Sanskrit Prosody,/and Numerical Symbols Explained
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Transcript of Sanskrit Prosody,/and Numerical Symbols Explained
PREFACE.
SANSKRIT LITE RATURE is chiefly inverse. The poemsand plays, the histories and legends, treatises onlaw, divinity,
astronomy,mathematicks, and indeed nearly all literature
being inmetre. The Prosody is easy and beautiful,” says
Sir WilliamJones. It is infinitely more rich and morevaried,” observes the learned Chezy, thanthat of Greek ;
and has no syllables of doubtful quantity.
” The venerable
Colebrooke (Essays n. 62 ) speaks of the aid it affords inde
ciphering passages rendered obscure by the inaccuracy of the
transcripts : he notices that the artifice of its constructionis
peculiar, and not devoid of ingenuity ; and it is richer than
that of any other language. Yetmany who have attemptedthe study inIndia, guided by a Pandit, complainthat the art
is intricate. Indeed most of the aspirants have beendis
heartened (as I was at first) ; for the Prosody is overlaid with
a profusionof pedantic refinements, arithmetical and super
stitious. Most of the rules inthe Sanskrit Prosodies are
intended to guide composers, not learners.
vi PREFACE .
In 1827, at Madras, at the desire of the College Board, I
printed a short account of Telugu and Sanskrit Prosody.
Tenyears after, whenI was inLondon, the learned Professor
Rosen, who had edited Colebrooke’s Essays, requestedme toprepare a statement which he printed inthe Asiatic Journalfor 1837. This fell into the hands of a young Germanat
Konigsbergwho had beenreading Sanskrit for two years : and
encouraged him. In1855 ProfessorWilsonintroduced himto me inLondon: he was Professor Theodor Goldstiicker,whose skill inSanskrit lore has inlate years beenacknow
ledged by learned brahmans inBengal, Benares, and Lahore .
He called uponme to prepare aneasier andmore completevolume for the use of students. Accordingly I have written
the rules again, addressing the ex planations to the beginner
who now canlearnmore intendays thana pandit could havetaught himintenyears.Professor Francis Johnson has with his usual kindness
superintended the printing of these pages.
Numerical Symbols aremuch used inSanskrit books on
Prosody, as well as regarding chronology. Of these I have
subjoined an ex planation: with some suggestions for a
Memoria Technica inEnglish.
C. P. B.
22 , Kmman(h umans, LONDON,
April, 1869.
SANSKRIT PROSODY EXPLAINED.
INTRODUCTORY REMARKS .
The vowels a, i, u, ri, ln, are short : as invfim'q atlsaya
fnfsramilita, gfii yudhi,mkripa. The rest are long.
Short or breve is called as lag- hu ormhraswa
,meaning
‘light.’ Long is called gt guru
‘heavy,’or g
'
fi dirgha‘long.
’
A breve becomes guru if followed by two consonants, as ‘a’
W asti, or was vakra. But the vowels Bi and Lri do
not lengthenthe preceding vowel. Thus ansiikrit.
A breve ismarked with anupright line thus ; a tribrach,which we write uuu is marked The longmark is uwhich we use for a breve . In Devanagari the character
resembles the Persianhamza (s ), inBengali is similar tothenumber for six inthat alphabet.But the language is pronounced as it is written, and the
quantity of each syllable is evident to the eye : themarks forlong and breve are therefore seldomused.
The letter a Y is always a consonant, and requires a vowel,
2m: dait- yah, writ kar-
yam, fi ffl yogin,msayya.
Whenthe consonant a M is final, as inW W Naliimabravit, it does not suffer elision. (Nala. iv.
I ’ m
SAN SKE IT PROSODY.
Prosody is called w : chhandah, that is, fancy, will,
pleasure.’
Sanskrit Prosody ismeasured with feet, called gana, denotedby letters, Ma, Ya, Ra, etc. fix ed indays earlier thanthe
Homeric age. M or Ma denoted a foot of three long syl
lables, as
‘majestas ’or Longini
’or
‘has sylvas.’ Na is a
tribrach of three breves like mulier or avibus .
’ Eight
such feet are give inthem : or Table. To each I have
added a Sanskrit and'
a Latin instance, having the sameinitial.
TABLE OF FEET.
1mm. SYLLABLES . nxmma.Mantranam
Awo t/M M mmYa w it Yath
'
arthamW 1
Racshanam
Vb . 57mmf‘ m Sa
M W “at Ta
” flaw
j gw lyt Bhang
'uram
lama
names, Latininstances.
Nm. SYLLABLES . sm u g.
Molossus Macenas
Bacchius’Ymetto
Creticus Reddidi
SimilesTentare
Amphibrachys U Juvabit
Dactylus Bucula
Tribrachys Nivea
PRO SOD IAL FEET . 3
Inthe three columns thus arranged inancient times, thefirst has a long and a breve alternately ; the second has two
of each ; the third has four.
The dactyl, inthe present pages, will bemarked B. The
spondee will bemarked as inLatin.
To aid thememory, a learned Germanfriend has givenmethe following sentence wrenchm m:mmfinmm ‘
l ltfi!“The deceitful, self- controlling Ravana
uttered his Spells inhaste, beginning with Preserve us
[from] death.
A long syllable is called Gurugt and a breve is Q la- ghu
and the initials, L, G,are th is used
ml gagamor ingi spondeus.
la lamor m15 U U pyrrhichius.
fl ga lam U trochaaus.
at] lagam iambus.
Aline is called pada orcharana,meaninga foot ; four such forma padya or slok. A prosodialmeasure of two or three syllablesis called gana ambecause it is counted ; we call it a foot.
Aksharam,’ a‘letter,
’also is a syllable.
’ mSamskru- tam, orflintGir- va-nam(another name of the language)are called tri- literal, or words of three syllables. So is Ak
sha- ram.0 2 1
7 4 0 “ fa w""D M"“a“
All syllables are of a definite length, apparent to the eye ;
none are doubtful .
The last syllable of each line, inthe uniformmetres, is longby rule ; but inpractice is free.
Pluta,” denoting ex tension,’ is thename givento a quaver
or protracted sound, used inchaunting theVedas . Inprosody;it ismerely a long syllable.
4 szmsx nrr p aosonv.
Thenative treatises are crowded with numerical ex pressionswhichmake the artmysterious ; but such devicesmerely impede the progress of the learner.
ON THE ANU SHTUP .
The Tale ofNala commences thus : each line being dividedinto four parts.
W ammfit‘mmummafi uuitt tfi w mmfifi z :
A'sid raja Nalonama Vira séna suto bali
Upapanno gunair ishtai | rfipavanas va kovidah
This is called the Anushtup slokamwhich some consider the heroicmetre. Each line contains six teensyllables,and two lines are one l k
, or couplet. é figmThere are four syllables in each quartey.
’ The first and
third quarters are free fromrule the second usually is Uwith a free syllable : the third has u u with a free syllable .
Marking the free syllables with w, the line stands thus
The learner should read several pages aloud, pausing after
each quarter : and hewill soonperceive the rhythm. After he
has accomplished this, he canproceed as follows
The second foot has fivevarieties. One is already seen: the
others are ex emplified inthese passages of the same poemBk II. v. 6 . mmnyavédayat tamaswasthim
U I . 3. W : Imacsha priyah satya vadi
U U l . 7 . Ha mtasmai prasan 116 damanahU U U XIV. 18.mrfim“
gmbrahmarshibhya scha bhavita
The five feet admissible inthe second seat areMa Ya Ra
THE ANUSHTUP . 5
Bha Na : whichmay be recollected in the words Mayura
bhanuh.
Inp. 436 of a volume onSanskrit Grammar printed in1847, a couplet is quoted fromthe Laws ofMann
Asid idam tamo bhfitam aprajnatam a lakshanamapratarkyama v13neyam prasuptami vasarvatah.
And there is added, fromthe Ramayan,Ma, Nishada pratishthamtwamagamah $5. swatih samahYat kraunchami thunad ekamavadhih ka mamohitamThe ex planationof themetre there givenis erroneous : as
are also those of two more instances, there shewn. T he
student should divide the lines into fours, and he will per
ceive themetre with ease.
The remaining remarks onthe Anushtup are not intended
for beginners.
The rules already givenwill suffice formost of the slokas
found inthe Purinas. The following rules are observed in
the Poems. The instances were selected by a Pandit fromthe Amara Kosha.
Each half line having eight syllables ; the first and last arefree,marked x but the other six are subject to rule. Rule
regarding the first half.
wMYw w Utt hanampaurushé tan tre
hrs. Idini vaj ramastri syfit
Pu | 16maj a, Sachindr'a'. n’i’Sap tarchir damunah s
'u crah
Sa l twaramchapalamtur riamNi tyana varataja sramAbh rammeghovarivi hah
6 SANSKRIT PRO SODY .
wYRa: wU
Kri pitayonir jvala | n6
These eighteenvarieties are found inthefirst eight syllables
a few other variations occur, but are not approved as har
monious.
The second half, also containing eight syllables, has fivevariations : the first and last syllables alone remainfree from
wMJw m“ U UmAg Edhasyanaghé. gunahU U U San kshiptaih prati samskri taib
U U Sa hachiryach chakutra chit
U U U U Sarv anfiamu chi sfida nah
U U U U A nus'rutyay athima ti
This last instance is fromKalidasa’s Jatica Chandrika.
The halves are independent : any one of the former eighteenmay be followed by any one of the latter five.
ON EL IS ION .
Each couplet consists of two lines,which inthemanuscriptsare united, thus (Gita i. 25)mm : f iatamm mm
E’ ca y6cty5. pushpavan tau
Vah ner dway6r jwala kil an
S iv aBhavani'Rudré xii'
As yodyinamchaitrara thamR6 hitasvo va
'
yu se khah
Ka riny'
c'
) bhramuh capi 1a
Pan chaité deva tara v6
Gha | na 31mfitamudi ra
Vi s t6sh patis sura pa | tih
Ka | 1 iny6 bhramu capi té
ELISION . UN IFORM METRE S . 7
W I RQ IW M :Mmetc.
