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Study 2: Description of the Metres

In this section I have attempted to collate all the relevant information on the metres used in the Udànavarga, and have compared the result with the figures for the Pàëi Dhammapada.

It has to borne in mind that the Dhammapada is, of course, a much smaller collection that the Udànavarga and so the figures given here, except for the øloka, are only indicative of the situation, but taken altogether they do, I believe, give a good overview of the relationship between the Pàëi and BHS metres. ⁰¹

The text of Udànavarga has 1070 verses, ⁰² having 4262 lines. They are written in the following metres:

Below I present an analysis of these metres as they are found in Udànavarga, together with a comparison of the verses in the Pàëi Dhammapada.

1: øloka

In the descriptions of the øloka which occur in the prosodies ⁰⁴ it is stated that 2 light syllables in 2nd & 3rd position of the pàdas should be avoided. However, as I have shown elsewhere, ⁰⁵ in certain texts in Pàëi this rule seems not to have been employed. Also occasionally in the Udànavarga it appears that the rule has been ignored, probably because the tradition from which the collection has been compiled also was willing to ignore it.

In the text established by Dr. Bernhard the opening occurs in the following places: 13b; 250d; 352a; 429c; 437d; 474ia; 566c. For a discussion of these readings, not all of which may be well based, see the notes in the commentary.

A sure sign of classical influence is in the avoidance of the opening ÅÜÛÜÅ in the posterior line. This is in accordance with the rule found in the prosodies to avoid ragaõa in this position. ⁰⁶ In this text there is not even one occurrence of this opening, though it is quite frequently found in Pàëi.

If we bear these matters in mind we can then give an outline description of the øloka. The most common form of the metre is the Pathyà, the pattern for which is:

In this text I count 1,484 pàdayuga-s as showing the Pathyà form of the metre.

There are then 7 variations (vipulà) in the odd lines found in this text, besides the normal (pathyà) structure, they are:

There are also a number of 9 syllable lines as they stand in this text. They are found at 126c; 136c; 268c; 336c; 338c; 340c; 445c; 676c (total = 8).

There are therefore 1,742 pàdayuga-s in all.

We can extract the information found in the tables above and present it in terms of percentages, and then compare it with the figures for the Pàëi Dhammapada:

The differences between the Pàëi and BHS form of the øloka metre can then be enumerated as follows: Udànavarga excludes ragaõa from the opening of the posterior line. There is much less prominence of savipulà; and a corresponding higher percentage of the pathyà form of the metre.

All of these changes bring the metre much closer to its Classical form, but still there are clear remants of the earlier form of the metre, most noticeably in the possibility of 2 shorts in 2nd & 3rd positions of the opening, the existence of Anuùñubh, and the high percentage of variation still allowed for. ¹⁰ All of this points to a somewhat later form of

the metre, but one that is far short of its Classical profile, and which still reflects quite closely what must have been the original form of the verses.

2: Triùñubh & Jagatã

The Triùñubh verses in this collection show a similar tendency as the øloka - they are moving more towards the Classical form of the metre, while retaining certain early features.

The profile for the 11 syllable Triùñubh looks like this:

The 12 syllable Jagatã is basically the same metre with an extra light syllable in penultimate position, but in this collection at least there is no resolution at the 1st syllable, and no Vedic opening, so that it's profile can be described thus:

One of the characteristics of this text is the high percentage of mixing of these two metres, which is a sign of the earliness of a lot of these verses.

There are verses in Triùñubh metre only at the following places: 27; 30; 33; 50; 51; 52; 53; 65; 97; 105; 106; 124; 125; 164; 181; 191; 216; 217; 218; 260; 266; 297; 298; 299; 306; 307; 397; 417; 475; 537; 563; 596.i; 596.ii; 637; 689; 690; 695; 696; 701; 702; 703; 765; 766; 767; 791; 795; 796; 808; 809; 842; 843; 844; 845; 855; 864; 877; 955; 956; 968; 969; 1040; 1041; 1042; 1043; 1044; 1045; 1046 (67 verses = 64%).

Jagatã only verses are found at: 45; 80; 81; 82; 259; 264; 267; 876 (8 verses = 8%).

Mixed Triùñubh & Jagatã verses: 28; 29; 98.i; 98.ii; 139; 180; 182; 185; 261; 262; 263; 265; 303; 331; 396; 455; 457; 476; 604; 659; 763; 764; 814; 1039 (24 verses = 23%)

Mixed Triùñubh & øloka verses: 58; 60; 221; 541 (4 verses = 3%)

Mixed Triùñubh & Vaitàlya: 797; 798 (2 verses = 2%)

Nearly all the openings show the following form ÉÜÛÜ, but there are a number which have the Vedic opening: ÅÜÜÜ 52a; 58d; 216d; 218d; 331b; 417c; 596ia; 596iia; 637a; 956b; 968bd (12 lines = 3.5%), which is a sure sign of their early composition.

