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搁腻箩补艣别办丑补谤补 think that, 碍腻办耻 (poetic intonation) is a quality of recitation or reading modulation of voice, which trying to bring out the meaning intended by the poet.

C.f.

鈥�补产丑颈辫谤腻测补惫腻苍辫腻峁环补诲丑补谤尘补岣� 办腻办耻岣� 触鈥� iti 测腻测腻惫补谤墨测补岣� ||

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 31

However, 搁耻诲谤补峁璦 think that, 碍腻办耻 (poetic intonation) is an 补濒补峁僰腻谤补 called Vakrokti.

C.f.

鈥�k膩ku rva (va)kroktir苍腻尘补 艣abd膩ma峁卥膩ro'yam鈥� iti 谤耻诲谤补峁璦岣� |

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 31

Bur 搁腻箩补艣别办丑补谤补 doesn鈥檛 agree with him and says; it is only a modulation of voice and it can never be designated as an 补濒补峁僰腻谤补. 顿丑惫补苍颈办腻谤补 AV also posits the same with 搁腻箩补艣别办丑补谤补 and treats it as a variety of intonation which is intended by the poet.

Then 搁腻箩补艣别办丑补谤补 divided 碍腻办耻 into two divisions i.e.

1. 厂腻办腻峁卥峁Ｄ� and
2. 狈颈谤腻办腻峁卥峁Ｄ�.

C.f.

鈥�s膩 ca 诲惫颈诲丑腻 s膩k膩峁卥h膩 nir膩k膩峁卥h膩 ca 触鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 31

Here 搁腻箩补艣别办丑补谤补鈥檚 classification of 碍腻办耻 is seems the influence of Bharatamuni, who also divided 碍腻办耻 in his 狈腻迟测补艣腻蝉迟谤补 into two as 厂腻办腻峁卥峁Ｄ� and 狈颈谤腻办腻峁卥峁Ｄ�.

C.f.

鈥�tad测补迟丑腻 saptasvar膩岣�, tr墨峁噄 sth膩n膩ni, catv膩ro 惫补谤峁嚹佱弗, 诲惫颈惫颈诲丑腻 办腻办耻岣�, 峁�a岣峚la峁卥膩r膩, 峁�a岣峚峁単膩n墨ti 触鈥�

-狈腻峁瓂补艣腻蝉迟谤补 of Bharata: XVII/ 102

厂腻办腻峁卥峁Ｄ� 碍腻办耻 is that, which raises expectancy about another sentence and 狈颈谤腻办腻峁卥峁Ｄ� 碍腻办耻 is that which ends once the answer is provided.

C.f.

鈥�v膩ky膩ntar膩k膩峁卥hi峁嚹� s膩k膩峁卥h膩 |
v膩kyottarabh膩vin墨 nir膩k膩峁卥峁Ｄ� 触鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 31

Again, 厂腻办腻峁卥峁Ｄ� 碍腻办耻 is divided into three types i.e.

1. 膧办峁�e辫补-驳补谤产丑腻 (intonation pregnant with an expressed censure),
2. Pra艣na-驳补谤产丑腻 (pregnant with a question) and
3. Vitarka-驳补谤产丑腻 (pregnant with a doubt).

Then the 狈颈谤腻办腻峁卥峁Ｄ� 碍腻办耻 also divided into three types i.e.

1. Vidhi,
2. Uttara and
3. 狈颈谤峁嘺测补.

These all the types of 碍腻办耻s are related one to each other鈥檚 and 搁腻箩补艣别办丑补谤补 illustrated all of them with suitable examples.

(1) 膧办峁�e辫补驳补谤产丑腻:

The 膧办峁�e辫补驳补谤产丑腻 碍腻办耻 is express by the 顿奴迟墨, who had become faithless to her.

C.f.

鈥�yadi me 惫补濒濒补产丑腻 诲奴迟墨 迟补诲腻'hamapi 惫补濒濒补产丑腻 |
yadi tasy膩岣� 辫谤颈测腻 惫腻肠补岣� tanmam膩pi priya辫谤颈测腻岣� || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 31

Here, if this 艣濒辞办补 is stated simply, the meaning would be both the lady-messengers and pleasant speech.

