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A Brief Study of Chandas in Sanskrit
Mr. Santanu Chakrabortty
Ph.D. Research Scholar, Department of Sanskrit, Mansarovar Global University, Madhya Pradesh
Abstract:
Sanskrit prosody or Chandas refers to one of the six Vedangas, or limbs of Vedic studies. It is the study
of poetic metres and verse in Sanskrit. This field of study was central to the composition of the Vedas,
the scriptural canons of Hinduism, so central that some later Hindu and Buddhist texts refer to the Vedas
as Chandas. The Chandas, as developed by the Vedic schools, were organized around seven major
metres, and each had its own rhythm, movements and aesthetics. Sanskrit metres include those based on
a fixed number of syllables per verse, and those based on fixed number of morae per verse. Extant
ancient manuals on Chandas include Pingala'sChandah Sutra, while an example of a medieval Sanskrit
prosody manual is KedaraBhatta'sVrittaratnakara. The most exhaustive compilations of Sanskrit prosody
describe over 600 metres. This is a substantially larger repertoire than in any other metrical tradition.
Keywords: Chandas, Prosody, Metrics, Syllable parsing, Vedic metres, classical metres.
State Aided College Teacher, Department of Sanskrit, Raja Rammohun Roy Mahavidyalaya,
WestBengal
Introduction:
Veda, the oldest literature in the world, is also called Chandas because the Vedic mantras (compositions)
are all metric compositions (Chandobaddha). All the four Saṁhitās (with some exceptions in Yajurveda
and Atharvaveda) are of this nature. Therefore, they are called chandas. The great Sanskrit grammarian
Pāṇini often used Chandas in the sense of Veda. From Veda, the auxiliary literature and, subsequently,
the classical literatures are combined with metres. According to Bharata, the exponent of Nāṭyaśāstra,
there is no śloka in Sanskrit that is without metre and vice versa.TheAitareyaĀraṇyaka says the Chanda
is called Chanda because it protects the person and prevents him from committing any
sin.TaittirīyaSaṁhitā says that Prajāpati is surrounded by chanda to protect himself and the gods from
fire. The ChāndogyaUpaniṣad says that the gods are shrouded in fear of death by Chanda. The
Śatapathabrāhmaṇa lists the chanda as rasa and reflects the experience of poetic excellence. In
Kauśītakibrāhmaṇa the chanda is also called prāṇa. Probably the Vedic sages have observed that the
Chanda is the soul of Kāvya. The Knowledge of the science of metre is just as important as other aspects
of poetry. Daṇḍin notes that prosody is like a ship for the person (the reader / scholar) who wants to
cross the ocean of poetry. As there are more divisions of Vṛtta, a story is needed in which literature
understands its nature and relevance to literature and its contribution to culture and society.
Etymology of Chandas:
The word Chanda means "pleasing, alluring, lovely, delightful or charming"(candayatiāhlādayatiiti), and
is based on the root chad (cādiāhlāde) which means "esteemed to please, to seem good, feel pleasant and
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[email protected]or something that nourishes, gratifies or is celebrated". The term also refers to "any metrical part of the
Vedas or other composition".
Research Methodology:
This paper is based on Qualitative Research Methodology.
The Emergence of Chandas:
LakṣmīnāthaBhaṭṭa, commentator of Prākṛtapiṅgala, reports in his commentary on the first verse of the
work on the origin of Chanda, as suggested by the author of Prākṛtapiṅgala. Once Śeṣanāga appeared in
the ground and took the form of a Brāhmaṇa namely piṅgala, to observe the expansion of the Earth
planet on one of his domes. With this knowledge his old enemy Garuḍa blocked his way. Then,
immediately thinking to flee the path, Piṅgala told him that wait! Do not you know that I'm a great poet?
Just look how I can write an unlimited number of metric combinations. If you see me repeat any of
them, you can eat me right away. Garuḍa agreed and Piṅgala began to compose using all the different
prastāras (extensions) of meters with one to twenty-six syllables. Gradually he approached the shore and
jumped into the water. Garuḍa was confused. And from then on, the science of metrics is known to man.
