Chapter 7 - Metres in the Ushaharana-kavya

Poetic composition is verily regulated by the metres. Trivikrama Pandita is no doubt a remarkable personality for giving appropriate value to the classical metres. It is to be observed here that whether Trivikrama Pandita is interested in showing his command over several varieties of metres or he has carefully chosen a particular metre to suit a particular situation and to convey a particular idea through it. Of course, the harmony between metre and the content heightens the beauty of the poetry. With this view in mind, Ksemendra turned his attention to this idea and wrote a significant work viz. Suvrttatilaka. Trivikrama Pandita being posterior to Ksemendra (11 th Cent, A.D.) may have referred to latter's text for the employment of particular metres in suitable contexts. One can remain inclined to believe that when Sanskrit poetry reached the height of rhythmical perfection and beauty, there were some standard text-books on metrics. In this line, "the earliest and most important work in Sanskrit prosody is the Pingala-chhandas-sastra attributed to the sage Pingala, which consists of Sutras distributed over eight books. The Agni Purana also gives a complete system of prosody founded apparently on Pingala's. Several other original treatises have likewise been composed by various authors, such as the Srutabodha, Vanibhusana, Vrttadarpana, Vrtta-ratnakara, Vrttakaumudi, Chandomanjari &c."1 1) V.S. Apte, The Practical Sanskrit - English Dictionary, Motilal Banarasidass, Delhi, 1978, p. 1035

198 Trivikrama Pandita no doubt was one of the traditional poets, commentators and philosophers. Still he is found to have taken due care in using the metres at appropriate places. In this connection, it is remarked that "the traditional Indian commentators have no doubt mentioned the names of metres at the beginning or end of the majority of the poems in a given text, but they have never gone beyond defining them based on some late work on metrics. Whenever they have come to consider the propriety of metres in any particular context, their views about it are openly falsified by the contrary evidence in the corresponding context elsewhere. "2 However this opinion stands refuted by itself by following analysis of the use of metres and the proprieties thereof. And, a close study of the metres used by Trivikrama Pandita affirms that the purposeful employment of the metres should be a criterion for the poet's maturity in poetry. It is here proper to know some primary things of metres before taking up an analysis of the employment of the metres. Metre consists of fixed groups of syllables known as Aksara ganas or syllabic instants known as matra-ganas. Generally, the metre which is regulated by the number and position of syllables or Aksara-ganas is called Vrtta; and the metre which is regulated by the number of syllabic instants or matra-ganas is called Jati. Short vowels should be regarded as laghu and long vowels guru. But, when a short vowel is followed by an Anusvara or Visarga or by a conjunct consonant, it should be regarded as guru. The last syllable of a line is either guru or laghu according to the requirements of the metre. Thus it is said : 2) Madhusudan Mishra, Metres of Kalidasa, Tara Prakashan, Delhi, 1977, p. 37

199 sanusvarasca dirghi ca visargi ca gururbhavet | varnah samyogapurvasca tatha padantago'pi va | | The symbol 'U' stands for laghu or short syllable. The symbol --' stands for a dirgha or long syllable. And in metres regulated by the number of syllabic instants, one matra or instant is alloted to a short vowel and two matras to a long one. Yati is the name given to the pause taken for the purpose of rest when reciting a stanza. And, this Yati should not occur in the middle of a word. For easy scanning the metres which are regulated by the number of syllables, the scholars on prosody have devised eight ganas each containing a group of three syllables. They are : yagana, magana, tagana, ragana, jagana, bhagana, nagana, sagana | , The verse : adimadhyavasanesu ya, ra, ta yanti laghavam | bha, ja, sa gauravam yanti manau tu gurulaghavam and the aphorism - " yamatarajabhanasalagam " help us to know the eight ganas with an indication of laghu and guru syllables: 1. yagana = ( yamata ) 2. magana = (matara ) 3. tagana = (taraja ) 4. ragana = (rajabha ) 5. jagana = ( jabhana ) 6. bhagana = ( bhanasa ) 7. nagana = (nasala ) 8. sagana (salagam ) → U first syllable is laghu all syllables are guru U last syllable is laghu U middle syllable is laghu U - U --U U U U U UU middle syllable is guru first syllable is guru all syllables are laghu last syllable is guru After a close reading of the Usaharanakavya, it can be said that Trivikrama Pandita has employed more than twenty metres in his epic poem. And these metres can be classified into four groups corresponding to the number of syllables contained in each pada. The first group is

