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Homage to the Blessed One, the Arahant, the Perfectly Self-Enlightened One. Vuttodaya 1. The First Chapter on the Definition of Conventional Terms Homage to the Triple Gem 1. Homage to the Muni-Lord, who breaks the darkness of the minds of beings, whose Dhamma shines with brilliant light, whose purity is radiant. Purpose 2. The meter that was formerly taught by teachers like Piṅgalā, does not satisfy the pure Māgadhas as they wish. Scope of the Work 3. Therefore, in the Māgadha language, a division of mātrā and syllables, with examples and definitions, with clear meaning and word order. Title, etc. 4. This work, called Vuttodaya, based on worldly meters, I shall now begin, for their easy comprehension. Conventional Terms for Gaṇas 5. All glā, mnā, etc., are short at the beginning, bhā, are short in the middle, jasā, are short at the end, ra, te, are short in the middle and at the end, these eight gaṇas; go is heavy, lo is light. Rules for Gaṇas 6. Bha, ja, sā, are all short, these five gaṇas are established; in the Ariyā and others, the gaṇa here is known as four-mātrā. Nature of Heavy and Light Syllables 7. A syllable followed by a conjunct consonant, or a long vowel, or followed by a niggahīta, is heavy. A crooked syllable, or one at the end of a pāda, is short. Any other is a straight mātrā. 8. When there is a conjunct consonant at the beginning of the next pāda, the preceding syllable, though heavy, is sometimes known as light, as in the following example: 9. This multitude of people, whose minds are fixed on experiencing the taste of the sight of the Buddha, a wonder-generating, disciplined action, who would it not delight? 10. Conventional terms like samuddo, su, rasa, etc., should be understood from common usage. A pāda is known as a fourth part. A break in the word (padaccheda) is where the yati occurs. 11. Sama, aḍḍhasama, and visama are said to be of three kinds. That is sama, whose four pādas are similar in their characteristics. 12. That is aḍḍhasama, whose second pāda is similar to the last, and whose first is similar to the third. Any other, with pādas of different characteristics, is visama. 13. Beginning with one-syllable pādas, up to twenty-six-syllable pādas, that meter, with its pādas, is called by various names. 14. Daṇḍakā, Caṇḍavuṭṭhyā, etc., with pādas with six, and with three; And as ‘Gāthā’ in other places thus, the meter’s designation is declared. And other things mentioned immediately before, this is by common name as ‘Gāthā’ itself is designated in the words of the Lord of Sages. Some special names, taking all that is suitable, I shall show you here, the names that will appear. Thus, in the meter that has been described, is the designation of terms. The First Chapter. Explanation of Syllabic Meters – The Second Chapter Rules for Gaṇas The sixth is entirely light, or a 'jo' (J-gaṇa). Others are 'ga' (heavy) and 'yu' (light), six gaṇas, no 'jo' (J-gaṇa) in odd places. In the Ariyā, the 'lo' (light) at the end of the half-verse, the sixth, at the end is 'go' (heavy), other gaṇas are six. Rules for Caesura In the first half, if the sixth (syllable) is entirely light, here, in the first light syllable, there is a caesura. And after that, at the end, if, also in the last, the fourth is at the end. If it is a common Ariyā, the previously stated characteristics are those which it has. And whose first pair of feet has three parts, that is Pathyā. Where three gaṇas are transgressed, which is the first in both places, that is Vipulā. A 'ja' (J-gaṇa) with a heavy middle, the fourth and the second, is Capalā. If the entire Capalā has come, the characteristic of the first half-verse which it possesses, and the characteristic of Pathyā, that is called Mukhacapalā. If the characteristic of Pathyā, and in the first half the characteristic of Capalā, and in whose second half-verse, that is declared as Jaghanacapalā. Types of Ariyā. If in the entire first half-verse, the characteristic of Ariyā is said in both, which is joined in its half-verses, that is called Gīti, with a charming caesura. In the Ariyā, in the second half, whatever entire characteristic is stated, if it is in both half-verses, if it is of which, that is Upagīti. The two halves of the Ariyā, endowed with the previously stated characteristics, stated in reverse order, if it occurs in which here, that is Uggīti. If the first half of the Ariyā, with one extra heavy syllable joined at the end, if the other half-verse is similar to the first half, this is called Ariyāgīti. Types of Chants. 29. In the odd (quarters), there should be six metrical units at the beginning, In the even, eight, with *ra*, *la*, *gā* thereafter; This is called *Vetālīya*, a group of six light syllables not continuously in the even. 30. That which is like *Vetālīya* at the beginning, Is *Opacchandasaka*, if *ra* and *ya* are at the end. 31. This is called *Āpātalikā*, if *bha*, *ga*, *ga* are at the end, and it is like the former or another. 