There are different metres in the verses of the Vedas, and Chandas Shastra (Prosody) is one of the six Vedangas (Angas or Parts of the Vedas). Chandas is in fact the “Feet” of the Vedas. Chandas simply means a metre. Sanskrit poetry has more than a hundred different kinds of metres, which are used by poets to compose their works : Stotrams(hymns in praise of Gods) and Kavyas (books in verse). The rules for these metres range from very simple ones to very complex, such that we wonder how poets could write verses adhering to such stringent requirements.
Why did Sankrit alone has importance on Chandas Sashtra? In the ancient times, Printing technology was non-existent. Every information (vedas, upanishads etc) has to reside inside people’s brain and passed from generation to generation mostly orally. So, to remeber things easily, everything has to be made more poetic. Hence Sanskrit grammarians came up with technique.
| Chandas Name | Syllables per Quarter | L-G Pattern | Example Shloka | Transliteration | Translation/Source |
|---|---|---|---|---|---|
| Anushthubh | 8 | L-G-G-L-L-G-L-G (typical) | धर्मक्षेत्रे कुरुक्षेत्रे समवेता युयुत्सवः। मामकाः पाण्डवाश्चैव किमकुर्वत सञ्जय॥ | dharmakṣetre kurukṣetre samavetā yuyutsavaḥ | māmakāḥ pāṇḍavāścaiva kimakurvata sañjaya || | “In the field of dharma, in Kurukshetra, assembled and eager to fight, what did my sons and the Pandavas do, O Sanjaya?” – Bhagavad Gita 1.1 |
| Gayatri | 6 | L-G-L-G-L-G | तत्सवितुर्वरेण्यं भर्गो देवस्य धीमहि। धियो यो नः प्रचोदयात्॥ | tat savitur vareṇyaṃ bhargo devasya dhīmahi | dhiyo yo naḥ pracodayāt || | The famous Gayatri Mantra – Rigveda 3.62.10 |
| Trishtubh | 11 | G-L-G-L-L-G-L-G-L-G-G | इन्द्रं मित्रं वरुणमग्निमाहुरथो दिव्यः स सुपर्णो गरुत्मान्। एकं सद्विप्रा बहुधा वदन्ति॥ | indraṃ mitraṃ varuṇamagnimāhur atho divyaḥ sa suparṇo garutmān | ekaṃ sad viprā bahudhā vadanti || | “They call him Indra, Mitra, Varuna, Agni, and the divine Suparna Garuda. The one reality, the wise call by many names.” – Rigveda 1.164.46 |
| Jagati | 12 | L-G-L-G-L-G-L-G-L-G-L-G | यस्य छाया अमृतं यस्य मृत्युर्यस्य ब्रह्म परमं च धाम। को वेद तत्त्वमृषिर्यो ददर्श॥ | yasya chāyā amṛtaṃ yasya mṛtyur yasya brahma paramaṃ ca dhāma | ko veda tattvam ṛṣir yo dadarśa || | “Whose shadow is immortality, whose shadow is death, whose supreme abode is Brahman – which sage who has seen knows that reality?” – Atharvaveda |
| Ushnik | 7 | L-G-L-G-L-G-L | अग्ने नय सुपथा राये अस्मान्॥ | agne naya supathā rāye asmān || | “O Agni, lead us by the good path to prosperity” – Shukla Yajurveda |
| Pankti | 10 | L-G-L-G-L-G-L-G-L-G | पञ्चजना मम होत्रा जुषन्तां पञ्च सेधन्तु दुरितानि विश्वा॥ | pañcajanā mama hotrā juṣantāṃ pañca sedhantu duritāni viśvā || | From Rigvedic hymns addressing the five peoples |
| Brihati | Mixed (8+12) | G-L-G-G-L-G-L-G + L-G-L-G-L-G-L-G-L-G-L-G | बृहद्यशो बृहतः पुत्र आसीद्बृहस्पतिर्बृहतो जायत। बृहन्नमो बृहते वीर्याय॥ | bṛhadyaśo bṛhataḥ putra āsīd bṛhaspatirbṛhato jāyata | bṛhannamo bṛhate vīryāya || | “Great was the glory, great was the son, Brihaspati was born of the great. Great salutation to the great prowess.” |