200 "c" wherein the number of syllables in each pada is same; the second group "" - wherein the number of syllables in alternate padas is "ardhavrtta " same; the third group - "¶¶¶" - wherein all padas are dissimilar to one another; and the fourth group is called "" wherein the metres are regulated by the number of matras or syllabic instants. The following twenty-one metres have been employed in the Usaharanakavya of Trivikrama Pandita : 1) indravajra (samavrttam ) 2) upendravajra ( " ) 3) upajati ( " ) : : VIII. 73 : VIII. 65, 76, 81, 82, 85, 92 II. 1-94, VI. 1-106, VII. 60-61, III. 75, VIII. 66, 71, 83, 84 4) pramanika ( >> : VIII. 72, 9. 5) dodhaka ( " ) : VIII. 68 6) rathoddhata ( (" ) : IV. 1-56 7) salini ( (" ) : VII. 13-26; VIII. 78 8) pramitaksara ( " ) : VII. 40 9) vamsastham ( " ) : V. 1-77 10) praharsini ( " ) : VII. 1-6 11) manjubhasini ( " ) : II. 95, V. 98, VII. 39, 42-47, 70, VIII. 70, 74 . 12 ) rucira ( " ) : VII. 27-38. 13) vasantatilaka ( ) " : VII. 67-69; VIII. 67, 79-80; IX. I-73 14) malini ( " ) : IV. 57, VIII. 88-89, IX. 74 15) mandakranta ( ) " : VIII. 69 >> 16) sardulavikriditam ( 17 ) puspitagra ( ardhasamavrtta ) 18) campakamalika ( " ) 19) manorama ( " ) 20 ) udgata (visamavrtta ) 21 ) aryagitih (jati ) : VII. 48-52, 58, 59 : VII. 54-56 : VIII. 86, 87 ) : VII. 7-12, VIII. 75 : I. 114, VI. 107, VII. 62-66, VIII. 93 : III. 1-74

201 The analysis of these metres in the Usaharanakavya is as below: 1 ) upajati [ Upajati] : The most usual metre employed by Trivikrama Pandita has employed is Upajati. This metre is the combination of Indravajra and Upendravajra. In the Indravajra metre, there are eleven syllables in each pada, having 'ta, ta,ja ' ganas occuring regularly, and ending in two guru syllables. So also Upendravajra metre consist of eleven syllables in each pada. Having ganas occuring regularly and ending in two gurus.³ When the scheme of ganas of these two metres, are mixed together in single unit, it comes to be called Upajati metre. 3 " In the following stanza, the first pada contains J,, ganas, two gurus at the end. And remaining three padas contain A,, ganas along with two gurus at the end. yada yadunam pravarah pranito mayajusosanatamurjayantya | anvisurenam pratibuddhaya mugdha nidrantara slesasukhaya tavat || [VI-I] ja U. U - ---- ta U U yada yadunam pra ja U varah pranito 3) ta ta ja | U U-U mayaju sosama tamrrja yantya ta ta ja U U - U anvisu renam pra tibuddhaya mugdha ta ta ja U U U nidranta ra slosa sukhaya | tavat anantarodiritalaksmabhajau padau yadiyavupajatayastah | Vrttaratnakara, Kedar Bhatta, Sanskrit Academy, Osmania University, Hyderabad, 1961. p. 157.