32. When from the beginning, it is *Dakkhiṇantikā*, If *jo* stands in all its quarters. 33. It is called *Udiccavuttī*, If *jo* stands at the beginning in the odd (quarters). 34. If *ga* and *jā* are in the even (quarters) at the beginning, it is established as *Paccavuttī*. 35. Equal in morae etc. in the equal (quarters), When joined, it becomes *Pavattaka*. 36. Its equal is made *Parantikā*. 37. Then another is *Cāruhāsinī*. Types of Vetālīya Metres. 38. Here, *Acaladhiti* has eight light syllables multiplied by two. 39. *Mattāsamaka* is the ninth, with *lga* at the end. 40. *Visiloka* is *jo*, *nlā*, or *ṇṇavā*. 41. From the two of those, it is called *Vānavāsikā*. 42. If *lo* is in the fifth, eighth, and ninth, it is *Citrā*. 43. If *ga* and *lyā* are in the eighth, this is *Upacitrā*. 44. That which is endowed with the special characteristics of the past, (*Citrā*) Described as having equal morae etc. in its quarters; (*Visiloka*) Possessing an indefinite stated measure, (*Vānavāsikā*) Is known among people as *Pādākulaka*. (*Visiloka*) Types of Mattāsamaka Metres. 45. Without syllables, the metre is heavy (gā), But without syllables, it is by heavy (syllables); Without light syllables, there are heavy ones, Considered *pathyādi* etc. in the quarter. Thus, in the *Vuttodaya* on prosody, the chapter named "Description of *Mātrāvutti*" is the Second Chapter. 3. Third Chapter: Description of *Samāvutti* (Equal Metres) 46. If *tyā*, it is *Tanumajjhā*. Gāyattī. 47. *Kumāralalitā* has *jsgā*. Uṇhikā. 48. *Citrapadā* if *bhā* and *gā*. 49. *Vijjummālā* has *mo mo go go*. 50. *Māṇavaka* has *bhā*, *ta*, *la*, *gā*. 51. *Samānikā* has *glā*, and *ra*, *jā*. 52. *Pamāṇikā* has *ja*, *rā*, *la*, *gā*. Anuṭṭhubhā. 53. *Halamukhī* if *rā*, *na*, *sā*. 54. *Bhujagasususaṭā* has *nā*, *mo*. Brahatī. 55. *Suddhavirājita* is considered to have *msājgā*. 56. *Paṇava* is known if *mnā*, *yo*, *go*. 57. Joined with *mbhā*, *sa*, *ga*, *ru* She is Mmavatī. 58. The measure is known with ma, bha, sa, ga. 59. Campakamālā, if bha, ma, sā, go. 60. With na, ra, ja, ga, she is delightful. 61. Ubbhāsaka is that, if to, ma, rā, lca. 62. To, jā, with a heavy syllable, this is Upaṭṭhitā. Panti. 63. Indādikā, those Vajirā, ja, gā, go. 64. Upādikā is that same, ja, tā, ja, gā, go. 65. If the feet are mixed, with the characteristics just described, (Upendavajira) they are Upajātis; (Indavajira) thus, it is said, even when mixed with others, (Indavajira) this same name is given to the types. (Upendavajira) 66. Na, ja, ja, la, gā, is called Sumukhī. 67. Dodhaka desires, if bha, bha, bhā, gā. 68. With veda, ssehi, dhtā, tgagā, she is Sālinī. 69. Vātommī is that, if yati, sā, mbhā, ta, gā, go. 70. Bhā, ta, na, gā, go, is Surasa Sirī. 71. Ro, na, rā, here, Rathoddhatā, la, gā. 72. Svāgatā, it is, ra, na, bhā, two heavy syllables. 73. With na, na, ra, a light and a heavy syllable, Bhaddikā. Tiṭṭhubhā. 74. They call this Vaṃsaṭṭhā, mi, daṃ, ja, tā, ja, rā. 75. She is Indavaṃsā, indeed, where tā, ja, rā. 76. Here, Toṭaka, measured by ambudhi, sehi. 77. Dutavilambita, they say, na, bhā, bha, rā. 78. With vasu, yuga, viratī, nā, myā, this is Apuṭa. 79. Na, ya, with sahitā, nyā, Kusumavicittā. 80. Bhujaṅgappayātaṃ comes with veda, yehi. 81. With na, bha, ja, rehi, it becomes Appiyavadā. 82. Called by the wise, Lalitā, ta, bhā, ja, rā. 83. Pamitakkharā, uttered with sa, ja, sa, sehu. 84. Na, na, bha, ra, with sahitā, is called Ujjalā. 85. Pañca, ssa, cchinnā, Vessadevī, ma, mā, yā. 86. It becomes Tāmarasaṃ, na, ja, jā, yo. 87. ‘Kamalā’ is known, if sa, ya, sehi, yo. Jagatī. 88. Mnā, jrā, go, with tidasayati, she is Appahassiṇī. 89. With catu, ggahe, hi, here, Rucirā, ja, bhā, sja, gā. Atijagatī. 90. Na, na, ra, sa, a light and a heavy syllable, with sarehi, Aparājitā. 91. Na, na, bha, na, la, gi, is Ppaharaṇakalikā. 92. Called va Santatilakā: `ta`, `bha`, `jā`, `ja`, `gā`, `go`. Sakkarī. 93. Sasikalā: two `ha`s, seven, short, `ra`, then `gīti`. 94. Maṇiguṇanikaro: eight, seven, caesura, `riha`. 95. Mālinī: `na`, `na`, `ma`, `ya`, `ya`, joined, with caesura at eight and seven. 96. Pabhaddaka: `na`, `jā`, `bha`, `jā`, with six. Atisakkarī. 97. Vāṇinī: `na`, `ja`, `bha`, `ja`, `rā`, always with `ga` (long), joined. Aṭṭhi. 98. Sikharaṇī: `ya`, `mā`, `no`, `so`, `bhalgā`, with caesura at six and eleven. 99. Hariṇī: `no`, `so`, `mrā`, `slā`, `gya`, `dā`, with caesura at six, four, seven. 100. Mandakkantā: `ma`, `bha`, `na`, `ta`, `ta`, `gā`, `go`, with caesura at four, two, seven. Accaṭṭhi. 101. Kusumitalatāvellitā: `mo`, `to`, `no`, `yo`, `yā`, with caesura at two, three, seven. Dhuti. 102. Meghavipphujjitā: `ymā`, `na`, `sa`, `ra`, `ra`, `garū`, with caesura at six, two, seven. 103. Saddūlavikkīḷita: `msa`, `jāsa`, `ta`, `ta`, `gā`, with caesura at twelve. Atidhuti. 104.