I count 329 lines in Triùñubh metre in this collection.

The most common form of the metre in this collection can be defined as conforming to the Classical Upajàti, having the bhagaõa break:

ÜÛÛ27abcd; 28bcd; 29cd; 30abcd; 33bcd; 50abcd; 51bd; 52bd; 53ac; 58c; 60a; 65ad; 98.icd; 98.iic; 105bc; 106bc; 124abcd; 125bcd; 164acd; 180b; 181abcd; 185abc; 191a; 216abcd; 217cd; 218abc; 221a; 260abcd; 261bc; 262ab; 263c; 265e; 266abc; 297abcd; 298abcd; 299abc; 303bcde; 306d; 307acd; 331a; 396bcdf; 397bcd; 417abcd; 455bcd; 457bcdef; 475abd; 476b; 537acd; 541cd; 563abcd; 596.ibcd; 596.iibcd; 604bcd; 637bcd; 659bc; 689abcd; 690abcd; ¹² 695abcd; 696abc; 701abd; 702abcd; 703abcd; 763d; 764bd; 765ad; 766abcd (Indravajirà); 767abcd; 791abcd (Indravajirà); 795abcd; 796abcd; 797cd; 798cd; 808abc; 809abcd; 814d; 842abcd; 843abc; 844abcd; 843abd; 855acd; 864abcd; 877abcd; 955abcd; 956ac; 968ac; 969abcd; 1039abd; 1040acd; 1041acd; 1042ac; 1043ac; 1044ac; 1045acd; 1046acd; 1047acd (270 lines = 82%).

A further 66 lines have a variant break, the most popular being ragaõa:

ÜÛÜ 51ac; 52ac; 53bd; 58d; 191c; 217b; 218d; 263b; 265d; 266d; 696d; 331bd; 596.ia; 596.iia; 637a; (there seems to be a connection between the Vedic opening and this break); 701c; 763b; 765c; 814b; 843d; 968bd; 1040b; 1041b; 1042bd; 1043bd; 1044bd; 1045b; 1046b; 1047b (37 lines = 11%)

ÛÛÜ 106a; 125a; 139c; 164b; 299d; 303f; 306ab; 307b; 659d; 855b; 956b (12 lines = 3.5%)

ÛÛÛ 33a; 65b; 397a; 537b; 956d (5 lines = 1.5%)

ÜÜÜ 105d; 191bd (3 lines = 1%) ¹³

Ü,Ü 306c; 763c; 764c; 808d; 843c (4 lines = 1.5%) ¹⁴

Ü,ÅÅÅ (Extended Triùñubh, pausing at the 5th, and restarting from the same position): 53b; 106d; 217a (3 lines = 1%).

ÜÜÛ 475c (1 line = .3%)

The Jagatã lines, of which I count 73, are in all respects much more Classical than the Triùñubh lines - there are no Vedic openings; resolution is uncommon; ¹⁵ and all but one of the breaks are bhagaõa:

ÜÛÛ 29ab; 45abcd; 80abcd; 81abcd; 82abcd; 98.iab; 98.iiabd; 139abd; 180acd; 185d; 259abcd; 261ad; 262cd; 263ad; 264abcd; 265abcf; 267abcd; 303a; 331c; 396ae; 455a; 457a; 476acd; 604a; 659a; 763a; 764a; 814ac; 876abcd; 1039c (72 lines)

ÜÛÜ 28a.

e: Comparison with the Pàëi Dhammapada

If we add the figures for Triùñubh and Jagatã together we can compare the figures with the Pàëi Dhammapada, and present it in a table thus:

We have to bear in mind that the Pàëi Dhammapada has only 37 verses in these metres, so that the statistics are not so reliable, however we can roughly say that as with øloka, that while the Triùñubh lines retain certain early characteristics like the Vedic opening and a willingness to allow Jagatã lines into the verse; the very much greater proportion of the bhagaõa break points to a later stage of composition than the Pàëi.

3: Vaitàlãya & Aupacchandasaka

The øloka and Triùñubh / Jagatã metres are syllabic metres, that is, their fundamental structure is defined by how many syllables there are in the line. The last 2 metres

organise their lines according to the amount of measures (màtrà) there are in the line. A light syllable has one màtrà; a heavy one two.