Meaning of the word Chandas:
The science that deals with versification is known as Prosody or Metrics which is understood in Sanskrit
as Chandahsastra. There are references in the Rigveda, which states thatmetres were created from the
gigantic Purusah. The conventional meaning of the word chandas is metre. Apart from this meaning, the
word chandas stands synonymous for Veda-s. As the Veda-s were composed in Gayatri and other
metres, Veda-s are also known by this name. Panini in his Astadhyayi refers to Vedas as Chandas.
‘Bahulamchandasi’ is a very famous example from the Astadhyayi.
In Vedic literature, the word ‘chandas’ is used in different sense too. They are metaphorically
understood as cattle, directions, soma juice etc. KausitakiBrahmanarefers to chandas as pranah i.e., life
and the TaittiriyaBrahmana mentions that chandas represent the region of the Sun. There is some reason
due to which the chandas are associated with different objects, both animate and inanimate.
Chandas are given great importance in Vedic rituals. A Vedic chant recited in a particular chandas for a
specific ritual would accrue the desired result. That is why the specific chandas are associated with
specific fruit, abstract or concrete e.x.,
gayatrausvistakrtahsamyajyekurvitatejahkamobrahmavarcasakamah/
tejovaibrahmavarcasamgayatri.Thesvistakrta offerings metre for achieving lusttre of Brahman. Thus
mantras chanted in the Gayatrimetre are of immense importance in the ritual of svistakrta offering.
Without the Gayatrimetre, the sacrificer would not achieve the lustre of Brahman. Here Gayatri is
equated with the lustre of Brahman. According to R. Sadashivmurthy, chandas as metres is the
conventional meaning of this word. Whereas chandas as Veda-s is the attributive meaning and chandas
as cattle etc., are the figurative meanings of this word. Moreover, in classical literature and vernaculars,
chandas stands for desire as well as uncontrolled behaviour.
Definition of Chandas:
Many ancient texts have attempted to define ‘chandas’. The Rksarvanukramani ofKatyayana says:
yadaksaraparimanamtacchandah (II.6). This means that which is measured 4 Chandas as Vedanga by
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[email protected]syllables is chandas. The Brhatsarvanukramani of the Atharvaveda says: chando’
ksarasamkhyavacchekamucyate. This means that the distinctive characteristic of chandas is the number
of syllables counted. The Chandahsastra of Pingala says: matraksarasankhyaniyatavakchandah. Chandas
stands for speech determined by the number of syllabic instants. These definitions indicate that the
number of syllables is the defining factor of chandas.
Significance of Chandas:
According to S. S. Dange, chandas had an immense importance in the sacrifice. Pratar-anuvaka
(morning chant) is to be recited by the hotr priest in the latter half of the night, even before the sound of
birds is heard. During this time, there is no other sound heard except that of the recitation of mantras that
is arranged in the seven metresviz; Gayatri, Usnih, Anustubh, Brhati, Pankti, Tristubh and Jagati. The
gods that are invoked are Agni, Usas and Asvins and there has to be at least one sukta in each of the
seven metres addressing the deities. The SatapathaBrahmana says that the gods which are arriving early
are the metres (III.9.3.8). Metres had a spiritual significance in Vedic sacrifice. The sacrificial ukha (the
fire pan) was to be fumigated by the metres. It is baked by the means of metres for they are the strength.
They are the divine 6 Chandas as Vedanga purifiers and by means of the metres, many sacrificial
implements would be purified. Individual metres are said to be the various limbs of sacrifice. At times
they are imagined to be man or identified with Prajapati. Thus Gayatri is said to be the mouth of the
sacrifice according to the MaitrayaniSamhita of the KrsnaYajurveda (III.1.1) and also the breath of
Prajapati. The metreUsnih is the eye; Anustubh is the voice, Brhati is the mind; Pankti is the ear;
Tristubh is the generative breath and Jagati is the downward breathing. These are the seven metres
which go increasing by four syllables each, which are produced in Agni says the SatapathaBrahmana
(X.3.1.1). Metres are regarded as the cattle of the gods. Just as, harnessed cattle carry men from one
place to another; harnessed metres draw the sacrifice for the gods mentions the SatapathaBrahmana
(IV.4.3.1). The JaiminiyaBrahmana (III. 313, 314) equates metres with horses of gods. The gods having
yoked these horses to these chariots went to the heaven. They yoked the Gayatri as the horse at the right
side, the Tristubh as that of the left side and the Jagati as the supporting horse. The TaittiriyaSamhita
(I.5.12.5) has a beautiful imagery of the chariot of metres for Prajapati. Gayatri and Jagati became the
wheels; Usnih and Tristubh as the side poles; Anustubh and Pankti the horses and Brhati the seat.
