పుట:A grammar of the Telugu language.pdf/352

వికీసోర్స్ నుండి
ఈ పుట ఆమోదించబడ్డది

s&$>tSX83Xd, the fi^KSSX-SCJx'S &c. &c. i. e. the sweet-pacer, the elephant pace, the horse pace, &c. &c. which I omit because they are not in use even among good scholars: every poet uses any name he thinks suitable.

The &cs$x> or carol appears in several of those poems which are written in #cAdss» musical measures. Thus in the *jBj^^8«csfi 'u', <s6i&"K"'jSsS» page 35.

sSw-'SSeHelf J> &8bv~Sw£~$p :Stf<yi&>Soe):Sg6<>r-«i5&'KTMa \K>£>e>

js-aa-crs^tf JTo er*a^^8<5x»8|| It is evident that each of these lines consists of four surya feet and eight such feet form a couplet: with Yati and prasa as usual. Such metres are regulated by the ear alone and have no well known name: though various prosodians have attempted to discriminate one as the horse's amble «&S< and other the lions pace, &c. borrowed from a fancied analogy to the tread of various animals.

The Eagada appears to have originated in the Kos^o^tJto 0r jr^aosjAassSjaeu ballads which on particular feasts are sung by choruses of children in the streets. These antiquated ditties have a loose rhythm which generally may be scanned with four Indra feet in a line : they use or neglect alliteration at pleasure. See TT (paper) 497 page 32 where are these lines in the tsaoTrtfai^)^

S5?Jfc8 er*§8 8ioif-4$tix><M

So^tf tTJTgtu tSsS^^eupi &c, &c. It will be observed that the last couplet is regularly formed of four Indra feet, with brass, and with yati (as in Dwipada) in the middle. These rude ballads which often use fescennine expressions, appear to be remnants of the primitive Telugu: and the Ragada