Againinx v. 3
etc.
Here we see each half is runinto one unbrokenline : which
Europeanscholars divide, at the caasura, into a couplet.
Where such elisionoccurs inthe Specimens now to be cited,two lines will be given: which are alike. Elsewhere a single
line suffices.
THE UNIFORM METRES .
These have four lines, scanned alike, ineach verse : one in
general use, runs thus. There is no rhyme. The followingmetre, called Sardfila, is infrequent use.
In the following instances, H. denotes the Hitopadeisa.
R. the Raghu Vamsam. G.D . Ganga Das, whose rules are
giveninDr. Yates’ Sanskrit Grammar.
u u O‘
U u u n- ‘
u
M lml ftflftfi lm: umum :
vyomai kan taviha rinopi vihagahno
samprapnu vantya
padamAfter the twelfth syllable there is caasura, the harmonic
pause : which inthese pages will bemarked I Thismetreis very oftenused : Inthe Gita Govinda there is aninstance,ina song ending with these words
“iffilmfi fe!W uwi llma
Kandarpo piyamii yatévi rachayan Sardfila vikriditamfi r“ H
H 41 n4a d na;
1fi
H'QWUI'TH “Ai l-Ad d ) ” b l l’
a ton Li a
SANSKRIT PRO SODY .
The concluding words, Sardfila vikridita,”give the name
of themetre, which is also called Sardula.
Some metres have two pauses : Thus themMandakranta: inwhich The Cloud Messenger is composed.
o u u u u “ u
m a nmmH . 11. 25.
Maunanmfirkhah pravachana patur vatulo jalpako vi
Thename is recollected by this linem amfi aflnmni fimBy slow and persevering efforts themaid is subdued.
”
This is one of thememorial lines framed by Ganga D58 ;with Dr. Yates’ translation: which I use throughout.
The Sragdharametre also has two pauses“
U“
ll U U U U U U ll“
U
Instance, fromthe Sakuntala, verse 7W fi tma133mm: II « W e
Grivabhang abhiréxmammuhur anupatatisyandané datta drishtih.
Four such linesmake the stanza. Thememorial line isW ammz lm nThe Indra vajrammis a shortmetre : ofwhich the first
syllable is long or short at pleasure ; and therefore ismarked x .
$“
U“ “
U I U“
U
31513111!111 l warm: H . i. 47.
UNIFO RM METRE S .
Here the first syllable inthe first line is short : inthe second
it is long.
Inhis notes onthe Hitopadesa, p. 280, Professor Johnson
remarks that, although not enjoined by a rule of prosody, a
slight caesuramay oftenconveniently bemade at the close of
the fifth syllable.
” The caesura is of importance to composers,but the readermay safely neglect it. The Sanskritwriters on
prosody divide every line of the Uniformmetres into threes,disregarding harmony.
Horace uses a similarmetre. Trahuntque siccasmachina:carinas.
More thana hundred Uniformmetres are described : butnot fifty are inuse : and the few described inthe nex t pages
are all that the learner requires. For the present hemaypass themby unread, and proceed to the A
'rya.
The last syllable ineach line by rule should be long : in
practice it is free : either long or short at pleasure. The feet
are,
U I OU‘
U
Or if the initial is short,
U“
U ll UU“
U
firma unit arm H . Introd. 19.
Inthe first line of this instance the initial syllable is longartha inthe second, “pri- yé , it is short.
If thefirst syllable is short it is called UpendraVajra: if thetwo aremingled, as they usually are, this is calledm .
But these names areneedless. The one original name isenough : the others are not inuse. Instances : H. Introd.
lO SANSKRIT PRO SODY .
19, 25, 47. Book i. 27, 80, 1 14, etc., and R. 11 . 1 - 74 ; v.
1 - 62, etc.
The Rathaddhata ”
(M u uuu I
H . iii. 153.
Inthis instance the two lines forming the couplet runinto
one another. Instances : R. ix . 68 ; x i. 1- 91 ; x ix . 1 - 55.
Themark is a signthat thismetre is unusual.
[ swagatam u u uu
mm :ma
W mm B. ix . 73
Salinimfg -
ah
Eifwfé lfi z fiiw nmm R. ix . 64.
XII Syllables.
TheVamsasthavilam U"U U U U
‘
U
“Himnm H . i. ver. 16, 2 1, 1 15, 161 , etc.
TheDrutaVilambitag'afi arfiaa UUU OU‘
OU U
Wmug-
«flgfixfimn H . i. 32 .
Also 52 . Suhrid. 71 .
[ Totaka i’
lz ai o u o u O U"
R . viii. 90.
12 SANSKRIT PROSODY.
Mandakrantamm
See ver.160. R. viii. 94 ; x iv. 87, etc.
TheMegha Duta is writteninthismetre.Hafini tfi uhUUU UU U
"Or thus
uuu ou no“
ou
W umnm l w mH . iv. 106. R. iii. 70.
Prithvi bharamqufintU
“
U UU“
U“
I UUU
H . Notes, p. 108.
XVIII Syllables.
Mahamalika: or, Nari cha ; or, Lali , or Vanamali .
UUU UUU“
U“
W t fimfi fi fi mfiw R . x u. 104.
Charchari afifi
UU“
UU I UU“
UU I UU“
UU I UU
The following hymn to Ananga is quoted fromthe S iva
karn- amritam, inthe Sarada tilakam.
imvmmnnnmmunwvmwuz s
ALTERNATE UNmoRM METRE S . 13
x 1x Syllables.
Sardula. This has already beenex plained. This name isnoticed inColebrooke : but he gives the same title to a differentmetre, of eighteensyllables (ms j s rm) .
XXI Syllables.
The Sragdhara. This has already beenex plained.
XXV Syllables.
[ The Kroncha-
pada.
ou II“
ou I uuuu uuuu l uuuu oummm m G.D .
The native prosodians scanallmetres by trisyllabic feetand this one, like the Sragdhara, is fancied intricate because
such scansiondoes not agree with themelody : but if dividedas here shown, it is clear. This metre is the basis of the
ow , which will presently be noticed.
ALTERNATE UNIFORM METRE .
Musical time is called the pollicis ictus,”as
Horace calls it : hence then aliya. The eighth canto
of the Raghu Vamsa begins thus.m fi lw ou ou l
“
u u
W h a l u vfi w: ou 0 0 11 u u
atha ta8 | ya vi | vaha kau | tukamlalitambibhrata eva parthivah
The alternate lines have one long syllable inserted after the
14 SANSKRIT PRO SODY .
third. Each stanza has two such couplets. See Hit0pad.
Suhridb . 33, 85, 86 . Sandhi, 101 .
If a long syllable is added, themetre is called Aupachchhandasikammor A Variation.
’ Thus, Raghu Vamsa,ix . 66
,
W WI namfa'm ou n“
u u
afimfifi nm fi’f ou ou n“
u u
This is used inthe last canto of theMagham,where the commentator observes Sargé sminAupachchhandasikamvrittam;Vaitaliyé gurv sdhikyat
”mum-
as 17 ;W .
fawnInthis canto themetre is (Aupachchhandasikam) avariation, being theVaitaliyamwith anadditional long syllable.
A variety of this is called Pushpitagra gfq'
a'm(Hitop.
Suhrid. 42 )
W Imgfirfiwfi é
'
s nfit fifzma
UUU UUU ll"U “
U"
UUU II“
U“
U“
See also Hitop. Vigraha 145 . Sakuntala, i. 32 .
Inall thesemetres the slok has two similar lines : of whichI cite thefirst alone. The final syllable of each couplet is longby rule : but inpractice is oftenshort, as here ex hibited.
Thealternatemetres are popular : asWilsonobserves (inhisGrammar, p. 447) entire cantos of these occur inthe Megha,Kiratarjuniya, and Naishadha.
There are some varieties of the Vaitaliya : one is called
Apara vaktra : thus defined by Colebrooke, citing R. ix . 70
(p. 124 invol. 11 . of his Essays) . Both verses are (i.e. each half
is) terminated by three Iambicks : and beginwith four short
ALTE RNATE UN IFO RM MET RE s .15
syllables : but one verse interposes a single short syllable, and
the other a trochee.
” That is
O U"
W 111W 113!
One variety ofVaitaliya, called Pravri'
ttaca, runs thus
Inthe first and third lines
Inthe second and fourth
The evenlines prefix a long syllable : andmay be ex pressedthus,
Lines 1 and 3
2 and 4
The following instance is givenby Colebrooke (p.
( t at-
«W
U UU
M W
Listento this pure auspicious and pleasing history of the
race of Bharata, as uttered fromthemouth ofVyasa.
Thenotes appended by Mr. Colebrooke, inpp. 79 and 155,
may require a little ex planation: but these refinements are
needless to learners.
The alternate lines are called by different names. The
unevenlines ( 1 and 3) are called Udichya. The second and
fourth, which are longer by one syllable, are named Prachya.
A stanza having four Udichya lines is called Charu basini.
One composed of four Prachyas is named Aparantika.
16 SANSKRIT PRosonv .
THE A'RYA’ Tani-r
A'ryé uses feet that containfour breves, equiva
having a long syllable inthe
lst seat2nd
3rd
Both longFour short U U U U
Any one of thesemay be used inevenseats, viz . 2, 4, 6 . Each
halfmust end ina long syllable : so it requires either the
spondee, or UU the anapaest. The following is inH . i. 33 .
2
7 8
1 2 30
amlmlfim4 5 6 7
M lunfi lg l fifi t
l 2 3
ou ou o u
4 5 6
U UUU UU“ U
Inthe eighth seat (inthis instance) each half has a long.
Inthe six th, the first half has anamphibrach : but the second
has a single breve.