Prajapati went riding this chariot. S.S.Dange comments that the whole idea is of speedily Chandas as
Vedanga 7 searching the heaven on part of the sacrifice. Hence, at times, metres are identified with
birds, as they are speedier than horses. Metres play a significant role in the sacrifice and are therefore
related with Agni. The KathakaSamhita of the KrsnaYajurveda regards them to be the beloved form of
Agni. The MaitrayaniSamhita of the KrsnaYajurveda identifies metres with Prajapati (IV.5.3). The
Vedic texts say that even for defeating the asuras, at times devas took the help of metres. According to
the TandyaMahabrahmana (XII.13.27) devas and asuras were in possession of metres. The monosyllabic
metre was the lowest one in possession of the devas, the heptasyllabicmetre was their highest
possession. The ennead (nine) syllabic one was the lowest of the asuras and the fifteen syllables was the
highest. They entreated Prajapati who had assumed the form of Anustubhmetre to join them. He joined
the devas and they flourished and the asuras perished. Thus, metres are the form of controlled and
structured divine sound. Having possession of this divine sound which is all encompassing the gods
prospered. The yajamana performing the yajna using the chandas will also flourish on the lines of gods
is the message which these myths want to convey.
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[email protected]Chandasastra and Texts on Chanda:
The Chandasastra is said to be the first systematic treatise on chandas. It was written in about 150 B.C.
by Pingalacharya.3 According to the 'History of Indian Literature', the SankhyayanaSrautasutra contains
several chapters on prosody. Other Sanskrit texts dealing with prosody or metrics mentioned are
RgvedaPratisakhya,,Katyayana’sAnukramanis and NidanaSutra realated to Sarnaveda.
Apart from these, chapters 14, 15 and 32 of Bharata'sNatyasastra and chapters 328-335 of
Agnipuranaalso deal with metrics. Among the later works on metrics (1) Srtabodhaof Kalidasa (2nd
cent.A.D.), (2) Suvrttatilaka of Ksemendra (11th cent.A.D.), (3) Chandomañjariof GangaDasa(12th
cent.A.D.), and (4) Vrttaratnakaraof KedaraBhatta (15th Cent.A.D.)are important. Minor works on
prosody or metrics include the following:
1. ChandaKaustubha of Radhadamodara and BaladevaVidyaBhusana
2. Chando'nusasana of Jayakirti
3. Chando'nusasana of Hemachandra
4. Chandasekhara
5. ChandomañjarÍ-SañjÍvanÍ
6. Chandoratnavali
7. Chandoviciti of Jayadeva
8. PingalaChandovicitiBhasya of YadavaPrakasha
9. Vrttacandrodaya of Virahanka
10. Vrttamauktika of Chandrasekhara.
In this work we have referred to Chandomañjari of GangaDasa. This is a very popular work on metrics
in which the author has dealt with almost all the popular chandas used by the classical poets.
Sources describing Sanskrit meters:
Ollett (2013) recently summarized the history of the Indian science of poetics. The standard classical
works include Pingala’s ˙ Chandahsastra (c. 200 BCE) (Joseph 2011), Jayadeva’sJayadevachandas (c.