202 The Upajati metre is a jolly, smiling and maiden metre of Trivikrama Pandita connected with all sorts of lovely and tender descriptions. As such the stanza cited above presents a lovely description of the union of Usa and Aniruddha. 2) pramanika [ Pramanika] : Trivikrama Pandita has used the Pramanika metre only twice [VIII - 72, 91]. It is a metre with a eight syllables in a pada, As Kedara defines, it contains 3, ganas and one laghu and the other guru.4 For example : kumarayugyamapatattatovitodaroditaih| kumarayugyamapatattatovitodaroditaih | | [ VIII. 72] ja ra U-U - U- U- kumara yugyama pata ja U U ra U- U tatovi todaro ditaih ja U - U ra - U- U- | kumara yugyama pata ja U - U ra U U - tatovi todaro ditaih 3) dodhakam [Dodhakam] : It is one of very rare metre that Trivikrama Pandita has employed in his Usaharanakavya. This metre is tied up with Raudra sentiment which is developed in the description of dreadful scene of the fight between Krsna and Bana's army. 4) pramanika jarau lagau | Ibid., p. 146

203 sonitapuranaragitarorvi vairividaranakaranabhutaih | sonitapuranaragitarorvibhartrpatatribhiratra babhuva || [VIII. 68] As defined by Kedara, this metre consists of eleven syllables in each pada; and it contains three 'bha' ganas and two guru syllables in the end 5 bha bha U U -UU bha - UU sonita purana ragita | rorvi bha bha bha UU - UU UU vairivi darana karana bhutaih bha bha bha UU-UU sonita purana ragita rorvi | bha bha bha - UU - UU -U U bhartrpa | tatribhi | ratra ba | bhuva 4) rathoddhata [ Rathoddhata] : The Rathoddhata metre is so called because its rhythm is clearly jerky like the movement of a chariot. Trivikrama Pandita's employment of this metre runs all through the fourth canto [IV. 1-56] except the last one. And relation of this metre is with the contents of the arrival of Krsna and Rukmini, marriage of Pradyumna and Rukmavati and birth of Aniruddha. The Rathoddhata is a metre with eleven syllables. It contains ra,na,ra ganas and one laghu and one guru in the end of each pada.6 5) dodhakamicchati bhatritayadgau || Ibid, p. 167 6) ro naravahi rathoddhata lagau | Ibid, p. 172

204 For example: kantimantamatha kantaya taya yantamatmabhuvamantaram puram | akirannagarasundarijanassadhulajanicayaissamantatah | | [ IV. 1] ra na ra U U yuu U kantimantamaya kantaya taya | ra na ra U UUU yantama | tmabhuva | mantaram puram U U- | ra na ra U U UUUU akira | nnagara | sundari | jana ra na ra U UUU .U. U- ssadhula janica yaissama ntatah | 5) salini [ Salini] : Trivikrama Pandita wants to establish a relation between a peculiar rhythm and similar subject matter. The reading of Salini is rather hard due to its having nine hard syllables out of total eleven. Further, it seems to rhyme with the dignified gait of the lion which is the main point of description in the frame of this metre. On account of its majority of hard syllables the stanza in this metre requires to be read little slowly; so that its rhythm becomes apt for the expression of thoughtful applaud. [VIII. 18] of wonder [VII. 13-18]. It is a metre with eleven syllables in each pada. It contains ma, ta, ♬ ganas and two guru syllables in the end. 7 7) matau gau cecchalini vedalokaih | Ibid, p. 168

205 For example : sthaniyam tacchonitakhyam pravisya pratyakartum purayan pancajanyam | reje rajiveksanah purnacandrabimbodgarivambudah pravrdadau || [VII. 13] The scanning of gana is as below: ma - ta U ta U sthaniyam tacchoni takham pra visya ma - ta - U - ta pratyaka rtum purayan pancajanyam ma - ta U ta U reje ra | jiveksanah purna candra ma ta ta U bimboga | rivambudah pravr dadau 6) pramitaksara [ Pramitaksara] : Trivikrama Pandita has employed this metre only once in the context of manifestation of Vaisnavajvara by Lord Krsna as against Mahajvara, which would make the latter perish & within no time [f]. And hence, employment of fits well in the context. It is a metre with twelve syllables in a pada. As defined by Kedara, it contains sa, ja, sa, sa ganas. 8 Following is an example of this metre. drsi gocarau ca jagato'bhimatau krtaniscayau harimahesvarayoh | gadapungavau gaganasangisikhau samaveyatuh samudayaya tada || [VII. 40] 8) pramitaksara sajasasairudita | Ibid, p. 188