This is the usualmode : having variations inthe six th and
THE ARYA.17
eighth places. But a kind calledflli ‘
l f lfil arya-
giti has those
places otherwise : Kalidasa’s Nalodaya hasmany instances
thus (canto 1 1. 41)
4 5 6 7 8mmmmm
and the second half is constructed inthe samemanner.
The final syllable ineach half, by rule is long : but inprac
tice is oftenshort.
The amphibrach Jamis never used inthe unevenseats
which are l , 3, 5, 7. To aid thememory I ex press the rule
thus Aryae sedibus imparibus prohibete Jajspa.
” Here
aryas is a spondazus, as aurea” inthe [Eneid i. 698, and
vii. 190.
The six th foot ineach half is either NL UUUU or J U"Uor a single breve.
The few rules now givenare sufficient to ex plainthe A'rya.
The remaining observations, which native tutors consider
essential, may be considered at leisure. Ametre used byHorace is similar to the Arya.
Miserar’ est neq’a mori
Dare In dumneque dul cima1a | vinoLavere aut ex ani mari
Metuen tes patru a: vulnera lingua:
18 SANsx RIT PRO SODY.
Tibi qua lumGytha reae
Puer a les tibi té las 0per osae
queMiner vae studi’ aufert
Neobu le Lipa rae | i nitor Hebri
UU
UU |“
l“
UU
UU
UU I“
|“
UU
Another Horatianmetre is analogous : thus,Sic te diva potens Cypri
Sic fra tres Hele | 11a3 | 1ucida | sidera, etc.
U U I I UU UU
But these are Uniformmetres : whereas theAryahasmanymelodious variations. The following species, some of themmerematters of curiosity, are preserved inYates’ Grammar.
Thefanciful instances there copied fromGangaDas, arevarioushymns, so contrived as to ex hibit the name of the species .
But I shall subjoinpassages frompopular poems.The first, calledmmPathya, or ordinary, has already been
ex plained.
2 . Vipuls fi g'
a'
t, a broad or ex tensive” class, admittingseveral varieties. Some are composed entirely of breves,ex cept of course the final syllables. This is called Na- vipula,
because composed of (Na) tribachs. Some verses inthe sameA'ryametre are written (ex cepting the six th seat as usual)entirely inlong syllables : this is called Ma- vipula: because it
may be measured by (molossi) feet of three longs : which of
fl) SANsE RIT Paosonv.
Emh lflfipwnfh l qmswilJ
‘
U
OU‘ uuuu uu
‘
uu
uuuu I U I
If Krishna, reclining negligently against a tree in the
Vrindawood, and playing his flutewith a smiling face, remainsinthemind, thenwhat is heaven?”Thenex t three instances point to amatter ofmere curiosity.
It is regarding the use of the amphibrachys (Ja) inthe fourthseat. InH. ii. 5
smms sfisn1 s fimalas yamstri seva| sarogz
‘
i
Here the fourth foot of the first half has (Ja) theamphibrachyssaroga : the same occurs inverses 16 1, 162 and elsewhere.
This is calledW Mukha chapels, or KaMuomy.But thismay occur inthe second half, and thenis namedm Jaghana chapalaor KaXMn-vw. So inH . 1 1. 74
the second half has
lnwwgwfifimhmwhHere is the amphibrachys inthe fourth seat ; bhavanti.”
But sometimes the amp rachys occupies the fourth seat in
each half. This is calledw qmUbhaya chapala: orMaha
chapala ( see Colebr. p. or simplym chapala. In
Greek thismight be styled a/upt/caknor wept ) . Thus inthe
philosophical treatise SankhyaKarika, verse 6 1,
RURQ QMNt fifiEpfififihflWfiWtinsml fiMNHTEflhmfifiwvfll
RHYMING METERS.
Prakriteh sukumi rataramNakimchi, etc.
Yadrisht semi ti punarN5. darshfi, etc.
Nothing, inmy opinion, ismore gentle thannature : onceaware of having beenseen, she does not againex pose herself
to the gaz e of soul .”
(Colebrooke )These instances of
.
Chapalamay be passed over by the
learner, being ofno importance.
04. 20 1425”
ON RHYMING METRES .
4,
A fewmetres use a closing rhyme, connecting two lines intoone couplet. One is called Prajjatikam or Manjarim. It is similar to the Kronchapada, already describedbut that is uniform, whereas the Manjari admits feet equivalent to a Spondee, being nearly the same as those used intheA'rya ex cepting U
“
U (Jaganam), and the feet used are,
B having a long inthe first place.
S inthe third.
G5, the Spondee.
UUUU NL four shorts. U U U .)
The last syllable ineach line is long.
Mfidha ja hihi dhanagama trishnamKuru tanu buddhima |nah suvi trishxiam
The Mugdha- bodha or Mallet of Delusion, a popular carol
22 SAN SKRIT PRosonv .
attributed to theancient sage Sankaracharya, was first printed
by Sir WilliamJones, who remarks that “it is composed inregular anapaestic verses according to the strictest rules of
Greek prosody.
” But he gives no analysis of themetre, andnone canbe found inany published volume. Yet those who
have listened to the verse as chanted by learned Brahmanswill perceive that the definitionI have givenis correct.
firmg fllgfi flmqfi lgflmlmni fi um’
fifiw’a
fi lh fi nfizfllfi fi u
Emilmmlfi lgs
mlfi -flwnflflfi lfi s
mustangzmnmz
fi lmlmlmzn
« fil finfimmz lfi l
II“
UU
MELOD IE S . 25
5 . The body is tottering ; the head grey ; the mouth toothless : the
delicate stafi'
trembles in the hand which holds it : still the fiagonof
covetousness remains unemptied .
6 . How soonare we born! how soondead ! how long lying inthe
mother’s womb ! how great is the prevalence of vice in this world !
Wherefore 0manhast thou complacency here below?7. Day and night, evening andmorning, winter and spring, depart and
return: time sports, life passes on yet the wind of ex pectationcontinues
unrestrained.
8. To dwell under themansionof the high gods at the foot of a tree, to
have the ground for a couch, and a hide for vesture ; to renounce all
ex trinsic enjoyments ; whomdoth not such devotionfill with delight?9. Place not thy afi
'
ections too strongly onfoe or friend, ona sonor a
kinsman; inwar or peace be thou even-minded towards all, if thou
desirest speedily to attainthenature of Vishnu.
10. The Eight greatmountains, the sevenseas, Brehme, Indra, the Sun,and Rudra, these are permanent not thou, nor I, nor this or that people
wherefore thenshould anx iety be raised inourminds 1?1 1 . Inthee, inme, inevery other being is Vishnu ; foolishly art thou
ofi‘
ended withme, not hearingmy approach : see every soul inthine own
soul ; inall places lay aside a notionof diversity.
12 . The boy so long delights inhis play ; the youth so long pursues his
damsel the oldmanso long broods over uneasiness, thatno onemeditatesonthe Supreme Being.
13. This is the instructionof learners delivered in twelve distinct
stanz as ; whatmore canbe done with such as this work fills not with
devotion.
Another instance is givenof thismetre . It is said that a
serpent lodged ina dry tree was described ina dry verse by a
Vedenti,
UUUU
forwhich Kalidasa proposed, ex tempore, inthe samemetre,
26 SAN SKRIT PRosonv .
M umfww fitrm? “
ou uuuu uuuu ou
uuuu
TheMohaMudgara was printed inthe Telugu character at
Madras in 1865 : and to it is subjoined a continuationin
fifteenstanzas, beginning thus,mummmamwsm
fi aflfinm leml i’m
W lmfis lafisl vfimThere are some popularmelodies unnoticed inthe treatises
onProsody. Inthe twenty- first canto of the tenth book of
the Sri Bhagavat there are a set of vfifimsfia Milkmaids’Carols, which are usually consideredmusical, free fromprosodial rule . But we shall find they are regular, allowing of a
variationinthe beginning of a line. The final syllable is free.
W fllfi mw efi fs l
{ffla lmlf‘
z w lw
Rafi g lmaarltfi ‘
tfinfaafi eta. ete
Thismetre is not ex plained inthe Manjari nor by GangaDas, Colebrooke, Yates, or eveninWeber (p. 371 where
he describes the eleventh system.
DAND AKA .
TheDandakagmis a chant,dithyrambicmetre, orpoetical
APPEND IX .
As it ismy object to simplify the Prosody, l have givenonlysuch rules as are ingeneral use, and inthe following pages
suchmatters will be noticed as are valued by the learned,though of small utility to the learner. If at a future day he
reads a native treatise onthe subject, or Weber’s Germanvolume, he will find a wilderness of rules tending rather to
mpede thanfacilitate his progress.
at anearly age, and have been inuse throughout India for
ancient line, writtenby Panini,
na sa 1a gam
Each of these s llables is the name of a foot : and that
syllable with the nex t two will ex emlify the foot. Thus the
first three are Yamata, which is the foot Y. The nex t three
Metersmake the foot M . ThenTaraja are the foot T . Rajahha"
is R,while Jabhana is J . Bhanasa is B,
the dactyl. Nasala
is N,the tribrach ; and Selagemis S, the anapazst. The
closing syllables are L for breve and G for a long.
TABLE S OF UN IFO RM METRE S .
Some other feet are knownby namesmerely compoundedfromthose already given.
GREEK NAME . INSTANCB.
Choriambus UU bha-
gam ebrietas
U U ya- lam Alex ander
UU ta- lam producere
Ionic hminore UU similes sintPmanI. UUU bha- lam temporibus
U UU ja- lam potentia
UU U se- lam animatusceleritas
Epitrite I. ya-
gam salutantes
ra-
gam concitati
communicansincantare
Proceleusmatic UUUU na- lam hominibus
The Tables of UniformMetres givenby Mr. Colebrooke and
Dr. Yates are correct and valuable, but require some ex planation. Being translated fromnative works they are renderedintricate with arithmetical contrivances apparently intended toinvolve the art inmystery. For instance, if we are searchingfor a definitionof that familiarmetre, the Serdula, we firstmust count the syllables inone line : these beingnineteen, weconsult Yates, who places it (p. 370) under the NineteenthGenus” as Species 3rd.