600 CE), Jayakirti’sChando’nusasana ¯ (11th c.), Hemacandra’sChando’nusasana(12th c.) (Velankar
1949), and Kedara- ¯ bhatta’s.Vrttaratnakara (11–12th c.)(Kedarabhatta(1942) among
others.Pingala’sChandahsastra provides definitions of various kinds of meters in a sutra text consisting
of eight chapters. After a general introduction to prosody in the first chapter and before discussing the
origin of meters in the closing chapter, Kedarabhatta describes four types of meters in the central four
chapters of his Vrttaratnakara .Jayadeva introduced the brilliant mnemonic technique of composing the
definition of a metrical pattern in the very metrical pattern to be defined. For example, the definition of
the Indravajra meter given in (2) below (p. 332) consists of a verse quarter in that meter. Such a
definition is said to be endowed with the object to be defined as well as its definition and is thus termed
in Sanskrit laksyalaksanasamyukta . Later poetic works on Sanskrit meter employ this technique of
definition as well.
Apte, Gode, and Karve (1957–1959) incorporated in Appendix A ‘Sanskrit prosody’ the list of Sanskrit
metrical patterns compiled by Velankar (1949) from several of the classical Sanskrit poetic treatises. The
second part of this appendix, called ‘A classified list of Sanskrit meters,’ contains 769 metrical
definitions. MIT presently recognizes 661 of these, including all of the fixedsyllable (varnavrtta) meters
except those of the dandaka variety. Although MIT includes several meters based upon the number of
morae, it has yet to include the bulk of these.
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[email protected]Sanskrit Prosody:
Sanskrit prosody is metrical. Numerous metrical patterns of several general types are based upon
varying sequences of light and heavy syllables that constitute a verse quarter or a line constituting half a
verse. After explaining the factors that determine syllable weight, we describe basic units for the two
major types of meter, that based upon numbers of syllables (varnavrtta) and that based upon number of
morae (matravrtta).
Relevance of Chandas:
It is said that the chanda is one of the aparāvidyā along with the four Vedas, followed by Śikṣā, Kalpa,
Vyākaraṇa, Nirukta and Jyotiṣa. The chanda is recognized as one of the six auxiliary literatures Called
Vedāṅga. Chanda is also considered as the foot of Vedapuruṣa. Therefore, knowledge of chandas is
essential to understanding the Vedas, Vedāṅgas, and literature as a whole. It is believed that a person
reciting the Vedic hymns without knowing their Ṛṣi, Chanda, and Devatā causes sin.
The Vedic Metres:
There are 26 vedic meters that start with 1 to 26 letters in each pāda.(13) It is well known that the classic
meters are being developed from these 26 meters. Of these 26 metres, 7 metres (gāyatrī, uṣṇik, anuṣṭubh,
bṛhatī, paṅkti, triṣṭup, jagatī) are prominent in Vedic uses. These metres also have their subsidiaries.
Piṅgala discusses about Devatā, Svara and Varṇa of these seven prominent meters in his Chandaśastra
(CS). The following table shows his interpretation in this regard.
Metre Structure
Mapped Varieties Deitie Notes Colour Gotra
sequence
Gayatri 3 verses of 6*4 11 Agni Sajda White Agnivesya
8 syllables
Usnik 2 verses of 7*4 8 Savita Rsabha Dappled Kasyapa
8,1of
12syllables
Anustubh 4 verses of 8*4 12 Soma Gandhara Yellow Gautama
8 syllables
Brihati 2 verses of 9*4 12 Brhaspati Madhyama Black Angirasa
8,1verses
of
12,1verses
of 8
syllables
Pankti 5verses of 10*4 14 Varuna Pancama Blue Bhargava
8 syllables
Tristup 4 verses of 11*4 22 Indra Dhaivata Red Kausika
11
syllables
Jagati 4 verses of 12*4 30 Visvadeva Nisada Pure Vasistha
12 White
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[email protected] syllables
These seven metres are considered as standard or model metres. They consist of syllables in ascending
order of four. Gāyatrī consists of twenty-four, Uṣṇik of twenty-eight, anuṣṭup of thirty-two, Brihati of
Thirty-six, pankti of Forty-Four,Tristubh of Forty-Four, Jagati of Forty-eight Syllables. The
Ṛkprātiśākhya deals with the Vedic metres, which keep this principle in mind. Beyond these seven
metres, ancient and medieval era Sanskrit scholars developed numerous other syllable-based metres
(Akshara-chandas). Examples include Atijagati(13×4, in 16 varieties), Shakvari (14×4, in 20 varieties),
Atishakvari(15×4) in 18 varieties), Ashti (16×4, in 12 varieties), Atyashti(17×4, in 17 varieties).
