Re: Perhaps a must-read article on Chandassu
srini_nagul
--- In racch...@yahoogroups.com, Sri "J. K. Mohana Rao" gAru wrote:
>
> vANIgaNa- III, UI, IU
> SrIgaNa- IIII, IIIU, UII, UIU, IUI, IUU
> girijAgaNa- IIIII, IIIIU, IIIUI, IIIUU, UIII, UIIU,
> UIUI, UIUU, IUII, IUIU, IUUI, IUUU
>
> The vANIgaNa is similar to the Brahma gaNa or sUrya gaNa.
> The SrIgaNa is similar to the Vishnu gaNa or iMdra gaNa.
> The girijAgaNa is similar to the rudra gaNA or chaMdra gaNa.>
>
> తేటగీతి (వాణీ-శ్రీ గణములతో)-
>
> మనసు వరించె తరించ ననఘ నిన్ను
> కనుల కనికరించు మించుకైన యిపుడు
> హరీ బిరాన జేరర పరాకు విడి
> విరుల సరాల వేతును శిరమునందు
ముందుగా ఎన్నో ఆసక్తికరమైన, ఆలోచింపజేసే విషయాలను
అందించినందుకు చాలా కృతజ్ఞతలు.
ఒక్క చిన్న సందేహం. మూడవ పాదాంతంలో "పరాకు వీడి" అని అంటేనే
అర్థవంతంగా ఉంటుందనిపిస్తుంది. మరి అలా "వీడి" అంటే గణ
భంగవుతుంది. లేక ఇపుడున్నట్టు "విడి విరుల సరాలు" అని
అన్వయించుకోవడం కొంచెం కష్టంగా ఉంది. దయ చేసి వివరించ మనవి.
విధేయుడు
-Srinivas
From srini_nagul@y... Mon Nov 29 15:08:55 2004
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Date: Mon, 29 Nov 2004 22:53:54 -0000
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Subject: Re: Perhaps a must-read article on Chandassu
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--- In racch...@yahoogroups.com, Sri "Kameswara Rao Bh." gAru
wrote:
>
> However, there is one unique Chandassu which cannot be classified
> as any of the above, but is a combination of two or more of them.
> I leave that as a quiz to the readers (if any:-) of this
> article.
I bite the bullet- it is కందం (that has సంఖ్యాపరమైన
నిబంధనలు like బేసి జగణం and గణపరమైన నిబంధనలు)
> The defintion of sUrya gaNa carefully omits the IU out
> of the three mAtra gaNas since it has a vilOma naDaka.
I did not understand why IU is called విలోమ నడక.
Sri Sri's మరో ప్రపంచం ..పిలిచింది, పదండి ముందుకు..
comes to my mind readily. It would be little odd and humorous to
know, if indeed Sri Sri used విలోమ నడక for prodding to go
forward పదండి ముందుకు :-)
> It always surprises me as to why nannayya did not
> write a lakshaNa graMtha about his Candassu explaining
> the reasoning behind all the revolutionary decisions
> that he made:
> 2. Violating (rather removing) the (virAma)yati rule
> of Sanskrit for telugu vRttas.
I didn't know it was Nannayya who violated "virAma yati" and/or
started the new yati rule. So does it mean all padyaMs we know as
prior to Nannayya followed the విరామ యతి of Sanskrit ?
Regards
-Srinivas
Courtesy: http://www.kanneganti.com/
Kameswara Rao Bh.
--- "J. K. Mohana Rao" <jkmrao@y...> wrote:
> I want to explain today how the gaNa structure
> is formed. There are three types of gaNas used
It is indeed a very interesting article. Here are my
observations/thoughts on the subject discussed.
The classification of gaNas is certainly nice to do
and analyze for some one with a mathematical interest;
but I find the following classification of entire
Chandassu more complete:
1. akshara saMkhyA baddhamu
2. guru laghu krama baddhamu
3. gaNa baddhamu
4. mAtrA baddhamu
The Sanskrit Chandassu like anushTup belong to the
first category of akshara baddha Candassu. The rules
are specified just based on the number of letters.
