పుట:A grammar of the Telugu language.pdf/339

వికీసోర్స్ నుండి
ఈ పుట ఆమోదించబడ్డది

The wise love the abode, the dress, and the polished language which appertain to their own nation: such take pleasure in the poetry of their own land, rather than in that which is foreign.

It will be perceived that the Arya in one of its varieties is the harmonious rhythm used by Horace.

Misera—rum est neque a—mori S B K

Dare lu—dum neque—dul—ci mala-vino S B G BK

lavere aut—exani—mari S B K

Metuen—tes patru—ae—verbera—lingua? S B Q B K

Because in the sixth foot, the Sanscrit uses a single syllable, either long or short: a liberty not known in Telugu.

SECTION IV. ON THE TELUGU CHANGING METRES.

The Changing or Upajati metres ^AafOsSj tfsJKtu originate in the Kannadi language. These were at first regulated by harmony alone but were afterwards limited by certain rules.

It would seem that before the introduction of Sanskrit learning, the oldest Telugu metres were mere VK&eu Harmonies, or melodies, such as will be described in a future page. In the course of time, prosodians observed that in these songs the dactyl, cretic and antibacchic (BET, remembered by the word $"83 Blur, rata) were prevalent feet: and that, to vary the rhythm, the initial long syllable of each foot was divided into two shorts: this principle has already been noticed, with regard to the Champs- camala and Mattebha metres. Hereby B the dactyl became TfL the procelleusmatic: while it became NG, the cretic being converted into the pceon quartus: and I the antibacchic became SL the pceon tertius.

Thus three feet were changed so as to furnish a larger number: and the poet was left at liberty to use whichever was most convenient: having the choice of six varieties. These metres thus being particularly easy to compose, the greater part of Telugu literature is written in upajatis.

Arranged on the original plan, these feet stand thus. The first pair, M and Y are rejected as in harmonious.