Dhriti(18×4, in 17 varieties), Atidhriti(19×4, in 13 varieties), Kriti( 20×4, in 4 varieties) and so on.
General Characteristics of Vedic Metres:
1. The Vedic metres are calculated according to syllables (akṣaras).
2. Each Pāda consists of a certain number of syllables. A syllable is a vowel or vowel with consonant
or anusvāra. A Pāda can consist of different numbers of syllables viz. five, six, seven, eight, ten,
eleven or twenty syllables.
3. According to this principle, a word is not split. iv. Constructions with semivowels can also be
separated by corresponding vowels.
4. Contracted vowels or diphthongs can be read as equivalent to two syllables, e. g. jyeṣṭha as
jyayoṣṭha.
5. In some cases Anaptyxis (Svarabhakti) can be read as a syllable. For example, indra can sometimes
be read as indara.
Classification of Chandas:
Works on Chandahsastra have classified chandas into different categories. Broadly chandas have been
classified as vaidika and laukika. The commentator Halayudha on Chandahsutra of Pingala has classified
chandas as a) laukika b) vaidika and c) laukikavaidika. Bharatamuni has divided metres into three
categories viz; a) divya b) divyetara and c) divyamanusa.
Apart from the above mentioned classification, YudhisthirMimamsak classifies chandas a) those which
are based on the number of matras or more known as matra-chandas b) those which are based on the
number of syllables as aksarachandas.
The chandas in the Veda-s are based on the number of aksaras i.e. syllables. Some scholars regard varna
and aksara as synonymous. Aksaras or varnas are classified into svaras (vowels) and vyanjanas
(consonants). Svaras which are hrsva, dirgha and pluta give rise to one matra, two matras and three
matras respectively. Vyanjanas are measured as those having half a matra. One matra is that time which
is required to blink an eyelid. Vedic chandas are further classified as those following the specific number
of syllables wherein the number of feet or padas in the metres is also significant. It is been observed that
such mantras frequently occur in the Yajurveda. There are chandas which are based on the specific
number of syllables as well as specific number of feet or padas. Rgveda is replete with such chandas.
As per Vedic chandas, the number of aksaras is measured by the svaras in a word and not by the number
of vyanjanas. Although a word may have conjunct vyanjanas, its value depends on the svaras present in
it. The matric division of the svaras is further developed into laghu (light) and (guru) heavy. The rules
clarifying laghu and guru syllables are mentioned in the Pratisaakhyas. A syllable is laghu only if the
vowel is hrasva and followed by one consonant before another vowel is encountered.
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[email protected]Classical Metres:
A syllable in Sanskrit prosody is a vowel following one or more consonants or a vowel without any. A
short syllable is one ending with one of the short (Hrasva) vowels which are a, i, u, r, !. The long vowels
are a, i, r,eai, o and au.
A sloka is defined in Sanskrit chandas as a group four quarters(padas). Indian prosody studies
recognize two types of stangzas such as vritta stanzas, Jati stanzas. Vritta stanzas have three forms:
Samavritta, Ardhasamavritta, Vishamavritta.
The metres found in classical Sanskrit poertry or sometimes alternatively classified into three kinds:-
1. Syllable verse (aksaravrthtta or aksharavritta) metres depend on the number of syllables in a verse.
This style found in the great epic- Ramayana and Mahabharata.
2. Syllabo- quantitative verse(varnavrtta) mertes depend on syllable count.
3. Quantitative verse (matravrtta) metres depend on duration.
Most of Sanskrit poetry is composed in verse of fourline each. Meters of the same lenth or distinguished
by the pattern of laghu and guru.
Gana:
In metres regulated by syllables, each metrical line or quarter of a verse is divided into groups of three
syllables each. Each group is distinguished from the others by its own particular arrangement of
syllables. These groups are called ganas or syllabic feet.