The Sanskrit vRttas like mAla, vikrIDita are guru
laghu krama baddhamu. The rules are defined by the
exact sequence of guru and laghu. The telugu Candassu
like sIsaM, ATaveladi are gaNa baddhamu. They are
specified as a sequence of specific gaNamulu. The last
but least is well known. However, there is one unique
Chandassu which cannot be classified as any of the
above, but is a combination of two or more of them. I
leave that as a quiz to the readers (if any:-) of this
article. The thing which I like with this
classification is, the way poems are recited seems to
be greatly influenced by this classification. What I
mean is akshara baddha Candassu seems to sound good if
you recite it as a Sloka instead of singing it as a
song. Similarly a poem in mAtrA baddha Candassu seem
to be more "singable" like song than the other three.
The second (especially those that are widely used in
telugu) and third seem to be more suitable to be
recited with the distinct style of reciting a telugu
padyaM.
Coming to the classification of gaNa:
>>"One letter and two-letter gaNas occur only at the
end of a pAda"
This statement does not seem to be correct. The two
lettered "UI" gaNa can come in the first three gaNas
of an odd pAda in ATaveladi. Similary for tETagIti.
Regarding the three lettered gaNas, I always wonder
about the significance of grouping guru and laghu into
three lettered gaNas. Till now, I did not find any
logical reasoning or advantage in doing that (for
vRttas). Ofcourse it has certain advantage in case of
gaNa baddhamaina Candassu in telugu (in forming indra
and surya gaNas). But this grouping was indeed done in
Sanskrit first. I read that this system of grouping
guru laghu into gaNas was not there from the beginning
but was introduced by Pingala.
Coming to the aMSa gaNas, I find the indra and sUrya
gaNa classification in telugu to be much more
reasonable than the classifications in tamil and
kannaDa. In tamil or kannada, the classification is
purely based on combonatorics. For example, there is
no reason why UII does not belong to Brahma gaNa
except that, that combination of guru and laghu does
not occur when you extend U and II by adding a guru or
laghu at the end. The sUrya and indra gaNa
classification in telugu seems to be much more
intelligently done based on the "rythm" or "naDaka".
The defintion of sUrya gaNa carefully omits the IU out
of the three mAtra gaNas since it has a vilOma naDaka.
Similarly the indra gaNa classification seems to be a
careful mixture of 4 and 5 matra gaNas. I do not know
when and who has introduced this sUrya and indra gaNa
classification in telugu. Were they already there by
the time of nannayya? Most probably yes.
It always surprises me as to why nannayya did not
write a lakshaNa graMtha about his Candassu explaining
the reasoning behind all the revolutionary decisions
that he made:
1. Not using any of the Candassu that was popular in
Sanskrit; instead importing the Sanskrit vRttas which
were rarely (or never!) used in Sanskrit into telugu.
2. Violating (rather removing) the (virAma)yati rule
of Sanskrit for telugu vRttas.
3. Using the vaLi (telugu yati) and prAsa niyamaM for
vRttas.
4. Not using (almost) taruvOja or dwipada which seem
to be popular at that time; instead going for sIsaM,
ATaveladi and tETagIti.
Another interesting classification, though did not get
popular, is the concept of "bhAva gaNa", introduced by
SrI kOvela SampatkumArAcArya. This he did primarily to
bring in the Vacana kavitwam also into the purview of
Candassu. In this context, I like SrI cErA's concept
of looking at Candassu (or a poem) at three levels (or
layers):
1. నిర్వచన స్థాయి - definition level
2. నిర్వహణ స్థాయి - implementation level
3. పఠన శ్రవణ స్థాయి - vocal/auditory level
I read about this in his essay వచన కవిత్వం:
నిర్మాణ మూలాలు, నిరూపణ క్లేశాలు.
This seems to be more logical, giving more insight
into the roots of Candassu.
More on this later.
regards,
Kameswara Rao.
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J. K. Mohana Rao
--- "Kameswara Rao Bh." <kamesh_b@y...> wrote:
Since this message raises some questions, the reply
will be suitable to RB also which has more critics
and scholars.
> 1. akshara saMkhyA baddhamu
> 2. guru laghu krama baddhamu
> 3. gaNa baddhamu
> 4. mAtrA baddhamu
> The Sanskrit Chandassu like anushTup belong to the
> first category of akshara baddha Candassu. The rules
> are specified just based on the number of letters.
