780:
108:
metre is basically trochaic (i.e. consisting of a "strong-weak, strong-weak" rhythm). She notes that where the third strong beat should come (after the fourth syllable), some performers traditionally leave a pause equivalent to one short syllable; the third strong beat is then silent, and the fourth
90:
has 17 syllables, divided into three sections, each separated by a pause. The first section consists of four long syllables, the second of 5 short syllables and one long, and the third a mixture of long and short alternating, in this pattern:
826:
109:
strong beat then falls on the fourth short syllable. Deo argues that this rhythm is also (a variation of) trochaic, with a strong beat on the 1st, 4th, and 7th syllables.
731:
447:"the Cloud-Messenger". This consists of approximately 120 four-line stanzas, each line identical in metre. The opening stanza of the poem is as follows:
60:("the Cloud-Messenger"). The metre characterises the longing of lovers who are separated from each other, expressed in the Sanskrit word
879:
795:
633:
48:
poetry. The name in
Sanskrit means "slow-stepping" or "slowly advancing". It is said to have been invented by India's most famous poet
747:
589:(8th century), for a scene in which the abandoned lover Mādhava searches for a cloud to take a message to his beloved Mālatī.
859:
889:
884:
756:
802:
772:
296:
156:
337:
330:
The traditional Indian method of analysing metre is to use three-syllable patterns known as
573:"messenger poems", mostly in the same metre, although other metres are sometimes used. The
227:
436:
562:
49:
873:
238:
117:
The final section of 7 syllables is also found at the end of other metres such as
55:
738:
727:
99:
As with other
Sanskrit metres, the length of the final syllable is indifferent.
553:
Kālidāsa's poem was admired and imitated by many later poets, giving rise to a
853:
847:
841:
834:
817:
808:
732:"A brief introduction into the Indian metrical system for the use of students"
586:
303:
381:
The meaning of this line is that the metre has a pause after four syllables (
216:, which occurs occasionally even in the Vedas mixed with other varieties of
17:
511:"Separated painfully from his beloved, after being negligent of his duty,
353:
45:
35:
850:
by Prof. Ravendra Mishra. (The stanza above is recited at minute 3:45.)
717:
336:, which are algebraically represented by letters of the alphabet. (See
198:
except for an additional four syllables. It has been argued that both
528:
519:
514:
having lost his power by a curse, lasting for a year, of his master,
555:
749:
Croaking Frogs: A Guide to
Sanskrit Metrics and Figures of Speech
541:
533:
340:.) So, the 11th/12th century metrician Kedārabhaṭṭa in his work
237:
can be seen to be similar. For example, the first line of the
527:) took up, where the water was made pure by the bathing of
540:
and shady trees were densely clustered, his residence in
746:
Morgan, Les; Sharma, Ram Karan; Biduck, Anthony (2011).
387:= ocean, traditionally four in number), then after six (
718:"The Metrical Organization of Classical Sanskrit Verse"
413:(– – –) ( – | u u ) ( u u u ) (– | – u) (– – u) (–) (–)
52:, (5th century CE), who used it in his well-known poem
740:
A History of
Classical Poetry: Sanskrit, Pali, Prakrit
658:
580:
574:
568:
560:
502:
495:
488:
481:
442:
434:
428:
419:
404:
394:
388:
382:
375:
mandākrāntā jaladhi-ṣaḍ-agair mbhau natau tād-gurū cēt
373:
357:
347:
341:
331:
316:
310:
287:
281:
272:
250:
232:
217:
211:
205:
199:
193:
179:
170:
154:
148:
142:
136:
130:
124:
118:
103:
85:
61:
53:
27:
403:
followed by two long (or heavy) syllables, known as
44:) is the name of a metre commonly used in classical
504:
snigdha-cchāyā-, taruṣu vasatiṃ, rāma-giry-āśramēṣu
490:śāpēn-āstaṃ-, gamita-mahimā, varṣa-bhogyēṇa bhartuḥ
483:
kaścit kāntā-, viraha-guruṇā, svādhikārāt pramattaḥ
280:The break after the first quarter is obligatory in
685:According to the synoptic table in Pathak (1916).
188:| – – – – u – – | u u u u u u – | – u – – u – x |
169:It thus consists of the beginning and end of the
474:स्निग्धच्छायातरुषु वसतिं रामगिर्याश्रमेषु ॥ १ ॥
497:yakṣaścakre, janaka-tanayā-, snāna-puṇyōdakeṣu
472:
465:
458:
453:कश्चित् कान्ताविरहगुरुणा स्वाधिकारात् प्रमत्तः
451:
366:
66:
39:
368:मन्दाक्रान्ता जलधिषडगैर्म्भौ नतौ तो गुरू चेत्
8:
838:sung to music composed by Vishwa Mohan Bhatt
724:, Vol. 43, No. 1 (Mar., 2007), pp. 63-114.