| Shatpadhi | 6 | L-G-L-G-L-G | षड्विधा हि समिधस्ते अग्ने॥ | ṣaḍvidhā hi samidhaste agne || | “Six-fold indeed are your fuel-sticks, O Agni” |
| Dvipadha Viraja | 10 (per half) | L-G-L-G-L-G-L-G-L-G | विराड्वै पादोऽस्य सर्वा भूतानि त्रिपादस्यामृतं दिवि॥ | virāḍvai pādo’sya sarvā bhūtāni tripādasyāmṛtaṃ divi || | “Viraj is indeed his foot; all beings are his three-fold immortal part in heaven” – Purusha Sukta |
| Prastarapankti | 12 | L-G-L-G-L-G-L-G-L-G-L-G | प्रस्तरे सुप्रस्तरे आ कृण्वन्तु त्वा नरो महते सौभगाय॥ | prastare suprastare ā kṛṇvantu tvā naro mahate saubhagāya || | From Rigvedic compositions |
| Mahabrihati | Mixed (8+8+12) | Complex pattern | महाबृहती छन्दसां राज्ञी सर्वा भूतानि बिभर्ति॥ | mahābṛhatī chandasāṃ rājñī sarvā bhūtāni bibharti || | “Mahabrihati, the queen of meters, supports all beings” |
| Shakvari | 14 | Complex 14-syllable pattern | शक्वरी छन्दसि प्रोक्ता चतुर्दशाक्षरा मता॥ | śakvarī chandasi proktā caturdaśākṣarā matā || | Technical description from Chandas Shastra |
| Upajati | 11 | Mixed (Indravajra + Upendravajra) | स्वागतं ते कुशलिनो गुरो प्रीतिकरा गिरः। आशीर्वादमयी देवि सरस्वति नमोऽस्तु ते॥ | svāgataṃ te kuśalino guro prītikara giraḥ | āśīrvādamayī devi sarasvati namo’stu te || | “Welcome, O auspicious teacher, your words bring joy. O goddess Saraswati, filled with blessings, salutations to you.” – Classical Sanskrit |
| Totaka | 12 | L-L-L-G-L-L-L-G-L-L-L-G | गुरुब्रह्मा गुरुर्विष्णुर्गुरुर्देवो महेश्वरः। गुरुः साक्षात्परं ब्रह्म तस्मै श्रीगुरवे नमः॥ | gurubrahma guruviṣṇur gururdevo maheśvaraḥ | guruḥ sākṣāt paraṃ brahma tasmai śrīgurave namaḥ || | “Guru is Brahma, Guru is Vishnu, Guru is the god Maheshwara. Guru is verily the Supreme Brahman, salutations to that revered Guru.” – Traditional |
| Bhujangaprayata | 12 | L-L-L-L-L-L-L-L-L-L-L-L | सकलजगत्कारण कारुणिक करुणाकर। शरणागत वत्सल श्रीरामचन्द्र नमामि॥ | sakalajagatkaraṇa karuṇika karuṇākara | śaraṇāgata vatsala śrīrāmacandra namāmi || | “O cause of the entire universe, compassionate ocean of mercy, loving to those who surrender, I bow to Sri Ramachandra.” – Devotional literature |
| Vasantatilaka | 14 | G-G-L-G-L-L-G-G-L-G-L-L-G-G | वन्दे गुरुपरम्परां श्रुतिसिद्धान्तसारभूताम्। ब्रह्मानन्दसरस्वतीं जगद्गुरुं शङ्करम्॥ | vande guruparamparāṃ śrutisiddhāntasārabhūtām | brahmānandasarasvatīṃ jagadguruṃ śaṅkaram || | “I bow to the guru tradition, which is the essence of scriptural conclusions, to Brahmananda Saraswati, the world guru Shankara.” – Advaitic literature |
| Malini | 15 | G-G-G-L-L-G-L-G-L-L-G-G-L-G-G | नीलकण्ठ महेशान विश्वनाथ गिरीश शम्भो। त्रिशूलपाणे डमरूधर शिव शङ्कर नमोऽस्तु ते॥ | nīlakaṇṭha maheśāna viśvanātha girīśa śambho | triśūlapāṇe ḍamarūdhara śiva śaṅkara namo’stu te || | “O blue-necked Maheshana, Lord of the universe, mountain lord Shambhu, wielder of trident and drum, O Shiva Shankara, salutations to you.” – Shaivite hymns |
| Pancha-chamara | 16 | L-L-G-L-L-G-L-L-G-L-L-G-L-L-G-G | पञ्चचामरसंयुक्ते महारानि महेश्वरि। सर्वलोकनमस्कृते देवि त्वां शरणं गताः॥ | pañcacāmarasaṃyukte mahārāni maheśvari | sarvalokanamaskṛte devi tvāṃ śaraṇaṃ gatāḥ || | “O great queen, great goddess, adorned with five whisks, worshipped by all worlds, O goddess, we have come to your refuge.” – Devi literature |