>
There is some confusion here. anushThub^ is the name of
the eighth Chamda. In this ChaMda, there are 256 vRttas.
They all have akshara-gaNAs, viz., na-ya-ra-ta-ma-bha-ja-sa
and la-ga as well as ga-la. The SlOka is a special case.
It has: (1) The first five letters may be laghu or guru.
(2) The sixth and seventh must be UU for odd and UI for
even lines. The last letter generaly is a guru. This
must not be confused with the 256 vRttas we have in the
ChaMda.
> The Sanskrit vRttas like mAla, vikrIDita are guru
> laghu krama baddhamu. The rules are defined by the
> exact sequence of guru and laghu.
>
These are dependent on akshara-gaNAs in the way I
defined.
> The telugu Candassu
> like sIsaM, ATaveladi are gaNa baddhamu.
>
They are aMSa-gaNa baddhamu. sUrya-iMdra-chaMdra
gaNAs are aMSa gaNAs.
> Coming to the classification of gaNa:
> >>"One letter and two-letter gaNas occur only at the
> end of a pAda"
> This statement does not seem to be correct.
>
The two-lettered gaNAs occur at the end of the pAdAs
of vRttas. Since I was discussing akshara gaNAs that
occur in vRttAs, I did not mention this specifically.
> The two
> lettered "UI" gaNa can come in the first three gaNas
> of an odd pAda in ATaveladi. Similary for tETagIti.
> Regarding the three lettered gaNas, I always wonder
> about the significance of grouping guru and laghu into
> three lettered gaNas. Till now, I did not find any
> logical reasoning or advantage in doing that (for
> vRttas).
>
It is sound mathematics, the one and only way of
combining two quantities as a triad. In my opinion,
this is one of the greatest reasonings in the history
of ancient mathematics. These are akshara gaNAs.
> Ofcourse it has certain advantage in case of
> gaNa baddhamaina Candassu in telugu (in forming indra
> and surya gaNas).
>
The way in which the aMSa gaNAs are obtained is completely
different and I explained it using the two mAtras as
the basic unit. One must be very precise in using the name
gaNa, whether it is akshara (ya, ma, etc.), aMSa (sUrya, etc.)
or mAtra.
> Coming to the aMSa gaNas, I find the indra and sUrya
> gaNa classification in telugu to be much more
> reasonable than the classifications in tamil and
> kannaDa. In tamil or kannada, the classification is
> purely based on combonatorics.
>
The iMdra gaNAs in Telugu are basically VishNu gaNAs
of kannaDa, except that those with six mAtras are
not considered. In Tamil, it is a bit different.
> For example, there is
> no reason why UII does not belong to Brahma gaNa
> except that, that combination of guru and laghu does
> not occur when you extend U and II by adding a guru or
> laghu at the end. The sUrya and indra gaNa
> classification in telugu seems to be much more
> intelligently done based on the "rythm" or "naDaka".
>
This is not at all true. naDaka has nothing to do
here, except the removal of the six-mAtra gaNAs. naDaka
comes afterward in the analysis.
> The defintion of sUrya gaNa carefully omits the IU out
> of the three mAtra gaNas since it has a vilOma naDaka.
>
IU does not exist as a Brahma gaNa even in Kannada.
There is no poem in Telugu or Kannada that has IU
in the beginning, except in the case of vRttas like
paMcacAmara imported from sanskrit. In fact, I
mentioned about this once in ChaMdOmRtabiMduvulu
(on 22 May 2003).
> Similarly the indra gaNa classification seems to be a
> careful mixture of 4 and 5 matra gaNas.
>
Even Vishnu gaNAs have four and five mAtrAs besides
the two with six mAtrAs.
> I do not know
> when and who has introduced this sUrya and indra gaNa
> classification in telugu.
>
These were there at least in the middle of the ninth
century. A taruvOja was found in addaMki SAsanamu
(refer to my message of 20 OCT 2003).
> Were they already there by
> the time of nannayya? Most probably yes.
>
You answered your question.