” But he omits thenames. To find
the name wemust turnto p. 246, where, at “x rx , is giventhe name of the Genus Atidhriti and here
, at No. 3, we
discover thename sought.
30 SANSKRIT PRO SODY . APPEND IX .
Mr. Colebrooke, always ex act, but not always clear,makes
themattermore intricate (inp. 163) by changing thenumeral,thus : instead of the x xx th hemarks the genus as x lv th, and
defines it X IV Atidhriti, 19 x 4 : 76 and here is themetreSerdula, given as the fi rst Species : defined thus Serdula
vicridita, or Sardtila (12 7)msj s 2 tg S D 2 T A+ S 1 c.
”
Thenumerals denote that there is a pause or caesura after the
twelfth syllable. The letters “ms j s 2 t g” denote the feet
maganam, saganam, etc.,and the capitals S D, etc.
, give the
initials of a spondee, a dactyl, and so on.
Intranslating Ganga Das’s prosody Dr.Yates has preserved
thememorial lines, which are useful as recording thenames.But another arrangement would be easier. Thus the ninth
canto of the Raghu Vamsa Opens with thismetre,U U U “
U U“
U U“ U “
N BB R
To discover thename wemust first count the syllables : as theyare twelve, we turnto Yates, where, under the 12th Genus
(p. 357) we find it as the 9th species. But to learnthenamewemust refer to p. 425, where, at x u. 9 is the Druta Vilambita.
”
Stenz ler, inhis prosodial notes onthe poem, follows thenative routine, but using still further obscurity. Instead of
stating that there are twelve syllables, he says Jagati, Sive
disticha 48 leaving the reader to guess that as there
are forty- eight inthe stanza there are twelve syllables inthe
Jagati ismerely amysterious word for twelve. This and
the other similarnames are rarely remembered evenby ex cellent pandits : and are ofno use.
TABLE S or UN IFO RM METRE S . 3 1
Thenames of the Chhands.
I aspen XIV naifiII W I vfimfiifi
XVII
XVIII
s finrz (Nom. ems )W was )q‘fi} XXII6
flfi li XXIII
fi gs; (Nom. fi gu) XXIV
XXVI
Metres of greater length are called gm,musical prose, of
which there aremany varieties.
Dr. Rosen, the learned editor of Colebrooke, confessed to
me that hehad printed the tableswithout understanding them.
Themetresmentioned as having less thanelevensyllables
are oftenportions of longer kinds. They are seenonly in
native books onprosody, and are of no advantage to the
student.
The letters M, B, J, R, G, L, etc., denote the feet accordingto the ancientmethod.
XI. Verses having elevensyllables ineach line.
1 W“ “
U 11 U U“
U 2 T J
32 SANsx RIT PRO SODY . APPEND IX .
Ex ample givenby w lW infiw i t Holding over themamountaininhis left hand.
nO U“
U“ “
JT J‘
swa rm : Shining with the pearly brightness of
thunderbolts, etc.
3. 1313s? uuu 0-
0 0-
0 0“
N 2 J L G
fi fmmW She, beautiful, (beheld) his darkness
destroying face.
4.mfi fifi U ‘
\“
U M 2 T Gs
£1111mf g-
ah firm: True faith‘
inVishnu (promotesthe holiness) ofmen.
5. WW U U M B T Ga
W T lira firqrafi'
firsts?As a raging wind destroys a boat
inthemidst of the sea.
6 .m “
o u uuu u M BN LGmm An ex panded flower adorned with
humming bees .7. 1 1mi
“
0 0“ '
u uuu B T N Gé
m afi a“ Is there any one inthe world whose
(wish) has not beengranted ?
8. (mm “
u uuu u“
U“
u R N R L G
M ina-
(mat She was startled at the sound of
Krishna’s flute.
9. Guam “
0“
uuu“
0 0 RN BGfi
m : grail: All the gods respect him.
10. i t““
L N“
0 0“
0 0 3 E G5mm : Placed at the foot of the Kadambatree, under which the gods assemble.
TABLE S OF UN IFORM MET RE S .
u 0—0 0
-
0 I)“ T 2 J L G
mum The destructionof the great armies of
the infernals.
12 3 111“ U “
O“
U U“ T JT L Gmm W White and constantly punfymg all
people
“
U“
uuu‘
ou O U“
RN B S
W W mm: The path of themoonis obstructedby thick darkness.
2 M 0-
1) u u u “
U“
J T J R
m mW fi g : The sweet- toned flute (was filled)by the breeze of his lips.
Agrammarianhas here remarked that themetre commonly employed inGreek Tragedies much resembles this twelfth class.
”But the tragic
metres are variable, while those inthe Sanskrit systemare Uniform.
3.mm 0-
0 u u u-
u ou J S J S
the Yamuna.
4. W IN U“ “
u u
w ardmm0 Serpent ! (make) your departure
quickly to the sea.
O i)“
In) “ our 4 8m3mmGo, happy to obtainfreedomfromSinin
the ironage.
6 . afifi t u u U “4 R
{film31W afiq'lfi
‘ May his formhe a bracelet inmybosom.
34 SANSKRIT PRO SODY. APPEND IX .
7. finish U“ “
U“ “ 2 M 2 Y
ma:mar am0 brother ! every goddess will be
worshipped.
8. stems -
( I 11 0“
0-
0 ou uu S J 2 S
W Wm : Themelodious sounds of Krishna’svoice.
9. 3mm uuu“
ou‘
ou“
U“ N 2 BR
M Enchanting by his swift, slow and
delightful paces.
lo w fiwfi uuu uuu “ u u 2 N 2 R
w Wm Fromwhose lotos- feet theMandakini
Sprung.
1L fi fim uuu U“ “ uu u U
“ “ N YN Smm (His form) is adorned with flowers
whenhewanders inthe grove.
12 .m uu u 11-
0 0-
0 U“ “ N 2 JY
mmmThy lotos face, 0 enemy of Mura.
13. WEIR uu u 0-
0 11-
0“ U “ N 2 J R
W W WEIRHI : And thebee is constantly embracingthe flower.
14mm "0 u u U
“ “T YT Y
muffif’
qmmm Animage like a chaplet of red
pearls.
15.m r “ uuuu “ r " M GN LM G
amW New clouds for thedestroying of heat.
XIII.
SANSKRIT PRO SODY. APPE ND IX .
2 . 1mm U“
UU U“
U U“
U SB2JG§
EUmfamt filmm : The tila plant and the glory of
the groves is full blown.
3. W mUUU UUU “ U“
UU“ U
“ 2NRS LG
W 11mmThe army under the command of the
sonof Yadu was invincible.
4 W mU U U U UU “
UU UUU U “ 2 N BN L G
mfilmm firmO Cupid ! thy flow’ry arrow gives
great pain.
5 .meshU UUU M T NM Gam ‘jflfilmfimafiaWhenthe destroyer of Kamsa
dances he resembles theVasanta tree.
6 . often O U“ “
O U M SMBGa
all“?m m0 fair one, the glory of youth
is transient as a flash of lightning.
7. WW UUU UUU “ “
U“ “
U 2N2TG5
W W W It’s surface is rendered vocal by
birds.
affirm. or.ufifi s i
UUU U U U UUU UUU UU“ 4N S
mm The crescent painted (onhis fore
head) with sandal paste.
2 .mfinfiUUU UUU ll U U
“ “ 2NGanG2Y
W mfs v‘fi imjmMay Ridhi who assumed thecolour of Madhu’s destroyer grant protection.
TABLE S OF UNIFO RM METRE S .
3. w as 5Mm :mi: w as : Full of play with the
Sprightly playfulmilkmaids.4.m at
UUU UU“
UUU“
U U“ N S N 2 R
m m W fi The tfla plant is infull bloominthe opening of Spring.
5. {on“ U “
U U U I
RJ RJ R 7 trochees and a long.
W W W A golden quiver full of Cupid’s
RIT OWS .
6mu M RM 2 Ym flwh o amv ii
-
mRidhawas like themoonshining a little through a dark cloud.
7 fim U“ “
U“ “
3M 2Ymm m His formis ornamented with anecklace of wild flowers, resembling one of bright pearls.
orm, double Samanica (says Colebr.)“
U“
U“
U“U
“
U“
U“
U“
U S trochees
an62'
s trig?! w as lmu th i sm17111311 ( Inthismetre each line ends ina breve ). Imuseon thee, o Vishnu, the worship of whose feet impartsvirtue, having thy tresses wreathed with wild flowers, dis
guised as a cowherd.
am“
UU“
U“
UUU UUU UUU B R3N G
W mm Theprancing of thehuge elephantruled by Kamsa.
SANSKRIT PROSODY . APPEND IX .
U UUU B S M T N G
mash gummm(The earth) was terrified at the
wicked pursuits of the almost invincible giants.4. f
’
qfi i , or,mS iambicks U
“ U “ U “ U “
W W W finmfilfiifi He dwells ina housemade ofshining pearls, at the root of a celestial tree.
5. 1:a“
U U UU U UUU M BNM N G
mam rm: d ha is languishing onthe
swing (balancing doubt) of love.
6 . “fir UUU “ U“ “
UU U“
U“
U“ NRBJRG
W sWfl‘Ig'flTfillfifilW May thegoddess of speechnow
inspire inme the graces of poetry.
7. W mU UUU O U YM N S RG
( aw m ifi May this delightful Sport of
aids prevail with Hari.
8. 1 fi srgfii
UUU UUU UUU UUU UUU U 16 breves 5N L
W W W May he who sustained themountainonly shine intomy virtuous heart.
9.m UUU U“
U“
UU U“
U“
U NJBJRG
mmmM It is like the cry of the eagle
whenit frightens themonstrous serpents of the giants.
TABLE S OF UN IFORM METRE S .
I UUU UU“ “
UU U“ YMN SBLG
w ee: as 1 3W WIImfi sfimzw: as!firs t!mintmi :
See ! should thismountainfall fromthe hand of this child, we shall
certainly be destroyed : this should be thought of by us all.