| Shikharini | 17 | G-L-L-G-L-L-G-G-L-G-L-G-L-L-G-L-G | शिखरिणी छन्दसि रम्या सप्तदशाक्षरसंयुता। कवीनां प्रियतमा यस्मात्तस्मात्शिखरिणी मता॥ | śikhariṇī chandasi ramyā saptadaśākṣarasaṃyutā | kavīnāṃ priyatamā yasmāt tasmāt śikhariṇī matā || | “Shikharini meter is beautiful, having seventeen syllables. Since it is most beloved of poets, it is therefore called Shikharini.” – Prosody texts |
| Shardula-Vikriditam | 19 | G-G-L-G-L-L-L-G-G-G-L-G-L-L-G-L-L-G-G | शार्दूलविक्रीडितमिदं छन्दो नवदशाक्षरम्। महाकवीनां हृदयं हरति स्वमधुरध्वनिना॥ | śārdūlavikrīḍitamidaṃ chando navadaśākṣaram | mahākavīnāṃ hṛdayaṃ harati svamadhuradhjvaninā || | “This Shardula-vikriditam meter has nineteen syllables. It captivates the hearts of great poets with its own sweet sound.” – Classical poetry |
| Matra-samakam | Variable | Based on matra count | मात्राकालं समं यत्र तत्मात्रासमकं विदुः। चतुर्विंशतिमात्रा वा द्वात्रिंशन्मात्रका तथा॥ | mātrākālaṃ samaṃ yatra tatmātrāsamakaṃ viduḥ | caturviṃśatimātrā vā dvātriṃśanmātrakā tathā || | “Where the time-units (matras) are equal, that is known as matra-samaka. It may have twenty-four matras or thirty-two matras.” – Chandas Shastra |
| Indravajra | 11 | G-G-L-G-L-L-G-L-G-L-G | वागर्थाविव सम्प्रक्तौ वागर्थप्रतिपत्तये। जगतः पितरौ वन्दे पार्वतीपरमेश्वरौ॥ | vāgarthāviva sampraktau vāgarthapratipattaye | jagataḥ pitarau vande pārvatīparameśvarau || | “I bow to the parents of the universe, Parvati and Parameshwara, who are united like word and meaning, for the understanding of word and meaning.” – Raghuvamsha 1.1 |
| Upendravajra | 11 | L-G-L-G-L-L-G-L-G-L-G | स गच्छन्गच्छतां श्रेष्ठो ययौ गौरीगुरोर्गृहम्। शैलाधिराजकन्याया मनोज्ञां दर्शनेच्छया॥ | sa gacchan gacchatāṃ śreṣṭho yayau gaurīguror gṛham | śailādhirājakanyāyā manojñāṃ darśanecchayā || | “He, the best among those who go, went to Gauri’s teacher’s house, with the desire to see the charming daughter of the mountain king.” – Kumarasambhava |
| Vamshastha | 12 | L-L-G-L-L-L-G-L-L-L-G-G | वंशस्थं द्वादशाक्षरं यति चतुर्थे अष्टमे तथा। लघुगुरुमयं रम्यं कवयो येन रञ्जिताः॥ | vaṃśasthaṃ dvādaśākṣaraṃ yati caturthe aṣṭame tathā | laghugurumayaṃ ramyaṃ kavayo yena rañjitāḥ || | “Vamshastha has twelve syllables, with caesura at the fourth and eighth. Composed of short and long syllables, it is beautiful and delights poets.” – Prosody manuals |
| Drutavilambita | 12 | G-G-G-L-G-G-L-L-L-G-L-G | द्रुतविलम्बितं छन्दो गुरुभिर्लघुभिश्च यत्। मिश्रितं मधुरं तत्तु कविहृदयहारि च॥ | drutavilambitaṃ chando gurubhir laghubhiś ca yat | miśritaṃ madhuraṃ tattu kavihṛdayahāri ca || | “Drutavilambita meter, which is mixed with heavy and light syllables, is sweet and captivates the hearts of poets.” – Classical texts |
| Mandakranta | 17 | G-G-G-G-L-L-G-L-L-L-G-L-G-L-G-L-G | मन्दाक्रान्ता सप्तदशाक्षरा श्रीमती गुरुलघ्वक्षरैर्युता। सा चेत्कान्ता काव्यरसास्वादे हरति चित्तं कविकुलस्य नः॥ | mandākrāntā saptadaśākṣarā śrīmatī gurulagh-vakṣaira yutā | sā cet kāntā kāvyarasāsvāde harati cittaṃ kavikulasya naḥ || | “Mandakranta, having seventeen syllables, endowed with heavy and light syllables, when beautiful in poetic sentiment, captivates the hearts of our poet community.” – Classical poetry |