259:| – – – – | u uu uu – || – u – – | u – – |
245:| – – – – | u – – – || u u – – | u – u – |
766:Kalidasa: Meghadutam: The Cloud Messenger
95:| – – – – | u u u u u – | – u – – u – x |
460:शापेनास्तंगमितमहिमा वर्षभोग्येण भर्तुः ।
854:Lecture (in Hindi) on Mandākrāntā metre
848:Lecture (in Hindi) on Mandākrāntā metre
796:Recitation of the first two stanzas of
777:. Sanskrit and English text with notes.
598:
393:= six), and can be described using the
433:metre appears to have been Kālidāsa's
761:Sanskrit and English text with notes.
7:
299:, i.e. u uu uu – instead of u – – –.
271:can have many variations but in the
210:are later expansions of the earlier
467:यक्षश्चक्रे जनकतनयास्नानपुण्योदकेषु
71:"separation (of lovers), parting".
399:s (trisyllabic metrical patterns)
302:The fourth quarter of the line is
25:
764:Reddy, Srinavas (trans.) (2017).
321:there are four lines in a stanza.
225:If compared with the traditional
781:Wikisource Sanskrit text of the
663:3.97; cf. Morgan (2011), p. 142.
579:metre was also used in the play
315:two lines make a stanza, but in
306:, i.e. u – – instead of u – u –.
263:The differences are as follows:
809:Recitation of first stanza of
1:
605:Morgan et al. (2011), p. 142.
356:line, which is itself in the
175:without the central section.
737:Lienhard, Siegfried (1984).
113:Relationship to other metres
672:Described by Michael Hahn,
659:
581:
575:
569:
561:
503:
496:
489:
482:
443:
435:
429:
420:
405:
395:
389:
383:
374:
358:
348:
342:
332:
317:
311:
288:
282:
273:
251:
233:
218:
212:
206:
200:
194:
180:
171:
165:| – – – – | – u – – u – x |
155:
149:
143:
137:
131:
125:
119:
104:
102:Deo (2007) argues that the
86:
62:
54:
28:
906:
880:Sanskrit words and phrases
427:The first poem to use the
823:(minutes 7:25 and 32.35).
634:SanskritMetres 10 Shalini
473:
466:
459:
452:
417:
367:
67:
40:
805:(starts at minute 0:18).
774:The Meghaduta of Kalidas
716:Deo, Ashwini S. (2007).
703:Lienhard (1984), p. 118.
694:Lienhard (1984), p. 126.
544:'s mountain hermitages."
277:every verse is the same.
192:This is the same as the
862:of the quoted verse of
771:Sadhale, D. V. (1895).
352:metre by the following
295:The second quarter has
184:metre goes as follows:
722:Journal of Linguistics
623:Reddy (2017), preface.
856:by Dr Vasudev Prasad.
830:: transliterated text
814:by Sangeeta Gundecha.
755:Pathak, K. B. (1916)
255:metre is as follows:
860:Grammatical analysis
758:Kālidāsa's Meghadūta
674:A Brief Introduction
647:A Brief Introduction
326:Traditional scansion
286:, but optional in a
153:metre, a variety of
818:Two recitations of
614:Deo (2007), p. 105.
567:"message poems" or
161:, goes as follows:
346:characterised the
241:scans as follows:
16:(Redirected from
897:
704:
701:
695:
692:
686:
683:
677:
670:
664:
662:
656:
650:
643:
637:
630:
624:
621:
615:
612:
606:
603:
584:
578:
572:
566:
506:
499:
492:
485:
476:
475:
469:
468:
462:
461:
455:
454:
446:
440:
432:
423:
408:
398:
392:
386:
377:
370:
369:
361:
351:
345:
338:Sanskrit prosody
335:
320:
314:
291:
285:
276:
254:
236:
221:
215:
209:
203:
197:
183:
178:The 21-syllable
174:
160:
152:
146:
140:
134:
128:
122:
107:
89:
75:Metrical pattern
70:
69:
65:
59:
43:
42:
33:
21:
905:
904:
900:
899:
898:
896:
895:
894:
870:
869:
792:
713:
708:
707:
702:
698:
693:
689:
684:
680:
671:
667:
660:Vṛtta-ratnākara
657:
653:
644:
640:
631:
627:
622:
618:
613:
609:
604:
600:
595:
551:
425:
401:ma bha na ta ta
343:Vṛtta-ratnākara
328:
115:
82:
80:Modern analysis
77:
23:
22:
15:
12:
11:
5:
903:
901:
893:
892:
890:Indian poetics
887:
882:
872:
871:
868:
867:
857:
851:
845:
832:
824:
815:
806:
791:
790:External links
788:
787:
786:
778:
769:
762:
753:
744:
735:
725:
712:
709:
706:
705:
696:
687:
678:
665:
651:
645:Michael Hahn,
638:
632:Dr R. Ganesh,
625:
616:
607:
597:
596:
594:
591:
550:
547:
546:
545:
538:
515:
512:
508:
507:
500:
493:
486:
478:
477:
470:
463:
456:
424:
416:
415:
414:
379:
378:
371:
327:
324:
323:
322:
307:
300:
293:
278:
261:
260:
247:
246:
190:
189:
167:
166:
114:
111:
97:
96:
81:
78:
76:
73:
24:
14:
13:
10:
9:
6:
4:
3:
2:
902:
891:
888:
886:
885:Poetic rhythm
883:
881:
878:
877:
875:
865:
861:
858:
855:
852:
849:
846:
843:
839:
837:
833:
831:
829:
825:
822:
821:
816:
813:
812:
807:
804:
800:
799:
794:
793:
789:
785:
784:
779:
776:
775:
770:
767:
763:
760:
759:
754:
751:
750:
745:
742:
741:
736:
733:
729:
726:
723:
719:
715:
714:
710:
700:
697:
691:
688:
682:
679:
675:
669:
666:
661:
655:
652:
648:
642:
639:
635:
629:
626:
620:
617:
611:
608:
602:
599:
592:
590:
588:
583:
582:Mālatīmādhava
577:
571:
565:
564:
563:saṁdēśa-kāvya
558:
557:
548:
543:
539:
536:
535:
531:'s daughter (
530:
526:
522:
521:
516:
513:
510:
509:
505:
501:
498:
494:
491:
487:
484:
480:
479:
471:
464:
457:
450:
449:
448:
445:
439:
438:
431:
422:
412:
411:
410:
407:
402:
397:
391:
385:
376:
372:
365:
364:
363:
360:
355:
350:
344:
339:
334:
325:
319:
313:
308:
305:
301:
298:
294:
290:
284:
279:
275:
270:
266:
265:
264:
258:
257:
256:
253:
244:
243:
242:
240:
239:Bhagavad Gita
235:
230:
229:
223:
220:
214:
208:
202:
196:
187:
186:
185:
182:
176:
173:
164:
163:
162:
159:
158:
151:
145:
139:
133:
127:
121:
112:
110:
106:
100:
94:
93:
92:
88:
79:
74:
72:
64:
58:
57:
51:
47:
41:मन्दाक्रान्ता
37:
32:
31:
19:
863:
835:
827:
819:
810:
803:Dr R. Ganesh
797:
782:
773:
768:. (Penguin).
765:
757:
748:
739:
728:Michael Hahn
721:
711:Bibliography
699:
690:
681:
673:
668:
654:
646:
641:
628:
619:
610:
601:
554:
552:
532:
525:nature deity
524:
518:
426:
400:
380:
329:
268:
262:
249:whereas the
248:
226:
224:
191:
177:
168:
116:
101:
98:
83:
29:
26:
576:mandākrāntā
430:mandākrāntā
418:Kālidāsa's
409:, that is:
359:mandākrāntā
349:mandākrāntā
318:mandākrāntā
297:resolutions
283:mandākrāntā
274:mandākrāntā
252:mandākrāntā
234:mandākrāntā
231:metre, the
201:mandākrāntā
195:mandākrāntā
172:mandākrāntā
105:mandākrāntā
87:mandākrāntā
30:Mandākrāntā
18:Mandākrāntā
874:Categories
593:References
587:Bhavabhūti
570:dūta-kāvya
517:a certain
444:Mēghadūtam
304:catalectic
144:vaiśvadēvī
84:A line in
864:Meghadūta
836:Meghadūta
828:Meghadūta
820:Meghadūta
811:Meghadūta
798:Meghaduta
783:Meghadūta
559:known as
549:Later use
437:Mēghadūta
421:Mēghadūta
207:sragdharā
181:sragdharā
138:sragdharā
56:Meghadūta
840:. (Also
354:mnemonic
219:triṣṭubh
157:triṣṭubh
132:candriṇī
50:Kālidāsa
46:Sanskrit
36:Sanskrit
676:, p. 1.
384:jaladhi
362:metre:
529:Janaka
213:śālinī
150:śālinī
147:. The
141:, and
126:mālinī
120:śālinī
63:viraha
734:(pdf)
556:genre
520:yakṣa
312:ślōka
309:In a
289:śloka
269:ślōka
228:ślōka
842:here
649:p. 1
542:Rama
534:Sita
406:guru
396:gaṇa
333:gaṇa
267:The
204:and
68:विरह
801:by
585:by
441:or
390:ṣaḍ
876::
730::
720:.
222:.
135:,
129:,
123:,
38::
866:.
844:)
752:.
743:.
636:.
537:)
523:(
292:.
34:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.