U“
U UU“ U“
I U UU“
U“ “ U“
JS JSYLG
by the wicked giants.
3. 11m“
UU“
U“
UUU II UU UUU U“BRNBNLG
W W II“
( afarmat A dmp of water fallenby night
upona fresh leaf.
44 1mI UU UUU I
“
U“ “
U MBN 2TGa
31m HmW ETafi'l TN TBy slow and perseveringefforts themaid is subdued.
5. rfinfiUUU UU
“
I I! U“
UU“ U“
N SMRS LG
W “S IRE?W WW mBramha took the deer’seyes and gave them(to these women) .
6 .m,or, with another caesura,m . This may
have a pause at the 7th and 13th syllables.
UUU U“
U“
UU U“
U U“
U U “.
N J\
B2 JL G
W mmm : The poet (describes) himinmany pleasing verses of this kind.
If” i .
SANSKRIT PRO SODY. APPEND IX .
7manI UU UUU U I U
“ MBNMYLG
mm« fitmmsmart-mHow is it possible thatRadha should not captivate Krishna’s foe.
8.mmI UU UUU I U
“
UU“
U“ MBNRSLG
mm mmfirflx fawn-
umThis body ofmine isOppressed with sustaining the greatmountain.
Theflowering shrubs, slightly shakenby the southernbreez es which
raise a gentle swell inthe playful Yamuni .
2 .mUUU U
“
U“
UU U“
I U“
U“ “
U NJEJ2 R
mmmmfi wfi O friend ! go to theVrindawood, the delight of the earth, for happiness.
3.m UUU UUU I U“ “
U“ “
U“ “ U“
2N 4R
I !)m M flai l Lo ! she sends the heartpiercing arrow fromher eye.
4. fafimI UU UUU U
“
I U“ “
U“ “ MEN3Y
mmmmm His dear eyes were fix edonthis wondrous beautiful creature.
UU“
U“
U UU“ “ “
U UU“ M S JSYS
a nIraqi?1mmfirfiat wi l l w eKamsa having by his
powerformed himself into amimic tigerforhunting thedeer.
TABLE S O F UN IFO RM METRE S .
U I UUU UU“
I“
U“ “
U YMN S 2 RG
firings:ms fsrr« infirm li the clouds atnight
are luminous with the vivid flashes of lightning.
2 .mLike the preceding, only instead of“ U“ “
U“ it
has U“ “
U“ “
mm“mmmflirtml: The distresses of lifedo not afl'ect those who have takenrefuge inthe shadow
of his feet.
3 urisfi'rfif
‘
s a
UU“
U“
U UU“
I“ “
U“ “
U M S JS 2TG
wai W IT?a?warmmama I will not trouble you
with this wide gaping tiger of a world.
4minfuse? trai l
-
anewmetmmt Govinda obtained
delicious nectar of themilkmaids.
5 WI UUU UUU
“ U “ “
U MGa2 N2 TGa
my”;2m?mrmw :W Anunparalleled branch
of flowers fromthe celestial tree fell onthe head of the
Opposer of the demons.
1 W“
U“
II UU UUU U“
ll“
UU U“ MRBNYBLG
N W I w firmnfi wmfifled wfihecstasy she dwells, having her eyes full of tears of joy.
6
SANSKRIT PRO SODY . APPEND IX .
2 . rfifirrrr
UU“
U“
U U“
U“
UU“
U“
UU“
U“ S 2JBRS LG
fires {Ftw W W m(The flute) attendedwith the fanning and singing of themilkmaids, inspiredHari.
3. Ta“
U“ “ “
U I“
U“ “ “
U I“U“ “ “
U I“
U RTRTRTGLm w firs-
JIM (He pleases) by the
variousmovements and gestures of his enchanting form.
4 ironUUU UUU
“ “
U“ “
U YM 2N2T Ga
W fi vfi fimmazw arm Krishna ! thereis a certaincreeper having its head adorned with amultitude of bees.
“
U“
I UUU UUU I“
U“ “
U“ MRG.NNG,RRG
W N IW WW W MWIM body ofVishnu the herdsman, wearing awreath and anecklace of
pearls, preserve you intheworld.
24 1mlUUU U
“
U“
UU UUU UUU UUU“
U“
N JB3N R
W « Th aw e-
ragfirm! The imperishable onewas versed in amours with the deer- eyed stream- e
maids of Vraja.
I UUU UUU UUU UUU 2MG5.4NG5
« weW ilma rrfirrt sm sfit seemarhhowthe agile swanis playing amid the lilies.
SANSKRIT PROSODY . APPE ND IX .
tainbreez es, which are attended with the song of the cuckoo, and the hum‘
of thewantonbees of spring ; yetglowingwith heat through having bathed
insandal water, and reclining ona bed composed of lotos leaves, which
are greatly agitated by the heat arising fromthe body.
which like the precedingmay be divided intolines. Suchmetresmight be considered not uniform
but alternate.
UUUU UUU U U UU U UU“
W IW IW W
mlmlafirfirlmW ri te r
-
sumW a lsfimlwfimmmlfi fi lmfi rfi
“ram ifi ca tion“
See,Hari whosemind does not the swiftYamuna captivate?which hasits sides impressed with the footsteps of paddy birds, is rendered vocal withthe sweetestnotes, adorned with full- blownlotoses, rendered enchanting bythe humof bees tipsy with honey, having its surface covered with bright
foam, and beauteous with rolling waves.
thus divided at the pauses,
2 M Ga
U UU U U UU U U U 3 N L G
U“
U U“
U
TABLES or UN IFORM METRE S . 45
Wm:
mmMay Achynta preserve you, who is worshipped withnplified hands by the
afl'righted female serpents, and who destroys the pride of the tremendoussnake dwelling ina bed of theYamune.
XXVI] . Inthis class are placed the Dandaka, already described ; and othermodes of compositionfor which thereareno rules.
THE UDGATA OR ODES “In
There are some wild carols seldomreducible to prosodial
rules, whereinthe poet follows his fancy, numerisque ferturlege solutis,
”as Horace says. Mr. Colebrooke (p. 131) cites
the following fromthe twelfth canto of the Kirat Arjuniya
wherein, as inthe fifteenth canto of Magha’s epic poem, the
Udgataoccurs.
O U“
O“
U UUU
UUU O U“
O“
U
O U UUU O“
U U
O“
U O U“
O“
U
W W Wm urmur?!
But the king of the Ch'
e'
dis was impatient of the honours which the son
of Pi lidu commanded to be showninthat assembly to the foe of Madhn;for themind of the proud is envious of the prosperity of others.
46 SANSKRIT PRO SOD Y. APPE ND IX .
Another variety,named runs thus (G.D . Yates
U U U U U U
U UU U U U
U U U UU U“
U U
U U“
U“
U UU“
U U
N mwi lt gitearnmfimftmore
TheresplendentYamunl‘l glides briskly among theyouthful shepherdesses,reflecting the tremulous light of themoon’s beams onthe bright eyes of
Krishna (Yates) .
Another kind of Lalita.
O U“
U“
U UU
UUU O U“
U
UUU UUU UU“
UU U“
U UU“
The sweetnectar distilled fromthebeaming face ofMura’s enemy, is likethat which falls fromthemoon, and is imbibed by the beauteous happyyouth ofVraja.
Another variety of Udgataruns thus.
O U“
O“
U O U“
UUU O U“
O“
U
O U UUU U“
U U
UU“
O“
U O U“
U“
U
THE UDGATA .
l'
rfilrtfimrfirvrtfirymmThenDhananjaya (Vulcan) at the command of Indra with a pleasing
countenance performed the appointed austerities to secure the favour of thetireless three- eyed one.
”(Id. p.
Another variety, called Saurabhaca (ih. p. 386)
UU“
U“
U UU“ S J S G
UUU UUU“
U“ N NRL G
U“
UUU“
UU RN BG
UU U“
U UU“
U“
U S J S J G
mumW W “
0 Hari ! whose heart does not the astonishing sweet fragrance of thylotos- lips enchant? for it far ex cels the scent proceeding fromhundreds ofblooming lilies.
The eighth book of theMagha closes with this verse,whichthe commentator callsW anunknownmetre.1 W m a UU
“
U“
U
2 em 6 U U U U‘
U
c U U“
UU“
U“
U
m d U U
3 «mm e U U“ “
U“
4 mm’
rl
48 SANSKRIT PRO SODY . APPEND IX .
All this is one stanza, infour lines of unequal lengthmarkedl, 2, 3, 4.
The divisions heremarked a, c, e, are alike : the other lines
are irregular. Thismetre does not appear inany work on
prosody.
Inthemusical compositions, such as the Gite Govinda, the
laws of harmony supersede those of prosody ; this very nameinstead of U is accented at pleasure Govinda : and Krishna
oftenbecomes (U aniambus) Krishna. Thewell- knownsong,first printed by SirWilliamJones inhis Essay ontheMusical
Modes of the Hindus, beginning qfsmW EI?"11mi t
m via?etc sufliciently ex emplifies this liberty.
//a /1(A
l
f/12
h JA /7’flM /
ON THE SANSKEIT SYMBOLS USED
FOR NUMERALS.
IN Sanskrit chronology, arithmetic, and ex planations of
the Prosody, numerals are often ex pressed by symbols : inwords onthe planof a Memoria Technica. The cypher is
ex pressed by sky , sp ace, or any synonyme of those words.
Any phras e for themoon, the earth, or the body , stands for one.
The unit is usually named first. A date occurs, stated thus,Ritu, naga, vardhi, himamsu ; signifying the six seasons, the
eightmountains, thefour seas, and themoon: beginning fromthe unit the import is 1, 4, 8, 6 . Again: Sara, bahu, Rama,vasudha” represent, 5, 2, 3, 1 ; that is, the year of Salivahana
1325. In an edition of the Rameyan the date is stated
Nayana, dhar'
adha ’rshi nelina- vairi sankhya, Sadhiirana
nama sambat- sara,” that is, in the year titled Sadharana,having the number ey es, hills, sages,moon.