The Ganas
Sanskrit weight symbol style Greek equivalent
prosody
Na-gana L-L-L u uu da da da Tribach
Ma-gana H-H-H ___ Dum Dum Dum Molossus
Ja-gana L-H-L u—u da DUM da Amphibrach
Ra-gana H-L-H —u— DUM da Dum Cretic
Bha-gana H-L-L —uu DUM da da Dactyl
Sa-gana L-L-H uu— da da DUM Anapaest
Ya-gana L-H-H u—— da DUM DUM Bacchius
Ta-gana H-H-L ——u DUM DUM da Antibacchius
The mnemonic also encodes the light ‘la’ and heavy ‘ga’ unit syllables of the full sceme.
Influence in India :
The Chandas are considered one of the five categories of literary knowledge in Hindu traditions. The
other four, according to Sheldon Pollock, are Gunas or expression forms, Riti, Marga or the ways or
styles of writing, Alankara or tropology, and Rasa, Bhava or aesthetic moods and feelings.
The Chandas are revered in Hindu texts for their perfection and resonance, with the Gayatrimetre treated
as the most refined and sacred, and one that continues to be part of modern Hindu culture as part
of Yoga and hymns of meditation at sunrise.
Outside India:
The Sanskrit Chanda has influenced southeast Asian prosody and poetry, such as Thai Chan . Its influe-
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[email protected]ence, as evidenced in the 14th-century Thai texts such as the Mahachatkhamluang, is thought to have
come either through Cambodia or Sri Lanka. Evidence of the influence of Sanskrit prosody in 6th-
century Chinese literature is found in the works of ShenYueh and his followers, probably introduced
through Buddhist monks who visited India.
Conclusion
In Vedic sacrificial ritual a mantra embodied in any chandas plays as an important part. They represent
the desire of the human being to connect the divine with the mortal existence. Chanting a mantra in a
specific chandas is the articulation of the highest form of Speech. This specification has got lot of
importance and is associated with various fruits. This specification is culminated into a specific
discipline called the ‘Chandahsastra’.
Chandahsastra gave rise to a variety of vrttas, which is a hallmark of Sanskrit prosody employed in
Classical Sanskrit literature. The twenty six metres of Vedic prosody have become twenty six metrical
classes in the classical prosody. They are divided into two classes viz; ganavrttas and matravrttas. These
have been influenced by foot division from the Vedic Chandahsastra. The avasana or pause in Vedic
metre has evolved into yati in the ganavrttas. However, measuring the length of the syllable appears to
be unimportant in Vedic literature, but is significantly important in Classical Sanskrit literature.
The above discussion indicates that Classical Sanskrit prosody evolved from Vedic prosody. Classical
Sanskrit prosody got poetry from the divine realms of sacrifice to the mundane human world of literary
beauty. This is how the divine speech became accessible in the world of human beings.
References:
1. Atharvaveda- ed. by S. D. Satavalekar, Aundh, V. Samvat 1995
2. AtharvavediyaBrhatSarvanukramani, ed. by VishvaBandhu, VishveshvaranandIndological Institute,
Hoshiarpur, 1966
3. Chandahsastra by Pingalanaga, NirnayaSagar Press, Mumbai, 3rd Edition, 1938
4. Chando’nukramani by Saunaka, ed. by Umesh Chandra Sharma, Vivek Publications, Aligarh, 1981
5. Chandomanjari ed. by AnantaramasastriVetala, ChowkhambaVidyaBhavan, Kashi, 1940
6. DevatadhyayaBrahmana with the commentary of Sayana, ed. by B. Ramachandra Sharma, Kendriya
Sanskrit Vidyapith, 2nd Edition, 1983
7. Natyasastra by Bharata, ed by Pts Batukanatha Sharma and BaladevUpadhyaya, Chowkhamba
Sanskrit Sansthan, Varanasi, 1929
8. Nidanasutra by Patanjali, ed. by K. N. Bhatnagar, MeherchandLachmandas, 1971
9. Nirukta of Yaska, Nirnayasagar Press, Mumbai, 1930 10. Rgvedanukramami by VenkataMadhava,
RamalalKapur Trust, 1976
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