206 This verse may be split into four padas. sa ja sa sa U U U- U UUUU - drsi go | carau ca jagato bhimatau sa ja sa sa U UUU - U U UU- krtani scayau ha rimahe sva rayoh sa ja sa sa UU- U U UU- UU- - gadapungavau ga ngavau ga ganasa ngisikhau sa ja sa sa UU- U- U UU- U J- samave | yatuh sa | mudaya | ya tada 7) vamsastham [Vamsastham] : This metre is the stereo-typed classical form of the Vedic Jagati. It is otherwise called Vamsasthavila or Vamsastanita. The fifth canto begins with this metre and continues till the end of the canto. Kalidasa has however restricted this metre to his dramas, while Trivikrama Pandita has employed in his poetry with all seriousness and significance. Like Kalidasa, Trivikrama Pandita too connects this metre with the state of love affairs closely. The fifth canto is abreast with matters of love pointing to Aniruddha's water-sport, garden-sport, Usa's union with Aniruddha etc. Thus, the Vamsastha metre occurs here with a note of love affair and joy. This metre is with twelve syllables. It contains ja, ta, ja, ra ganas in each pada. 9 9) jatau tu vamsasthamudiritam jarau | Ibid., p. 178

207 For example : athasurendre narake nipatite jite sacibhartari cakrapanina | mudaniruddhah sakhibhih priyaih samam samajagamopavanam riramsaya | | [ V. 1] ja ta U U ja ra U U U-U athasu rendre na rake ni patite ja U U ta - ja U U - - ra U - jite sa cibhartari cakra panina ja ta U-U U U - ja U ra U- mudani |ruddhah sa khibhih priyaih samam ja ta ja ra U-U U- U U- samaja | gamopa | vanam ri ramsaya 8) praharsini [ Praharsini] : The metre Praharsini has a regular rhythm through three heavy syllables, followed by four light ones. As its name suggests, this metre has a note of some happy event. Therefore, Trivikrama Pandita has employed this metre to coincide it with the content of happy note in the beginning of the seventh canto [VII. 1-6]. All the verses here rhyme with the feeling of joy expressed by the Yadavas at the departure of Lord Krsna to Sonitapura to bring Anirudddha back to Dwaraka. Therefore, this metre is a suitable choice here. The metre Praharsini is with thirteen syllables. It contains ma,na, ja, ra ganas and one guru syllable in the end. 10 10) nau jau gastridasayatih praharsaniyam | Ibid., p. 196

208 For example : samyancam tadanu parikvanatsuvinam satkurvannamaramunim muda mukundah | sanujno matimakarodamoghakamah kalajno ripunagaram prati prayane | | [ VII. 1] This verse split into four padas is as below : ma na ja r - U UUU U U samyanca tadanu parikva natluvi jam | ma na ja ra UUU U U U- satkurvannamara munim mu da mukundah ma na ja UUU U-U - ; U - sanujno matima karoda moghaka mah ma na ja ra UUUUU U- kalajno ripuna garam pra ti praya ne 9) manjubhasini [ Manjubhasini] : This metre is also called sunandini and prabodhita . 11 This metre notes a quality of elegance. Trivikrama Pandita has employed this metre with the notations of Srngara and Vira sentiments. It is a metre with thirteen syllables in a pada. Defining Manjubhasini metre, Kedara states that a pada in this metre consists of sa, ja, sa, ja ganas and one guru syllable in the end. 12 A verse from the fifth canto may be quoted here to show the employment of Manjubhasini. 11) V.S. Apte, The Practical Sanskrit English Dictionary, p. 1038. 12) sajasa jagau bhavati manjubhasini | Ibid., p. 199