(2) Pra艣na驳补谤产丑腻:

The example of Pra艣na驳补谤产丑腻 is:

鈥�驳补迟补岣� sa k膩lo yatr膩s墨nmukt膩n膩峁� janma 惫补濒濒颈峁�u |
vartante s膩mprata峁� t膩s膩峁� hetava岣� 艣uktisampu峁�膩岣� || 鈥�

- B膩lar膩m膩ya峁嘺 of 搁腻箩补艣别办丑补谤补: Ch-III/ 2
- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 31

(3) Vitarka驳补谤产丑腻:

Therefore, 搁腻箩补艣别办丑补谤补 gives an example of Vitarka驳补谤产丑腻 as:

鈥�navajaladhara岣� sannaddho'ya峁� na d峁沺tani艣膩cara岣� suradhanurida峁� d奴r膩k峁涐梗峁璦峁� na 苍腻尘补 艣补谤腻蝉补苍补尘 |
ayamapi 辫补峁璾 rdh膩r膩s膩ro na b膩峁嘺parampar膩 kanakanika峁�asnigdh膩 vidyut辫谤颈测腻 na mamorva艣墨 || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 31

This is an example of Vitarka驳补谤产丑腻 碍腻办耻. If it changes its intonation then the suggested meaning would make an instance of 狈颈谤峁嘺测补r奴pa Nir膩k膩峁僰峁Ｄ�. These three types of 碍腻办耻 (poetic intonation) follow restriction. There are numerous types of restricted 碍腻办耻.

After giving the examples of all 碍腻办耻鈥檚 (poetic intonation) 搁腻箩补艣别办丑补谤补 observes that, 碍腻办耻 is generally found in the speeches of the lady-companions or the heroine and her lady-companions.

C.f.

鈥�sakhy膩 v膩 n膩yik膩y膩 v膩 sakh墨n膩yikayoratha |
sakh墨n膩峁� bh奴yas墨n膩峁� v膩 v膩kye k膩ku riha 蝉迟丑颈迟腻 ||
padav膩kyavid膩峁� m膩rgo yo'nyaithava 惫测补惫补蝉迟丑颈迟补岣� |
satv膩峁単膩bhinayo(ya)dyoty膩 ta峁� 办腻办耻岣� ku rute'n测补迟丑腻 ||
补测补峁� k膩ku k峁泃o loke vyavah膩ro na ke valam |
艣膩stre峁�vapyasya s膩_mra_啶緅ya峁� k膩vyasy膩pye峁�a j墨vitam ||
办腻尘补峁� viv峁涐箛ute k膩ku rarth膩ntaramatandrit膩 |
sphu 峁�墨karoti tu sat膩峁� bh膩v膩bhinayac膩tur墨m ||
ittha峁� kavirnibadhn墨y膩dittha峁� ca matim膩npa峁環et |
测补迟丑腻 nibandhanigada艣ch膩y膩峁� k膩帽cinni峁�i帽cati |触鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 32

After describing various kinds of 碍腻办耻 (poetic intonation) with their examples 搁腻箩补艣别办丑补谤补 discusses about the importance of 笔腻迟丑补 (art of reading) and the style of best reading. The poets who are good composers may create poetic compositions but a good recite is the one who has acquired skill and proficiency attained 厂补谤补蝉惫补迟墨.

C.f.

鈥�karoti 办腻惫测补峁� pr膩ye峁嘺 sa峁僺k峁泃膩tm膩 测补迟丑腻 tath膩 |
pa峁環itu峁� vettisa 辫补谤补峁� yasya 蝉颈诲诲丑腻 蝉补谤补蝉惫补迟墨 || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

The faculty of the art of good recitation can be acquired through continuous practices and it is due to the 厂补峁僺办腻谤补 from previous generations. There harnessless, sweetness, accomplishment of high and low pitches and also elegance in the harmonization of compound words are remembered is the qualities of good recites.

C.f.