” This is 2771,and denotes SS . 1772, answering to A .D . 1850. Each Signof
the zodiac being assigned a separate sun, any name of the sundenotes twelve. Inone inscription a pair of suns” denotes
12 12 . Netra, Surya, Chandra”(eyes, suns,moon) represent
2, 12, 1 : that is, 1 122, elevenhundred and twenty- two.
Occasionally numerals aremingled with symbols : thus
N av’ambara, dwt, himamsu.
” Nine, sky, two,moon, thatis (9, 0, 2, 1) 1209.
50 SANSKRIT SYMBO L S .
Inmost of the Sanskrit treatises onprosody such enigmaticnames are used : thus inthe Sardfilametre, the pauses fall onthe syllables denoted by the number of Martandas (suns ;viz . twelfth), and of the Munis (sages ; viz . Thismethod increases the difficulty, and is therefore popular.
Having beenmuch embarassed by these refinements, I thinkanex planationmay be useful. The same systemappears in
volumes onMathematicks and Astronomy. T hus inDr. H
Kern’s translations fromA'ryaBhatta,1' a verse (inthe Arya
metre) is cited
The revolutions of Jupiter,multiplied by thenumber of the signs ( 12)are the years of Jupiter, called Aswayuja, etc. his revolutions are equal to
thenumber of the Jinas (24) a couple (2) theVedas (4) the seasons (6) the
fires ( i.e. 364,
Themethod of decyphering this, is ex plained inthe following pages.
Besides thenames givenby Mr. Prinsep, a set of Jyautisha
phrases (marked J .) will also be noticed.
Each name has several synonyme : thus for Seawemay useOcean, Neptune, etc.
The O,cipher, is called kha, ananta, akaSam, ambara, vyoma,
denoting Space, sky, heaven, the endless (circle) .
1 . Any name of themoon, Adonis ; as Chandra, Indu, etc.
The earth, prithvi, bhl‘
l, ku. The body, tanu, etc. (J Vana.
alone, solitary ; rupa, form, face.2 . Paksha, a wing ; Iletra, eye ; bahu, arm; hasta, hand ;See the Sruta Bodha, printed inthe Journal Asiatique, Dec. 1854, by
M. Ed. Lancereau, who has added a translationinFrench.
1' Inthe Journal of the Royal Asiatic Society, vol. x x . of 1863, p. 378.
52 SANSKRIT . SYMBOLS .
Danti, the eight that stand under the eight points of theheavens. [Fortune, asmangala, bhl'lti, etc. J
9. Randhra, orifices (eyes, ears, nostrils, etc) . Planets
(graha, including the sunandmoon) .10. S ides (Dik, dishe, the eight points of the compass,
with the zenith and nadir. Pancti : thus Ravana was peneti
griva, ten-necked : a party or society of ten. InJ . the word
Karma is inuse.
1 1 . Siva or Rudra : elevendemi- gods so called. [J adds
the word labha.]12 . Surya : because eachmonth has its ownsun. Pushkara,
a set of 12, as 12 years. Also the signs of the zodiac. See a
Jyotish poeminthe R.A.S . Journal, 1863, p. 378.
Mr. Prinsep has givena longer list : but I do not find that
the additional names are inuse ; a few, however, are well
known: thus
24. The Jinas, a set of gods worshipped by the Jainas (see
1863, p.
32 . Danta, Teeth : thenumber of the humanteeth.
The following dates, a few out ofmany instances, ex emplifythemethod. Thenumerals are those of the era of Salivahana,which commenced inA .D . 79. The year A .D . 1800 is ss.
. 1722 ,
A .D . 1860 is ss.1782 . The datesnow to be quoted are engraven
onmarble.
ss .
235 is ex pressed Pancha, Tricam, lochana : that is, five andthree and eyes.
888. Vasv’ asht’ashta. 1826, vol. x x . part 3, p.
Here the first word is a symbol, the others are plainnumerals.1012 . Ravi Vyoma (a z ero), Indu (themoon) .
SANSKRIT SYMBO LS .
102 1 . Sasi (moon), pacshi (sides), kha (Sky), aike(one) . Colebrooke’s Essays, 11 . 391 .
1 1 19. Randhra (nine), subhr smsu (moon), rupa (form),nakshatra nayaka (moon) .Inthe Sruta bodha, a Sanskrit treatise onProsody, there is
printed Vedair Andhrair yatra, etc., and the French version
says that this alludes to an A'
ndhra dynasty of nine princes
inMagadha.
” This is anerror. Inthe Chhandomanjari itismore correctly printed randhra thus, Yedeinrandhra?
atau, ya se gi'
l Mattamayurall .1 181 . Chandra (one),Kari (elephants), Sasankan(twomoons) .1225. Bail seshi yugmamsasi. That is (five) arrows, two
pairs (eyes), andmoon. Inthe iv. 124, this ismisinterpreted 1245.
1325. Sara, bahu, rama, vasudha. But inanother inscriptionSara, ubhuja, rama, chandra. Inanother, Sara, danta,chandra. Here danta (teeth) denotes thirty- two.
1343. Sasi, vahni, Veda, hara drik, Moon, fires, vedas, and
Siva’s single eye. Inthis instance the unit is named not first
but last.
1458. Vasu, bane, bhuvana ganite sake. This is quoted byWestergaard inthe introductionto his Radices Sanscritica:
(Bonn, but by oversight hehas omitted thefirstnumeralas here printed it is only 458.
1753. Krishanu, Ban, aswa, Sasanka Sake. This is the date
(A .D . 1831) of the book Niti Sankalanah,’
printed at Calcutta
inthe Bengali character.
1764. Ved artu, sapt, endumitesake. Date of aneditiono
of
the Kuvalayanandamprinted at Puni . Inthis the numeralsevenis used.
NUMERICAL SYMBOLS .
1772 (A .D . Nayana, dharadhara, Rishi, Nalina Vairi
i.e. eyes, hills, sages,moon. Date of aneditionof the Ramiyanprinted at Madras.
NUMERICAL SYMBOLS
W H E R E I N E N G L I S H W O R D S A R E U S E D .
This is aneffort to adapt Européenwords to the H’
Indoo
method. The reckoning commences at the right hand. Thus
1862would be nine, six , eight, one,’ or Muse, Spring, Ei
O. the cipher, zero, is ex pressed Air, Space, sky. Egg,
oval, round , globe, orb. Also by Greek letters, at, B, 7 , 8, as
will be shown.
1 . Aries, Ram, Moon.
2 . Taurus, Bull.
The rest are represented by words chiefly of one syllable,
having somany letters.3. Cat, dog, owl, elk, fox , bat.
4. Ship, boat, brig, tree, wood.
5. Horse, steed, racer, priz e.
6 . Season, spring, summer, autumn, winter.
7. Rainbow ; either syllable is enough rain, or bow.
8. Strength, Vic [toria] abbreviated Vic.
9. Crocodile, alligator, telescope, telegraph (the first syllable
sufi ces) . Thenine‘Muses .
’
10. Pho [tograph], Archimedes, Coromandel.0
1 1 . Electricity, Nightingale, the French Onz e.
12 . Jury,Douz e. Thus 1262 is Bull, Spring, douz e, orTaurus,
NUME RICAL SYMBOLS . 55
13. Mediterranean, Treiz e, Tred[ecim]. Thus 1362 is Bull,
Spring, treiz e.
14. Trans[fonnation], Cons[tantinople]. Thus 1496 is
Spring,muse, Trans. Inthe rest I omit the Ten, which iscommonto all.
15. Any word connected with hand, as finger. Thus 1500
is Beta hand, and 1558 is Vic. horse,hand. 1515 is hand hand.
16 . Any word connected with a bee, which has six feet and
a six -sided cell. Thus 1646 is Spring, boat, bee ; or Season,ship, winter,moon.
17. Any word connected with a week, as Sunday. Thus
1769 is Muse, Spring, week ; or thus, Cro, summer, bow, ram,
18. Ei. Thus 1815 is Hand Ri. 1869 is Tel, Spring, Ri.
1800 is Beta Ei.
19 is Cro Ram.
23 is Sky, bull ; or Globe, Taurus.
A figure that is repeated is ex pressed by Two or Pair. Thus
1855 is Two Lights and Ei. A figure thrice used is ex pressed
Thrice or Trio. Thus 1777 is Two Bows and aWeek. And
1666 would be Spring, summer, and bee. Sky, Spring, Ei is
1860.
Many ciphers together, as 000, 0000, are represented byletters of the alphabet. Thus C or Co is three ciphers ; E or
E0 is five ciphers. is writtenGo West. Here G,
being the seventh letter, stands for sevenciphers . Fo Spring
Greek or Hebrew letters may be used. Thus (Zeta beingthe six th letter) Z eta- Spring Or, ifweuse Hebrew
letters, Van-Winter.
Or, a Greek word beginning with the requisite letter. Thus
56 NUMERICAL SYMBOLS .
Thetis Socrates Thus for A, denoting four
ciphers, wemay use Delphin.
Verses framed onthesemethods will bemore easy to recol
lect thanthose giveninGrey’s Memoria Technica.
The samemethodmay be pursued inother languages, the
Cipher, One, and Two, being disposed of as already stated.
InFrench, 3, Rat, fine. 4, Lion, Chat,Mari, Ours. 5, Loire,Femme, Aigle, Seine. 6
, Cheval, Enfant, Pascal. 7, Ecureil,Cupidon, Boileau, Fenelon. 8, Elephant, Rousseau. 9
, Cor
neille, Massillon, Empereur.
InGreek, 3, 4x 09, cap (or, at x aptves‘) 4, Gp
', Mew,
w ow. 5,“Em-
top. 6, Opnpos‘, apm'os
‘. 7 , Aumwp,
x eMBwv. 8,w parne rhino-
lavas. 9, x aprreq, at pave-
at .