209 kamapiti kalamalamakalayya sah ksanavatpunarnavarasayane rate | dayitasakhah sukhamuvasa vasavipriyasunusunurasurendramandire || [V. 78] This verse may be split into four padas sa ja sa ja UU- U U UU- U U kamapiti kala malama kalayya sah sa ja sa ja UU- U-U UU- ksanava | tpunarna varasa yane ra U-U sa UU. ja sa ja U U UU- U U dayita sakhah su | khamuva sa vasa vi sa ja sa | ja UU U-U UU- U-U - priyasunusunu rasurendramandi Rs 10) rucira [ Rucira] : Trivikrama Pandita has thoughtfully employed Rucira metre in the seventh canto [VII. 27-38]. The twelve stanzas here describing the fight between Krsna and Mahajvara, are composed in this metre. This metre is otherwise called Prabhavati.13 It is a metre with thirteen syllables in each pada. It contains ja, bha, sa, ja ganas and one guru syllable in the end. 14 For example : athagrato grasitumivogravigrahah parigrahastripuraripoh krtagrahah | samagrarugraha iva rahuragranirjagadguhamiha dadrse mahagadah | | [VII. 27] 13) V.S. Apte, The Practical Sanskrit-English Dictionary, p. 1038 14 ) caturgrahairiha rucira jabhau sajagah | Ibid, p. 197

210 The scanning of gana is as below: JT bha sa ja U - U UU UU ၂ U athagra to grasi tumivo gravigrahah ja 4 T 79 ja U-U UU UUU U - parigra hastripu raripoh krtagra hah | ja IT sa ja 15 U-U - UU UU bn U-U samagra | rugraha | iva ra huragra ni ja bha sa U-U - UU ja U j jagadu hamiha dadrse ma haga da vasantatilaka 11) [Vasantatilaka]: The suggestive sense of its name coincides with the subject-matter like the description of erotic ideas, beauty of nature, compassion, pathos etc. In the seventh [VII. 67-69] and eighth canto [VIII. 79-80], the Vasantatilaka has been employed to present the feeling of compassion. Again in the eighth canto [VIII. 67] this metre suggests feeling of pathos through the description of dreadful scene of the battle-field which was covered with the dead bodies of demons. Further the whole of the ninth canto [IX. 1-73] except the last verse, runs in Vasantatilaka metre itself. The verses here in the beginning give vent to the feeling of pathos and compassion through the description of Bana's losing of thousand arms, and Krsna's favour on him; finally the middle portion of the ninth canto [IX. 41-50], through the employment of this metre, reveals erotic ideas mixed with natural description of Raivataka mountain. Thus, the original note of the Vasantatilaka metre is erotic, though it has deviated to pathos, compassion etc.

211 In this metre there are fourteen syllables in each pada and every pada consists of 'ta, bha, ja, ja ' ganas and two guru syllables in the end. The following stanza is an example of the Vasantatilaka metre.15 prthvyam ca kuncitakacani surunca kuncicancanti kancanamahamakutancitani | atancitarkarucikundaladiptimunci sanciccire sarahatamarabhicchiramsi | | [VIII. 67] ta - bha ja ja U U U U U U prthvyam ca | kuncita | kacani | surunci | kunci ta U bha ja ja UU U-U J U cancanti | kancana - kancana mahama kutanci tani | ta bha ja ja UU U U U - atanci | tarkaru | cikunda | ladipti | munci ta U bha ja ja UUU - U U sancicyi re sara hatama rabhicchi ramsi This metre is to represent a combination of Vira and Raudra sentiments. In the context of the verse cited above deals with the fight between Siva and Krsna successively the Raudra sentiment is also developed. Therefore the choice of Vasantatilaka metre here fitts in very well. 12 ) malini [ Malini ] : Trivikrama Pandita appears to have perceived the suggestive sense of garland in its name. So that, it contains a string of ideas characterised by various details and lengthy comparisons. At more places, Trivikrama Pandita is found to have employed this metre at the end of the cantos; the stanza [III.76] ends with Malini, containing 15) ukta vasantatilaka tabhaja jagau gah | Ibid., p. 204

