Chhanda or measured poetry: 3
|| shriihariH ||
Recap
In the past two posts, the notion of parsing a sentence into long and short syllables (Click here), and various classifications of chhanda that are prevalent in the literature (Click here) were reviewed. In this post, the simplest form of chhanda, the vaarNika-sama-chhanda, is discussed in huge detail.
Warning
This post and onwards is very technical and perseverance is needed to master the ideas discussed.
Sama Chhanda: Definition and Examples
Recall that a chhanda is composed of pada or feet, and each pada has four charaNa. If each charaNa or foot has identical syllable rule, it is called as a (vaarNika) sama-chhanda.
Classically, books discuss the chhanda in increasing number of syllables in every charaNa. This post breaks this pattern and present the ideas in a non-classical manner. Personal appreciation of poetry suggests that examples help a lot in understanding the theory. Further, good examples motivate a person to write creatively. With these two views in mind, this post presents the material non-classically. Chhanda like naarii (with each charaNa rule as 2 2) fail to impress the beginner.
A few examples of sama-chhanda follow:
1) paMchachaamara or vibhaavarii
If the syllable pattern in each charaNa is {1 2} X 4 or {1 2} X 8, it is called as paMchachaamara or vibhaavarii chhanda. One example was highlighted in a previous post. A few more examples are given below. The reader is urged to verify the rules and notice exceptions if any. If exceptions are noted, then try to sing the poem and observe if the violation of rules obstructs the pronunciation in any manner. This point will be discussed after the treatment of the subject in retrospect.
Example(s):
Note: paMchachaamar is one of most dynamic chhanda for singing. Try reading the pada in fast speed and amaze yourself.
2) toTaka
If the syllable pattern in each charaNa is {1 1 2} X 4, it is called as totaka chhanda. One example was highlighted in a previous post. A few more examples are given below. As before, the reader is urged to verify the rules and notice exceptions if any.
Example(s):
Note: toTaka is a serene chhanda for singing and is often used for ornate stutis.
3) bhuja~ngaprayaata
If the syllable pattern in each charaNa is {1 2 2} X 4, it is called as bhuja~ngaprayaata chhanda. As with toTaka and paMchachaamar one example was highlighted in a previous post. A few more examples are given below. Please verify the rules and notice exceptions if any.
Example(s):
Note: bhuja~ngaprayaata is a dynamic chhanda with a lot of stress on long syllables. Often it is used for praying to Shiva. This chhanda has an interesting story behind it. Once Garuda decided to devor on Sheshnaag. Sheshnaag, who incarnated as Pingala and formalized chhanda-poetry for the first time, tried to escape into water but Garuda held Him in claws. Sheshnaag promised to tell Garuda the treatise on chhanda, arguing that this theory will disappear with Him, on a condition: If Sheshnaag announces and leaves into water, Garuda should accept defeat. During the course of lecture, Sheshnaag said ``bhuja~ngaprayaataM'' two times and left into water. ``bhuja~ngaprayaataM'' is the name of the chhanda discussed before, and it literally means "snake is leaving.'' Sheshnaag used this trick and defeated Garuda. Note that bhuja~ngaprayaataM has a syllable pattern of 1 2 2 1 2 2.
Final Remarks
Seeing the length of this post, more sama-chhanda will be discussed in next post.
In the past two posts, the notion of parsing a sentence into long and short syllables (Click here), and various classifications of chhanda that are prevalent in the literature (Click here) were reviewed. In this post, the simplest form of chhanda, the vaarNika-sama-chhanda, is discussed in huge detail.
Warning
This post and onwards is very technical and perseverance is needed to master the ideas discussed.
Sama Chhanda: Definition and Examples
Recall that a chhanda is composed of pada or feet, and each pada has four charaNa. If each charaNa or foot has identical syllable rule, it is called as a (vaarNika) sama-chhanda.
Classically, books discuss the chhanda in increasing number of syllables in every charaNa. This post breaks this pattern and present the ideas in a non-classical manner. Personal appreciation of poetry suggests that examples help a lot in understanding the theory. Further, good examples motivate a person to write creatively. With these two views in mind, this post presents the material non-classically. Chhanda like naarii (with each charaNa rule as 2 2) fail to impress the beginner.
A few examples of sama-chhanda follow:
1) paMchachaamara or vibhaavarii
If the syllable pattern in each charaNa is {1 2} X 4 or {1 2} X 8, it is called as paMchachaamara or vibhaavarii chhanda. One example was highlighted in a previous post. A few more examples are given below. The reader is urged to verify the rules and notice exceptions if any. If exceptions are noted, then try to sing the poem and observe if the violation of rules obstructs the pronunciation in any manner. This point will be discussed after the treatment of the subject in retrospect.