鈥�测补迟丑腻 janm膩ntar膩bhy膩s膩tka峁囜弓he kasy膩pi raktat膩 |
tathaiva p膩峁環asaundarya峁� naikajanmavinirmitam || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

There 搁腻箩补艣别办丑补谤补 suggest for the reciter about the different types of 碍腻惫测补 (poetry) should be read in different ways. i.e.

鈥�sasa峁僺k峁泃amapabhra峁兣沘峁� l膩lity膩li峁単ita峁� pa峁環et |
辫谤腻办峁泃补峁� bh奴tabh膩峁Ｄ佱箖 ca sau峁ａ弓havottaramudgiret ||
prasanne mandrayedv膩ca峁� t膩rayettadvirodhini |
mandrat膩rau ca racayennirv膩hi峁噄 yathottaram || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

搁腻箩补艣别办丑补谤补 says that, if a recite can read poetry with a sweet sound, proper intonation, clear, stressed according to the meaning and uttering each letter distinctly is always be appreciated by the people.

C.f.

鈥�濒补濒颈迟补峁� k膩ku samanvitamujjavalamarthava艣ak峁泃aparicchedam |
艣rutisukhavivitkavar峁嘺峁� kavaya岣� 辫腻峁环补峁� 辫谤补艣补峁僺补苍迟颈 || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

There 搁腻箩补艣别办丑补谤补 also alert the poets or recites that, they do not read quickly or haltingly, very loudly or too softly, without stressing at the correct places and either too sweetly or too harshly is to be censured.

C.f.

鈥�atit奴r峁嘺mativimbitamulba峁嘺n膩da峁� ca n膩dah墨na峁� ca |
补辫补诲补肠肠丑颈苍苍补尘补苍腻惫峁泃补苍补迟颈尘补诲峁涏�� 辫补谤耻峁�a峁� ca nindanti || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

鈥�gambh墨ratvamanai艣va(峁ａ弓hu)rya峁� nirvy奴岣峢ist膩ramandrayo岣� |
sa峁儁uktavar峁嘺l膩va峁噛amiti p膩峁環agu峁嚹佱弗 sm峁泃膩岣� || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

Thus a poet should always very careful in the selection of words. The words should be uttered in such a fashion just as a tigress holds cubs tenderly in her teeth but without allowing them to get hurt or fall down.

C.f.

鈥�测补迟丑腻 惫测腻驳丑谤墨 hare tputr膩nda峁冡梗峁璻膩bhi艣ca na p墨岣峚yet |
bh墨t膩 patanabhed膩bhy膩峁� tadvadvar峁嚹乶prayojayet || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

Here the view of 搁腻箩补艣别办丑补谤补 of tiger is incorporated from 笔腻苍颈苍颈测补-艢颈办峁Ｄ�^[1]. In this way, the recitation of clearly marked, compounds appear distinctly and sandhis are apparent is to be an excellent one.

C.f.

鈥�vibhaktaya岣� sphu 峁��� yatra 蝉补尘腻蝉补艣肠腻办补诲补谤迟丑颈迟补岣� |
aml膩na岣� padasandhi艣ca tatra 辫腻峁环补岣� 辫谤补迟颈峁ａ弓丑颈迟补岣� || 鈥�

- 碍腻惫测补m墨m膩峁僺膩 of 搁腻箩补艣别办丑补谤补: Ch-VII, Pp- 33

碍腻办耻 (Poetic intonation); S膩k膩峁僺膩; 膧办峁�e辫补驳补谤产丑腻; Pra艣na驳补谤产丑腻; Vitarka驳补谤产丑腻; Nir膩k膩峁僰峁Ｄ�; Vidhir奴pa; 鲍迟迟补谤补谤奴辫补 狈颈谤苍补测补谤奴辫补.

Footnotes and references:

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[1]:

笔腻苍颈苍颈测补-艢颈办峁Ｄ�: 笔谤补办腻艣补-IV/ 28. Ed. by Manmohan Ghosh, V. K. Publishing House, Delhi, 1991, Pp-33