212 a description of collective joy of Dwaraka at the advent of the divine couple Krsna and Rukmini to the city. The stanza [ IV. 57] bears the suggestion of joy through the description of the beauty of Aniruddha in prime youth. Similarly, the stanza [IX 74] being the last one of the Usaharanakavya, enlaces the suggestions of joy caused by Krsna's victory over Bana. His arrival to Dwaraka and by the union of Usa and Aniruddha. There are fifteen syllables in each pada of this metre and it contains na, na, ma, ya, ya ganas in each pada. 16 tadanu makaraketoraurasasyorukirteh avikalarucirodyadyauvanasyatmajasya yadukulayuvatinamakulabhrulatanam nayanasukhavilasasthanamasinmukhasrih [IV 57] Scanning of ganas is as below: na na ma ya ya UUUUUU UU tadanu makara ketorau rasasyo ru kirteh na na ma U U UU UUU ya ya milliona U avika laruci rodyadyau vanasyatmajasya na na ma ya ya U U UUU | UUU nayana | sukhavi | lasastha | namasi nmukhasrih na na ma ya ya UUU | UUU yaduku | layuva | tinama | kulabhu latanam U U - | 16) nanamayayayateyam malini bhogalokaih | Ibid., p. 210

213 13) ATIHA [Mandakranta] : As Ksemendra opines it is employed to describe the separation of the couple in the rainy season. 17 mandakranta virajate | ( suvrttatilakam, III. 21 ) " This opinion is not sound. No doubt Kalidasa is a great poet. Yet any significant remark restricting to the world of Kalidasa does not hold at all times. For during gap period [4 th cent. to 11 th cent. A.D.] from Kalidasa to Ksemendra many great poets like Bharavi [6 th Cent. A.D.], Bhavabhuti [7 th Cent. A.D.] etc. had flourished. Hence, with equal force one can say Ksemendra could be influenced by any of his predecessors in the field of epic poetry; and he must be regarded the relation of Mandakranta with a particular sentiment. 18 Though Trivikrama Pandita is posterior to Ksemendra, the former is rather indifferent than being influenced by latter. Of course Trivikrama Pandita has employed Mandakranta metre in the description of fierceful battle-field wherein the limbs separated from the life-source were just floating in the river of blood. The Mandakranta may also have a suggestion of grief-loaded nayika moving slowly. This note of metre suits well in the example given below, for it describes river of blood [nayika] moving slowly. It is a metre with seventeen syllables in a pada. In this metre ¤,4,7,7,7 ganas occur regularly in each pada ending in two gurus. netrairdirghervijitasapharivibhramaih sambhramadbhih bahugra vadanakamale kesasaivalamale | raktaughe'smin saridupamite sandramastiskapanke mandam mandam dadhurudupatam syandanam syandamanah || [ VIII. 69 ] 17) This remark is decidedly based on the contents of the Meghaduta of Kalidasa" Madhusudan Mishra, Metres of Kalidasa, Tara Publication, Delhi, 1977, p. 1. 18) mamdakranta jaladhisadagaimbha natau tad guru cet | Ibid, p. 221