> 1. Not using any of the Candassu that was popular in
> Sanskrit; instead importing the Sanskrit vRttas which
> were rarely (or never!) used in Sanskrit into telugu.
>
The mAla vRttas and mattEbhavikrIDitamu were the gifts
of kannaDa to telugu. They were thriving in that
language. Once again I quoted with meanings a
caMpakamAla from kavirAjamArga with meaning at the
time when I wrote the series on udAharaNa. It is a
sArvavibhaktika padya.
> 3. Using the vaLi (telugu yati) and prAsa niyamaM for
> vRttas.
>
In the taruvOja I mentioned above, there is vaDi, two
centuries before Nannaya.
> 4. Not using (almost) taruvOja or dwipada which seem
> to be popular at that time; instead going for sIsaM,
> ATaveladi and tETagIti.
>
Nannaya never liked dESi ChaMdassu. Otherwise, he
would have used these and many more like ragaDa,
perhaps the most musical Telugu ChaMdassu.
>
> Another interesting classification, though did not get
> popular, is the concept of "bhAva gaNa", introduced by
> SrI kOvela SampatkumArAcArya.
>
My interest is to analyse these in a mathematical way.
The above does not fall under this category.
Regards! - mOhana
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I want to explain today how the gaNa structure
is formed. There are three types of gaNas used
aMSa and mAtra. I am not going to discuss the
mAtragaNa formation today, as I did this earlier.
Telugu poetry is a mixture of all the three types
of gaNas, viz., akshara, aMSa and mAtra. Let us
see how the akshara gaNas are formed. These are
borrowed from the Sanskrit prosody. The basic
units are a guru (U) and a laghu (I). To each
is added a guru and a laghu to obtain the two
letter gaNas- II, IU, UI, UU. One-letter and
two-letter gaNas occur only at the end of a pAda.
If we add a guru and a laghu to the four two-letter
gaNas, we get the all important eight-letter gaNas-
III (na), IIU (sa), IUI (ja), IUU (ya), UII (bha),
UIU (ra), UUI (ta) and UUU (ma). These eight
akshara gaNas are the building blocks for all the
vRttas in the twenty-six ChaMdas of Sanskrit poetry.
In principle, one can add a guru and a laghu to all
the eight three-letter gaNas and obtain sixteen
four-letter gaNas. But these are not used for two
reasons: (a) Naming and remembering sixteen four-letter
gaNas is cumbersome. (b) Nothing new is obtained in
the description of vRttas by the use of the four-letter
gaNas. Thus this is only a theoretical curiosity.
Next, let us go to the formation of aMSa gaNas.
These are original to Kannada. Even the Kannada
poetry must have borrowed this type of gaNas from
the ancient Tamil poetry. Let us consider that
first. The basic unit here is aSai. It is of two
types: nEraSai, niraiyaSai. nEraSai is similar to
a guru. niraiyaSai consists of II and IU. Just as
gaNa is formed with the units of guru and laghu, a
SIr is formed by combining aSais. Two-aSai SIrs are
formed as: nEr-nEr, nEr-nirai, nirai-nEr and
nirai-nirai. Similarly, three-aSai SIrs are formed
by adding nEr and nirai aSais to the four two-aSai
SIrs. It is these SIrs with complicated rules that
are used in poems like veNpA used in the famous
tirukkural.
In Kannada, the basic unit is a two-mAtra structure.
Two mAtrAs can be obtained in only two ways: U, II.
To these, if we add a guru and a laghu, we get UI, UU,
III and IIU. These are the Brahma gaNas. If we take
out the four-mAtra gaNas UU and IIU from this, we get
the sUrya gaNas of the Telugu prosody. To the Brahma
gaNas, if we add a guru and a laghu we get the following
Vishnu gaNas: UII, UIU, UUI, UUU, IIII, IIIU, IIUI, IIUU.
If we remove the gaNas with six mAtras (UUU and IIUU)
from these, we get the six iMdra gaNas of Telugu
prosody. To each of the Brahma gaNas, if we add a
guru and a laghu, we get the sixteen rudra gaNas-
UIII, UIIU, UIUI, UIUU, UUII, UUIU, UUUI, UUUU, IIIII,
IIIIU, IIIUI, IIIUU, IIUII, IIUIU, IIUUI, IIUUU.