In the first of these metres Vaitàlãya, there are 14 màtrà in the odd line and 16 in the posterior, and the line has the following distinctive cadence ÐÜÛÜÛé. Aupacchandasaka is similar but has 16 màtrà is the odd line and 18 in the posterior, owing to the cadence including an extra heavy syllable ÐÜÛÜÛÜé.

The openings of these metres is the same ÈÈÈ in the odd line, and ÈÈÈÈ in the posterior.

There are Vaitàlãya lines in the following verses: 66abcd; 67abcd; 69abcd; 70abcd; 71abcd; 89abcd; 90abcd; 183abcd; 184abcd; 186c; 215abcd; 284abcd; 285abcd; 305abcdef; 333ef; 364abcd; 366abcd; 367abcd; 368abcd; 370abcd; 371abcd; 595abcd; 638abcd; 646abcd; 647abcd; 648abcd; 649abd; 650abcd; 652abcd; 653abcd; 680abcd; 681abcd; 682abcd; 683abcd; 684abcd; 685abcd; 686abcd; 687abcd; 688abcd; 691abcd; 692abd; 704abcd; 752acd; 753abcd; 755abcd; 756a; 757abcd; 797ab; 798ab; 840abcd; 863abcd; 867abcd; 868abcd; 869abcd; 870abcd; 871abcd; 872abcd; 873abcd; 874abcd; 875abcd; 879abc; 926a; 949a (= 232 lines).

Aupacchandasaka lines: 186abd; 354abcd; 388abcd; 389abcd; 390abcd; 391abcd; 392abcd; 393abcd; 394abcd; 542abcd; 564abcd; 649c; 692c; 751abcd; 752b; 756bcd; 794abcd; 841abcd; 879d; 926bcd; 927abcd; 928abcd; 929abcd; 930abcd; 931abcd; 932abcd; 933abcd; 934abcd; 935abcd; 936abcd; 937abcd; 938abcd; 939abcd; 940abcd; 941abcd; 942abcd; 943abcd; 944abcd; 945abcd; 946abcd; 947abcd; 948abcd; 949bcd; 950abcd; 951abcd; 952abcd; 954ad ( = 170 lines).

Vaitàlãya and Aupacchandasaka lines occur in 99 verses

Pure Vaitàlãya = 51 verses

Pure Aupacchandasaka = 38

Vaitàlãya mixed with Aupacchandsaka = 8 (186; 649; 692; 752; 756; 879; 926; 949).

Vaitàlãya mixed with øloka = 1 (333).

Vaitàlãya mixed with Triùñubh = 2 (797; 798).

We can take the openings for the two metres together for the purposes of analysis. In the odd lines the following openings are found:

i. odd lines

There are 194 odd lines in the Vaitàlãya and Aupacchandsaka verses, 16 of which are irregular as they stand in the text. ¹⁶ The various openings are analysed in the tables below.

a. regular (92%):

b. irregular (8%)

ii. even lines

There are 203 odd lines in the Vaitàlãya and Aupacchandsaka verses, ¹⁷ 18 of which are irregular as they stand in the text.

a. regular (91%):

b. irregular (9%):

As can be seen from this there are more problems in the metre in these verses than in the syllabic metres, probably because the metre quickly fell into disuse. The metre was not properly understood in the Pàëi tradition either.

c: Comparison with the Pàëi Dhammapada

We can once again extract this information and compare it with the statistics for the Pàëi Dhammapada: ¹⁹

After a study of the metres in the Pàëi Canon ²¹ I have stated that it is a sign of the more recent age of the Matràcchandas texts that the opening ÜÜÛÛ in the odd lines gradually declines and the opening ÛÛÜÛÛ becomes more frequent in the later texts, the figures given here would seem to indicate once again that the Udànavarga is later than the Pàëi, though as with the other metres they still retain early forms, which would later be excluded from the Classical Sanskrit forms of the metres.

From the study of the metres made in this Introduction it would appear that all the evidence goes to show that the metres contained in the Udànavarga as established by Dr. Bernhard are substantially the same as the metres in the Pàëi canon itself, ²² though at a rather later stage of development.

The verses where they have been rewritten seem to have been Sanskritised, but the bulk of the work often contains remnants of the earlier features of the metres concerned. In this respect therefore the metres closely parallel the Sanskritisation of the language itself.

Edgerton writing about the phonology and morphology of BHS stated that: BHS works, especially the oldest, retain in all parts clear evidences of being based on some form of Middle Indic, only partially, and it seems haphazardly, Sanskritized (BHSG 1.34). This study would seem to suggest that exactly the same sentiments could be applied to the prosody also.