214 ma bha na ta ta U • UU UUU netrairdi ghairviji | tasapha rivibhramaih sambhra | madbhih ma bha na ta ta U U vahugra he vadanakama le kesa saivala male ma bha na ta UUUUU - -U ta U raktaughe | smin sara | dupami | te sandra | mastiska | panke ma na bha UU | UUU ta ta U -U mandam ma | ndam dadhu | rudupa tam syanda | nam syanda | manah 14) sardulavikriditam [sardulavikriditam ] : The sardulavikridita (tiger's sporting) is typical representation of the jump of the tiger, first a longer jump represented by the caesura after the twelfth syllable and then a short one represented by cadence. There are in the poem very few stanzas in the Sardulavikridita. Though tiger's sport creates pleasing wonder, yet by itself it is terrible in effect. In this taste, the Sardulavikridita metre is employed in the poem [VII. 7-12 and VIII. 75] to describe in a wonderful manner fierceful scene of the happening in the battle field. 19 For In this metre ma, sa, ja, sa, ta, ta ganas occur regularly and one guru syllable in the end. Thus, it is a metre with nineteen syllables." example : adityariparabhavonmukhamukha he [ khirha ] torvahanto muhuh susrusaratamanasadvijavarasreyaskarah samskrtah| 19 ) suryasvairyadi mah sajau satatagah | Ibid., p. 228

215 niryanto nagararaneh stutimayabrahmoktibhih prerita bhanti sma jvalana iva traya ime nakaukasam trptidah|| [VII. 7] ma sa ja sa ta ta UUU U UU U U aditya ripara bhavonmu khamukha hetirva | hanto mu | huh ma sa ja sa ta ta UU. U-U UU allowan U U - susrusa | ratama | nasadvijavara sreyaskarah samskr tah | ma sa ja sa ta ta U U UU. U - U UU- niryanto nagara |raneh stu | timaya | brahmoktibhih preri | ta ma sa UU ja sa ta ta U. U U U bhanti sma | jvalana | iva tra | ya ime | nakauka | sam trpti khalana | iva me | nakaka | sa tada 15) puspitagra [ Puspitagra] : As the very name bears the overtone of a happy future, this metre is connected with some happy state of affairs. It is grouped under the metres of Ardhasamavrtta, wherein the alternate quarters are similar. As stated in Vrttaratnakara the first and third padas are odd quarters; while second and the fourth padas are even quarters. The odd padas contain na, na, ra, ya ganas and the even padas contain na, ja, ja, ra ganas and one guru in the end. 20 An application of the metre may be shown in the following stanza : hrdayanihitanirvitarkakrtyah suviditarugmavatisutapravrttih | krtamiva karaniyamesa mene nahi mahatam matayo mudha bhavanti | | [ VI. 107] 20) ayuji nayugarephato yakaro yuji ca najau jaragasca puspitagra | Ibid., p. 266

216 This stanza speaks of Krsna's joy caused by unveiling the secret of Aniruddha's dwelling. And one can observe the scheme of ganas as said above. na na ra bbb U U U U U ya hrdaya | nihita | nirvita | rkakrtyah na ja ja ra UUU | U-L U- U U - - suvidi | tarugmavatisutapravr | ttih na na ra ya bbb U UU U U 16) krtami | va kara | niyame sa mene na ja ja UU U U U U U - - nahi mahatam matayo mu | dha [Campakamalika]: Trivikrama Pandita has employed the Campakamalika metre throughout the third canto [III. 1-74] except the last one. This metre has its relation with series of efforts leading to the union of Krsna and Rukmini. As Campakamalika is one of the Ardhasamavrttas, its alternate padas are equal. The first and the third padas contain ten syllables each, and are grouped into A, A, ganas as well as one guru syllable at the end; so also, the second and fourth padas contain eleven syllables each, and are grouped into H, 4, I ganas as well as one laghu and one guru at the end. 21 21) fa¶A A ne: ad aurraghich ci sia | Usaharana, Sumatindratirtha Com., Udupi, 1927, p. 101