InLatin, 3,Ver, Lux ,Fax . 4, Cura, Fors. 5, Domus, arbor.
6,Ensis, scutum. 7, Ovidius, Oceanus. 8, Victoria, certamen.
9, Virgilius, or Musai.
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s Memoirs ontheLanguage of Chaucer and Cover, and Reprints of the RareTracts by SalesburyonEnglish, 1547, and Welch, 1567 , and by Barclay onFrench, 152 1 . ByALEx ANDER J. ELLIS, etc. , etc. Part I. Onthe Pronunciationof thex rvth, x V Ith, x vuth, and x vrnth centuries. 108 .
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Trinity Hall, Cambridge,and revisedby theAuthor.
— II. AThirteenth Century LatinTreatise onthe Chilindre:“For
bymy chilindre it is prime of day (Shipmannee Tale) . Edited, with a Translation, byMr. EDMUND Buocx , and illustrated by aWoodcut of the Iiistrumentfromthe Ashmole MS . , 1522.
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,
M.A., Trinity Hall , Cambrid
ChroniqueDE AROU-DJAFAR OHAmIED -BEN-DJARIR-BEN-YEZID TAEARI .
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(Ed ema— SECOND ZULU-KAFIR READING Boox . By the same. 16mo.
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H .M .
’
S Consular Service ; N . B. DENNYS , late H .M.
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2 . ARTHUR (about 1 440 Edited by F. J. FURNIVALL,Esq.
,
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Edited by R . MORR IS , Esq. , fromanunique CottonianMS . 108 .
5 . OF THE ORTHOGRAPHIE AND CONGRUITIE OF TH E BRITAN TONGUE ;a treates ,noe shorter thannecessarie, for the Schooles , be ALEx ANDER HUME .
Edited for the first time fromthe unique MS . inthe British Museum(about1617 by HENRY B. WHEATLEY , Esq. 48.
6 . LAN CELOT OF THE LAIE . Edited fromthe uniqueMS . inthe CambridgeUniversity Library ( ab . by theRev.WALTERW. SKEAT ,M .A. 88.
7 . THE STORY OF GENESIS AND EXODUS, anEarly English Song, ofabout 1 250 A.D . Edited for the first time fromthe uni naMS . intheLibraryof Corpus Christi College, Cambridge, by R. MORRIS ,
‘
sq. 88 .
8 MORTE ARTHURE ; the Alliterative Version. Edited fromROBERTTHORNTON ’
S unique MS . (about 1 440 A .D .) at Lincoln, by the Rev. GEORGE
PERRY, M.A. , Prebendary of Lincoln. 78 .
9. ANIMADVERSIONS UPPON THE ANNOTACIONS AND CORRECTIONS OF
SOME IMPERFEOTIONS OP IMPRESSIONES OF CHAUCER’S WORE ES , reprinted
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14. KYNG HORN, with fragments of Floriz and Blanucheflur, and theAssumptionof the Blessed Virgin. Edited fromtheMS . inthe Library oftheUniversity of Cambridge and the BritishMuseum, by the Rev. J. RAWSON
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27 . MANIPULUS VOCABULORUM a Rhyming Dictionary of the EnglishLanguage, by PETER LEVIN S Edited, with anAlphabetical Index ,by H ENRY B. WHEATLEY. 1 28 .
28 . THE VISION OF WILLIAM CONCERNING PIERS PLOWMAN, togetherwithVita de Dowel, Dobet et Dobest. 1362 A .D .,
by WILLIAM LANGLAND . The
earliest or VernonTex t ; Tex t A. Edited fromthe VernonMS , with full
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29 . OLD ENGLISH HOMILIES AND HOMILETIC TREATISES . (Sawles Warde,
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S CREDE (about Edited fromtheMS S . by the Rev. W. W. Sx EAT
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3 1 INSTRUCTIONS FOR PARISH PRIESTS . By JOHN MYRC. Edited fromCottonM.S . Claudius A. II. , byEDWARD PEAcocx ,Esq.
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32 . THE BADEES BOOR , Aristotle’s A B C, Urbanitatis, Stans Puer ad
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Hugh Rhodes and JohnRussell,WynkyndeWorde’
s BokeOf Kervynge, TheBOOke Of Demeanor, TheRake Of Curtasye, Seager
’s Schools ofVertue, etc.,
etc. With some French and LatinPoems onlike subjects, and some Forewords onEducationinEarly England. Edited by F J FURNIVALL, M .A.,
Trin. Hall, Cambridge. 1 5s.
33 . THE BOOK OF THE KNIGHT DE LA TOUR LANDRY, 1372 . A Father’
s
Book for his Daughters, Edited fromthe HarleianMS. 1764, by THOMASWR IGHT , Esq. , M.A. , and Mr.WILLIAMROSSITER . 8s.
34. OLD ENGLISH HOMILIES ANDHOMILETIC TREATISES . (Sawles Warde,
and theWohunge of UreLauerd : Ureisuns of Ure Louerd and of Ure Lefdi,etc.) Of the Twelfth and Thirteenth Centuries. Edited fromMSS . intheBritishMuseum, Lambeth, and BodleianLibreries ; with Introduction,Translation, and, Notes, by RICHARD MORRIS. fi rst Series. Part 2 . 83 .
35. SIR DAVID LYNDESAY’S WORKS . PART 3. The Historie Of ane
NObil and Wailz eand q yer, WILLIAM MELDRUM, umvhyle Laird of
Claimhe and Bynnis, comght be Sir Dawn) LYNDESAY O theMont alias
LyounKing Of Armes, ith the Testament Of the said Williama Meldrum, Squé
er, compylit alswa be Sir Dauid Lyndesay, etc. Edited by F.
HALL, D. .L. 23.
36 . MERLIN ,OR THE EARLY HISTORY OF KING ARTHUR. A Prose
Romance (about 1450— 146 0 edited fromthe unique MS . in the
University Library , Cambridge, by HENRY B. WHEATLEY . With anEssayonArthurianLocalities, by J. S . STUART GLENN IE, Esq. Part III. 1869.
37 . 8113. DAVID LYNDESAY’S WORKS . Part IV. Ane Satyre Of the
thrie estaits, incommendationof vertew and vitvperationof vyce. Maid
be Sir DAVID LINDESAY, Of the Mont, alias LyonKing Of Armes. At
Edinbvrgh. Printed be Robert Charteris, 1602 . Cvmprivilegio regis.
Edited by F. HALL, Esq., D .C .L . 43.
Ex tra Series.
1 TH E ROMANCE OF WILLIAM OF FALERNE (otherwise known.as the
Romance of Williamand theWerwolf) . Translated fromthe French at the
command of Sir Humphrey de Bohun, about A .D . 1350, to which is added a
fragment of the Alliterative Romance of Alisaunder, translated fromtheLatinby the same author, about A .D . 1340 ; the former re- edited fromthe
unique MS . inthe Library of King’
s College, Cambridge, the latter nowfirst edited fromthe unique MS . inthe BodleianLibrary, Ox ford. By theRev. WALTERW. SKEAT, M.A. 8vo. sewed , pp . x liv. and 328. £ 1 63 .
2a.ON EARLY ENGLISH PRONUNCIATION, with especial reference toShakSSpeare and Chaucer ; containing aninvestigationOf the Comspondenceof Writing with Speech inEngland, fromthe Anglo - Sax onperiod to thepresent day, preceded by a systematic Notationof all SpokenSounds. bymeans Of the ordinary Printing Types ; including a te- arraugement Of Prof.
F. J. Child’s Memoirs onthe Language of Chaucer and Gover, and reprints
of the rare Tracts by Salesbury onEnglish, 1547, andWelch, and byBarclay onFrench, 152 1 . By ALEXANDER J. ELLIS , F.R.S . Part
,I. On
thePronunciationOf the x rv th, x vx th, x vmth, and x vmth,centuries. 8vo.
sewed, pp. viii. and 416 . 108,
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‘DBB.W. SREAT, M.A. sve.
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5 . CHAUCER’S BOETIUS . [b tinepress .
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Edda Seemundar E'inns Freda— The Edda of Saemund the Leamed.
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152 , cloth, 3s . 6d . Part II . with Index of Persons and Plhces. By BENJAMINTHORFE . l 2mo. pp. viii. and 172 , cloth. 1866 . 43 . orin‘ ] Vol. complete, 70 . 64.mand (him; anEarly English Romance. Edited fromBishopPercy
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E liot — THE HISTORY OF INDIA, as told by its ownHistorians. TheMuhammadanPeriod. Edited from.the Posthumous Papers of the late SirH .
M. ELLIOT , East India Company’s Bengal Civil Service, by Prof.JOHN DOWSON , Staff College, Sandhurst. Vols. I. and II. With a
0
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ELLIOT , K.C .B. Arranged fromMS .materials collected by him, and Editedby JOH N BEAM ES , Esq., Bengal Civil Service, Member of the
Asiatic Society.of Bengal, The Philological Society of London, and the SociétéAsiatique Of Paris. Intwo volumes . 8vo . [Inthe press .
Ethnological‘
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Sir JOHN Luns ocx . Bart., F.R.S . ; Colonel A. LANE Fox , HOD. Sec .;
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CONTENTS OF THE ArmNUMERE, 1869.-Flint Instruments fromOx fordshire and the Isle CO
Thanet. (Illustrated . ) B Colonel A. Lane FOL — TheWesterly Drifting of Nomads . By B . H .
Howorth.— Ou the Lion hilling. By B e Clarke — Letter on9. Marble Ari- let. By Ii . W .
Edwiirds .-Ou a Bronz e Spear fromLong Cur, Limerick. (Illustrad By Col. A. LaneFox .