Example(s):
namaami bhaktavatsalaM |
kRRipaalu shiil komalaM ||
bhajaami te padaaMbujaM |
akaaminaaM swadhaamadaM ||
kRRipaalu shiil komalaM ||
bhajaami te padaaMbujaM |
akaaminaaM swadhaamadaM ||
G.~Tulsidasa, ``Raamcharitmanas: Aranya kaaND''
muraarikaayakaalimaalalaamavaaridhaariNii |
tRRiNikRRitatriviShTapaa trilokashokahaariNii ||
manonukuulakuulaku~mjapu~mjadhuutadurmadaa |
dhunotu me manomalaM kalindanandinii sadaa ||
tRRiNikRRitatriviShTapaa trilokashokahaariNii ||
manonukuulakuulaku~mjapu~mjadhuutadurmadaa |
dhunotu me manomalaM kalindanandinii sadaa ||
Adi~Shankaracharya, ``Sri-Yamunashtakam''
jaTaataviigalajjala pravaahapaavitasthale
galevalambyalambitaaM bhujangatungamallikaaM |
DamaDDamaDDamaDDamanninaadamaDDamarvayaM
chakaaracha.nDataa.nDavaM tanotu naH shivashshivaM |
galevalambyalambitaaM bhujangatungamallikaaM |
DamaDDamaDDamaDDamanninaadamaDDamarvayaM
chakaaracha.nDataa.nDavaM tanotu naH shivashshivaM |
Ravan, ``Tandav Stotra''
Note: paMchachaamar is one of most dynamic chhanda for singing. Try reading the pada in fast speed and amaze yourself.
2) toTaka
If the syllable pattern in each charaNa is {1 1 2} X 4, it is called as totaka chhanda. One example was highlighted in a previous post. A few more examples are given below. As before, the reader is urged to verify the rules and notice exceptions if any.
Example(s):
jagadiish sudhiish bhavesh vibho |
paramesh paraatpar puut pitaH ||
praNataM patitaM hatabuddhibalaM |
janataaraNa taaraya taapitakaM ||
paramesh paraatpar puut pitaH ||
praNataM patitaM hatabuddhibalaM |
janataaraNa taaraya taapitakaM ||
Author~Unknown, ``Parameshwarstotram''
viditaakhilashaastrasudhaajaladhe |
mahitopanishtkathitaarthanidhe ||
hRRidaye kamale vimalaM charaNaM |
bhava shankar deshik me sharaNaM ||
mahitopanishtkathitaarthanidhe ||
hRRidaye kamale vimalaM charaNaM |
bhava shankar deshik me sharaNaM ||
Totakacharya, ``Totakashtakam''
lalite kalite vanite sumukhi |
agade dhanade shubhade varade ||
dhanadhaanyakare vimale kamale |
jaya devi trilokamanaatmasukhe ||
agade dhanade shubhade varade ||
dhanadhaanyakare vimale kamale |
jaya devi trilokamanaatmasukhe ||
Bhaaluu, ``lalitashtakam''
Note: toTaka is a serene chhanda for singing and is often used for ornate stutis.
3) bhuja~ngaprayaata
If the syllable pattern in each charaNa is {1 2 2} X 4, it is called as bhuja~ngaprayaata chhanda. As with toTaka and paMchachaamar one example was highlighted in a previous post. A few more examples are given below. Please verify the rules and notice exceptions if any.
Example(s):
na taato na maataa na bandhurna daataa |
na putro na putrii na bhRRityo na bhartaa ||
na jaayaa na vidyaa na vRRittirmamaiva |
gatistvaM gatistvaM tvamekaa bhavaani ||
na putro na putrii na bhRRityo na bhartaa ||
na jaayaa na vidyaa na vRRittirmamaiva |
gatistvaM gatistvaM tvamekaa bhavaani ||
Adi Shankaracharya, ``Bhavanyashtakam''
bhajehaM sadaa raamamindiivaraabhaM |
bhavaaraNyadaavaanalaabhaabhidhaanaM ||
bhavaaniihRRidaa bhaavitaanandaruupaM |
bhavaabhaavahetuM bhavaadiprapannaM ||
bhavaaraNyadaavaanalaabhaabhidhaanaM ||
bhavaaniihRRidaa bhaavitaanandaruupaM |
bhavaabhaavahetuM bhavaadiprapannaM ||
Indra, ``Sriramastotram''
Note: bhuja~ngaprayaata is a dynamic chhanda with a lot of stress on long syllables. Often it is used for praying to Shiva. This chhanda has an interesting story behind it. Once Garuda decided to devor on Sheshnaag. Sheshnaag, who incarnated as Pingala and formalized chhanda-poetry for the first time, tried to escape into water but Garuda held Him in claws. Sheshnaag promised to tell Garuda the treatise on chhanda, arguing that this theory will disappear with Him, on a condition: If Sheshnaag announces and leaves into water, Garuda should accept defeat. During the course of lecture, Sheshnaag said ``bhuja~ngaprayaataM'' two times and left into water. ``bhuja~ngaprayaataM'' is the name of the chhanda discussed before, and it literally means "snake is leaving.'' Sheshnaag used this trick and defeated Garuda. Note that bhuja~ngaprayaataM has a syllable pattern of 1 2 2 1 2 2.
Final Remarks
Seeing the length of this post, more sama-chhanda will be discussed in next post.
posted by Gulgula @ 12:57 AM
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