217 For example: atha susruvururjitasriyo mudita dvaravatinivasinah | vasudevasutanuragino varayogyamiha bhismakatmajam|| [III. 1] This verse is split into four padas : sa UU - sa ja UU- U U - atha su sruvuru rjitasri yo ra sa bha UU ---- -UU - U wwwwww mudita | dvarava | tiniva sinah sa sa ja UU- UU U-U vasudevasuta nuragi no | sa UU- sa ra UU U U - varayo gyamiha bhismaka | tmajam 17 ) manorama [ Manorama] : It is one of the rare metres employed by Trivikrama Pandita. The context in which the poet uses this metre, is Krsna's pleasing address to Pradyumna. The metre is with eleven syllables in the first and third padas, and twelve syllables in the second and fourth. , As Manorama is Ardhasamavrtta metre, its alternate padas are equal. Thus, the first and third padas contain sa, sa ja ganas and two guru syllables in the end ; and second and fourth padas contain sa, bha, ra, ya ganas. 22 22 ) visame sasaja guruyadistah sabharayasca same manorameyam | Usaharana Kavya, Sumatindratirtha, Udupi, 1927, p. 282

218 Following verse is an example of this metre. sadrsakrtina samiksya yoddhum sa drsa yantamupantamantakarim | | jagadekapatih sutena vakyam jagade'nena manoramarthabandham|| [VII. 48] Scanning of ganas is as below: sa UU sa ja UU U - U sadrsa |krtina samiksya yoddhum sa bha ra ya UU -U- U U U- sadrsa | yantamu pantama ntakarim sa sa ja UU- UU - U--U jagadekapatih sutena vakyam sa bha ra ya UU -U U -U- U-- - jagade nena manorama rthabandham 18) udgata [Udgata] : This metre is of visamavrtta wherein all four padas are dissimilar i.e. they have different scheme of ganas. It is defined that the first pada contains sa, ja, sa ganas and one laghu letter in the end, the second na, sa, ja ganas and one guru syllable in the end. The third bha, na, ja and one laghu syllable as well as one guru syllable, one after the other in the end and the fourth pada contains sa, ja, sa, ja ganas and one guru syllable in the end. 23 The poet regards the relation of the Udgata metre with Vira or Heroic sentiment, for which the following stanza is an example : 23) prathame sajau yadi salau ca, nasajagurukanyanantaram | yadyatha bhanajalagah syuratho sajasa jagau ca bhavatiyamudrata || Ibid, p. 283

219 iti satyalanghitajano'tra tanayamativelavismayat | vyahrtavacanamavagagamayattamimam puranapurusah puradvisam || [VII. 55] The splitting of this verse into four padas : sa ja sa UU U-U UU- U itisa tyalanghi tajano tra na sa ja bbb UU- U U - tanaya mative lavisma yat bha na ja UU UUU U-U - vyahrta | vacana | mavaga | yat sa ja sa ja UU U-U UU- U-U tamimam purana purusah | purahi | sam 19 ) aryagitih [aryagiti ] : The Aryagiti is jati variety of metre which is regulated by the number of syllabic instants [matra]. This metre is rather mixture of Arya and Giti metres. In precise, the first and third padas of this metre contain twelve syllabic instants each (as in Arya metre); then the second and fourth padas contain twenty syllabic instants each (by the inclusion of one guru = two matras, to eighteen syllabic instants of second and fourth as in Giti metre. 24 An example from the eighth canto may be adduced here : isurayamavato nirayadbhaktirasam bibhrato yamavato nirayat | ahitanikantakaradasanirmeghadivavanikantakarat || [VIII. 86] 24 ) aryapurvardha yadi gurunaikenadikena nidhane yuktam | itaratadvonnikhilam yadiyamuditaikmaryagitih | | Ibid., p. 68

220 This should be split into four padas in accordance with the prescription of matra ganas of this metre. isurayamavato nirayat → 12 matras bhaktirasam bibhrato yamavato niyat → 20 matras ahitanikantakara dasanirmeghadivavanikantakarat →12 matras → 20 matras Similarly the verse VIII. 87 may be understood. It is thus quite clear, Trivikrama Pandita has set up all standards for the employment of metres in the early stage of his poetic life. With this significant method of metrical skill, he reigns supreme honour among the great poets. No doubt, Trivikrama Pandita's display of metres at different contexts, perfectly echoes with content of the particular context. Trivikrama Pandita's metres from the point of their contents, some times appear subjective. In fine, Trivikrama Pandita's skill of using the metres can be said just superb.