- Ou Chinese Charms. By W. H . Bloch —FrommCondition01'Asia» Minor. By Hyde
Cla im— Ou Stone Implements fromthe Cape. (Illustrated. ) By Sir J. Lubbock.- Cromlechs
and Megalithic Structures . By B . M. Westmpp .— Remarks onMr. Westi iOpp
’s Papeii. By
Colonel A. LaneFOIL— Stone Implements fromSanJose. By A. Steflensr - O u Child - bearing inAustralia and New Zealand ; By J . Hooker,M.D .
—Ou a tPseudo- cromlech onMount Alexander,Australia. By Acheson.
- The Cave Cannibals of South Africa. B Layland .— Rev1ews :
Wallace’s Malay Archipelago (with illustrations):oFryer
’s Hill Tribes of die (with anillustra
tion) Reliquia Aquitanicm, eta— Method ot' tOgraphicMeasurement of the HumanFrame(With anillustration) . By J. H . Lamprey .
— Notes and Q ueries.
Facsimiles of Two Papyri found ina Tomb at Thebes. With a
a Translationby SAMUEL BIRCH , LL.D ‘ Corresponding Member ofthe Institute Of France, Academies of Berlin, H
'erculaneum, etc., and
Account . Of their Discovery. By A. HENRY BH IND, Esq., etc. Inlarge folio, p . 30 of tex t, and 16 plates coloured, bound incloth. 2 1s .
Furnivall. DUCATION IN EARLY ENGLAND. Some Notes used as
Forewords to a Collectionof Treatises on Mannersand Meals inthe OldenTime,’ for the Early: English Tex t Society. By FREDERICK J. FURNIVALL ,
M .A., Trinity Hall , Cambridge, Member Of Council of the Philological andEarly English Tex t Societies. 8vo, sewed , pp. 74. Is.
Gesenins’ HebrewGrammar. Translated fromthe 1'7th Edition. ByDr. T . J. CONANT . With grammatical Ex ercises and a Chrestomathy by theTranslator. 8vo. pp. x vi. and 364, cloth. 103 . 6d.
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Goldstiicker.— A DICTIONARY, SANSKRIT AND ENGLISH . ex tended and
improved fromthe Second EditionOf theDictionary of ProfessorH . H .WILSON,
with‘
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Part 68 .
Goldstiicker.— A COMPENDIOUS SANsx RIT - ENGLISH DICTIONARY, for the
Use Of those who intend to read the easierWorks Of Classical Sanskrit Literature. By THEO DOR GOLDS T iic R . Small 4to. pp . 900, cloth. [Inp rep aration.
Goldstiicker.— PANINI : His Place inSanskrit Literature. AnIuves
tigationof some Literary and Chronological Q uestions whichmay be settled bya study of his Work . A separate impressionof the Preface to the Facsimile ofM8 . NO . 17 inthe Library of Her Majesty
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Grammatography .— A MANUAL OF REFERENCE to the Alphabets of
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BALLH ORN . Inone volume, royal 8vo. pp. 80, cloth. 7s . 6d .
The Grammatography” is offered to the public as a compendious introductionto the readingof themost important ancient andmodernlanguages . Simple inits design, it will be consultedwith advantage by thephilological student, the amateur linguist, the bookseller, the corrector ofthe press , and the diligent compositor.
ALPHABETICAL INDEx .
Afghan(or Pushto ) . C z echian(orBohemian) Hebrew (current hand ) . Polish .
Amharic. Danish . Hebrew (Judmo- Ger Pushto (or Afghan) .Anglo- Sax on. Demotic. Hungarian. [man) Romaic(MOdernGreek)Arabic. Estrangelo. Illyrian. Russian.
Arabic Ligatures . E thiopic. Irish .
Aramaic. Etruscan. Italian(Old ) . Samaritan.
Archaic Characters . Georgian. Japanese. Sanscrit.Armenian. German. Javanese. Servian.
AssyrianCuneiform. Gla Olitic. Lettish . Slavonic (Old ) .Bengali. Got ic. Mantshu. Sorbian(orWendish) .Bohemian(Cz echian) . Greek. Med ianCuneiform. Swedish.
Bugis . Greek Ligatures . ModernGreek (Romaic) Syriac.
Burmese. Greek (Archaic Mongolian. Tamil.Canarese (or Carndtaca) . Gujerati(orGuz z eratte) . Numidian Telugu .
Chinese. H ieratic. OldSlavonic(orCyrillic) Tibetan.
Cop tic. Hieroglyphics. Palmyrenian. Turkish.
Croato - Glagolitic. Hebrew. Persian. Wallachian.
Cufic. Hebrew(Archaic) . PersianCuneiform. Wendish (or Sorbian) .
Cyrillic (orOld Slavonic) . Hebrew Rabbinical) . Phoenician. Zend .
Grey .— HANDBOOK OF AFRICAN , AUSTRALIAN , AND POLYNESIAN PH I
LOLOGY, as represented in the Library Of His Ex cellency Sir George Grey,Her Majesty
’s High Commissioner of the Cape Colony. Classed,
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Vol. II. Part 2 .— PapuanLanguages of the Loyalty Is lands and New Hebrides, compris
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a
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Vol. III . Part l .—Manuscripts and Incunables. 8vo. pp . viii. and 24. 23.
Vol. IV. Part l .— Early Printed Books . England . 8vo. pp . Vi. and 266.
Grey .— MAORI MEMENTOS : being a Series Of Addresses presented by
the Native People to His Ex cellency S ir George Grey, F.R.S . WithIntroductoryRemarks and Ex planatoryNotes to which is added a small ColleetionOf Laments , etc. By CH . OLIVER B. DAVIS. 8vc . pp. iv. and 228, cloth. 12s .
Grifi th — SCENES FROM THE RAMAYANA, MEGHADUTA, ETC. Translatedby RALPH T . H . GRIFFITH , M.A. Fcap. 8vo. cloth, pp. 200. 58.
CONTENTe.— Preface— Ayodhya
— BavanDoomed— The Birth of Rama— The Heir apparentManthara’s Guile— Dasaratha’s Oath—The Step-mother- Mother and Son—The Triumph Of
12 Linguistic Publications of Trt’
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IkhwénmSafa.— IHEWANU - s SAFA ; or, BROTHERS OF Pom . De
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HumanRace. Translated fromthe Hindustani by Professor J. OWSON, Staff
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TRUBNER 81. CC., 60, PATERNOSTER ROW.
Some Recent Publications
The Hindu-Arabic Numerals continued
not of Arabic origin, and although numerous monographs havebeenwrittenconcerning their derivation
,no single work has yet
appeared inwhich the complete story of their rise and development has beentold . Inthe preparationOf this treatise the authors
have ex amined every important book and monograph that has
appeared upon the subject, consulting the principal libraries Of
Europe as well as America,ex amining many manuscripts, and
sifting the evidence with greatest care. The result is a scholarlydiscussionof the entire questionOf the originof the numerals
,the
introductionof the z ero, the influence Of the Arabs,and the spread
Of the systemabout the shores of the Mediterraneanand into thevarious countries Of Europe.
Wentworth- Smith Mathematical SeriesFor Me comp lete series , seepage3 1 8 of H zg/z - Sc/z ool Catalog
-
u
By GEO RG E WENTWORTH and DAVID E UGENE SM ITH
BY combining their knowledge, skill, and working capacity, these
two noted authors bring to the important duty Of providing tex t
books for our schools a higher degree Of efficiency thanhas ever
before beendevoted to that end .
'1 hat this combinationof peda
gogical skill and thorough scholarship is productive Of the best
results is conclusively proved by the enthusiastic receptionthat isdaily being accorded to the books Of this series .
Wentworth Plane and Solid Geometry (Revised)By G . A . WEN
'IWO RTH . Revised by GEO RG E WENTWO RT H and DAVID
E UGENE SM ITH . I zmo, cloth, viii 470 pages, illustrated ,
InTwo VolumesPlane Geometry (Revised)I smo
,cloth
,vi 2 87 pages , illustrated , 80 cents .
Solid Geometry (Revised)I s
,cloth
,x iii 190 pages, illustrated , 75 cents .
THE Wentworth- Smith revision Of the Wentworth Geometrymay confidently be described as themost usable tex tbook inthe
subject that America has ever produced .
Some Recent Publications
Slocumand Hancock Tex tbook onthe Strength Of
By S . E . S LOCUM ,Professor of Applied Mathematics inthe University of
C incinnati, and E . L . HANCO CK,Professor of Applied Mechanics inWorcester
Polytechnic Institute, Worcester,Mass . 8v0 , cloth, x x x viii 372 pages ,
SLOCUM AND HANcocx’s Tex tbook onthe Strength of Mate
rials has beenrevised that itmay be abreast Of themost recentpractical developments onthe subject. Themethod Of presentationhas beensimplified that the subjectmay be easily understoodby average technical students Of junior grade.
Considerablenewmaterial has beenadded . TO facilitate numerical calculations a set Of tables has beenplaced at the beginningOf the volume. InPart I themost important additions are articles
onthe designOf reenforced concrete beams,shrinkage and forced
fits,the designOf eccentrically loaded columns
,the designand
efficiency Of riveted joints, the general theory Of the torsionOf
Springs, practical formulas for the collapse Of tubes,and anex ten
sionOf themethod Of least work to a wide variety Of practical
problems . This last includes a simple general formula for the
shearing deflectionOf beams, never before published. Nearly one
hundred and fifty original and practical problems have also been
added to Part I.
InPart II the recent advances inthemanufacture Of steel have
beengivenspecial attention, including the properties Of vanadiumsteel
,manganese steel, and high- speed steel. Reenforced concrete
has also received amore adequate treatment, and the chapter on
this subject has beenthoroughly revised andmoderniz ed .
Smith The Teaching
Smith and KBy DAV ID EU
Columbia University, and LO U IS C . KARPINSKI,Instructor inMathematics in
the University of Michigan, AnnArbor. rzmo,cloth
,Vi + 1 60 pages , illus
trated,
ALT HOUGH it has long beenknownthat the numerals ordinarilyemployed inbusiness, and commonly attributed to the Arabs, are
7 5- 2 91‘
B/ /?t z _
