Chandomañjarī,II.5

[53]:

I.17, 36 II.2 III.2 V.5, 26 VI.6 IX.10, 11, 12, 42 X.15

[54]:

sūryāśvairyadi maḥ sajau satatagāḥ śārdūlavikrīḍītam /
Ibid.,II.p.115

[55]:

I. 2, 7 V.2, 7, 9, 10, 11, 13, 14, 18, 19, 22, 24, 28, 29 VI.3, 5, 19
VIII.6, 9, 10 IX.7, 15, 16, 17, 32, 33, 34, 39 X.23, 24, 25

[56]:

Mālatīmādhava, I.7

[57]:

bhramnairyānā trayeṇa trimuniyatiyutā sragdharā kīrtiteyam /
Ibid.,II.p.123

[58]:

I.1 V.4,6, 16, 17 IX.30

[59]:

Mālatīmādhava,V.4

[60]:

Ibid.,V.23

[61]:

lakṣamai tat sapta gaṇa gopetā bhavati neha viṣame jaḥ /
ṣaṣṭho jaśa nalaghu va prathameardhe niyatamāryāyāḥ //
ṣaṣṭhe dvitīyalāt parake nale mukhalāśca sayatipadaniyamaḥ /
carameardhe pañcake tasmādiha bhavati ṣaṣṭho laḥ //
Chandomañjarī,V.1-2

[62]:

III.6 VI.10 IX.4, 49 X.3, 10, 11, 12, 14, 17

[63]:

Mālatīmādhva,I.11