Once again, if we remove the eight-mAtra gaNas (UUUU
and IIUUU) from these, we get the fourteen chaMdra
gaNas of Telugu prosody. Thus the Brahma-Vishnu-rudra
gaNas of the Kannada prosody (also known as rati,
madana and Sara) form the basis for the sUrya, iMdra
and chaMdra gaNas of the Telugu prosody. The basic
unit is a two-mAtra to which are added successively a
guru and laghu. In principle, we can get thirty-two
more gaNas by adding a guru and a laghu to the sixteen
rudra gaNas. But this is not done for two reasons:
(a) The number thirty-two becomes unwieldy for
descriptive purposes. (b) Some of the thirty-two
gaNas will have six letters, equal to two three-akshara
gaNas.
Even though the Brahma-Vishnu-rudra gaNas or the
sUrya-iMdra-chaMdra gaNas are obtained quite
independently, they are still described in terms
of the eight akshara gaNas like na-la, na-ga, sa-la,
etc. Thus the usage is rather hybrid, a mixture of
Sanskrit and native.
Having laid the foundations for the description of
the gaNa scheme, let us move a step forward. Let us
see what we obtain if we use a three-mAtra structure
as the basic unit. The three mAtras are: III, UI, IU.
If we add a guru and a laghu to these, we get IIII,
IIIU, UII, UIU, IUI, IUU. Going along the same lines,
we get twelve more from the above which are: IIIII,
IIIIU, IIIUI, IIIUU, UIII, UIIU, UIUI, UIUU, IUII,
IUIU, IUUI, IUUU. We will stop here as we will have
to deal with twenty-four gaNas if we add a laghu and
a guru to the above. Commemorating Nannaya’s first
poem from mahAbhArata, we will call these in the
following manner:
vANIgaNa- III, UI, IU
SrIgaNa- IIII, IIIU, UII, UIU, IUI, IUU
girijAgaNa- IIIII, IIIIU, IIIUI, IIIUU, UIII, UIIU,
UIUI, UIUU, IUII, IUIU, IUUI, IUUU
The vANIgaNa is similar to the Brahma gaNa or sUrya gaNa.
The SrIgaNa is similar to the Vishnu gaNa or iMdra gaNa.
The girijAgaNa is similar to the rudra gaNA or chaMdra gaNa.
Let us see how poems written with the SrI-vANI-girijA
gaNas look like.
ఆటవెలది (వాణీ-శ్రీ గణములతో)-
ఇంద్రుని స్థానమున చంద్రసహోదరి,
సూర్యుని చోటులో సుదతి వాణి,
నుంచి యిల రసిక జనోల్లము రంజిలన్
గీతుల వ్రాయనగు నాతి విధము
తేటగీతి (వాణీ-శ్రీ గణములతో)-
మనసు వరించె తరించ ననఘ నిన్ను
కనుల కనికరించు మించుకైన యిపుడు
హరీ బిరాన జేరర పరాకు విడి
విరుల సరాల వేతును శిరమునందు
ద్విపద (వాణీ-శ్రీ గణములతో)-
వెండి కంచమున నే వేసితి నీకు
దండిగా యన్నము ధార నేతితో
కూర గలిపికొని కుడువరా నీవు
చారుతో పులుసుతో చల్ల నీటితో
It all depends on the frames of reference in terms of
the basic units and the building blocks. We can
create our own gaNa structures and our own prosodies!
We can create our own poetry to enjoy in our own worlds!
[For the sake of completion, if we use a four-mAtra
structure as the basic unit, the gaNas obtained are
as follows:
pRthvi gaNas- IIII, IIU, UII, IUI, UU
aakASa gaNas- IIIII, IIIIU, IIUI, IIUU, UIII, UIIU, IUII,
IUIU, UUI, UUU
tEjO gaNas- IIIIII, IIIIUI, IIUII, IIUUI, UIIII, UIIUI,
IUIII, IUIUI, UUII, UUUI, IIIIIU, IIIIUU, IIUIU, IIUUU,
UIIIU, UIIUU, IUIIU, IUIUU, UUIU, UUUU]
yours sincerely,
J K Mohana Rao
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