| Arya | Variable (Matra) | 12+18 matras typically | आर्या गाथा प्राकृते बहुला संस्कृते तथा। मात्रावृत्तं तु तत्प्रोक्तमाचार्यैः छन्दशास्त्रवित्॥ | āryā gāthā prākṛte bahulā saṃskṛte tathā | mātrāvṛttaṃ tu tat proktam ācāryaiḥ chandaśāstravit || | “Arya gatha is abundant in Prakrit and also in Sanskrit. That is called matra-vritta by the teachers who know prosody.” – Pingala’s Chandas Shastra |
| Pushpitagra | 12 | G-L-L-G-L-L-G-L-L-G-L-G | पुष्पिताग्रं द्वादश च यतिर्द्वितीयषष्ठयोः। सप्तमे च दशमे वा सुन्दरं छन्द उच्यते॥ | puṣpitāgraṃ dvādaśa ca yatir dvitīyaṣaṣṭhayoḥ | saptame ca daśame vā sundaraṃ chanda ucyate || | “Pushpitagra has twelve syllables, with caesura at the second and sixth, or at the seventh and tenth. It is called a beautiful meter.” – Prosody texts |
| Prithvi | 17 | G-L-G-L-L-G-G-L-G-L-L-G-G-L-G-L-G | पृथ्वी छन्दः सप्तदशाक्षरो गुरुलघुर्मिश्रो महाकविप्रियः। भूमण्डलस्य नामेन यतो नाम समर्पितं तस्य॥ | pṛthvī chandaḥ saptadaśākṣaro gurulghur miśro mahākavipriyaḥ | bhūmaṇḍalasya nāmena yato nāma samarpitaṃ tasya || | “Prithvi meter has seventeen syllables, mixed with heavy and light, beloved of great poets. Its name is given after the earth.” – Classical literature |
| Harini | 17 | L-L-G-G-L-L-G-L-L-G-G-L-L-G-L-L-G | हरिणी सप्तदशाक्षरा छन्दो लघुगुरुसमन्विता। मृगाणां गतिसादृश्यात्तस्याः हरिणिका कथा॥ | hariṇī saptadaśākṣarā chando laghuguru samanvitā | mṛgāṇāṃ gatisādṛśyāt tasyāḥ hariṇikā kathā || | “Harini has seventeen syllables, endowed with short and long syllables. Due to its resemblance to the gait of deer, it is called Harini.” – Prosody texts |
| Champakamala | 15 | G-L-L-G-G-L-G-L-L-G-G-L-L-G-G | चम्पकमाला पञ्चदशाक्षरा सुन्दरा गुरुलघुमिश्रा। पुष्पमालेव शोभते काव्ये मधुरगन्धसहिता॥ | champakamālā pañcadaśākṣarā sundarā gurulghmiśrā | puṣpamāleva śobhate kāvye madhuragandhhasahitā || | “Champakamala has fifteen syllables, beautiful, mixed with heavy and light. Like a flower garland, it adorns poetry with sweet fragrance.” – Classical poetry |
| Kusumitalatavellatā | 19 | G-L-L-G-L-L-L-G-G-L-L-G-L-L-L-G-L-L-G | कुसुमितलतावेल्लता नवदशाक्षरसमन्विता महती। पुष्पलतामिव विकसिता काव्यवनमण्डने शोभते सुन्दरी॥ | kusumitalatāvellatā navadaśākṣarasamanvitā mahatī | puṣpalatāmiva vikasitā kāvyavanamaṇḍane śobhate sundarī || | “Kusumitalatavellatā, having nineteen syllables, is great. Like a flowering creeper in bloom, the beautiful one adorns the forest of poetry.” – Ornate literature |
| Aupacchandasika | Variable | Complex Vedic pattern | औपच्छन्दसिकं छन्दो वैदिकं बहुरूपकम्। उपच्छन्दसि संस्थाने विविधं तत्प्रकीर्तितम्॥ | aupacchandasikaṃ chando vaidikaṃ bahurūpakam | upacchandasi saṃsthāne vividhaṃ tat prakīrtitam || | “Aupacchandasika meter is Vedic and multiform. It is declared to be varied in its sub-metrical arrangement.” – Vedic prosody |
| Giti | Variable | Musical matra patterns | गीतिः संगीतसंस्था स्यान्मात्राकालप्रधाना सा। तालबद्धा मधुरा च गानसंस्कारशोभिता॥ | gītiḥ saṃgītasaṃsthā syān mātrākālapradhānā sā | tālabaddhā madhurā ca gānasaṃskāraśobhitā || | “Giti is a musical arrangement, primarily based on matra-time. It is bound by rhythm, sweet, and adorned with musical refinement.” – Music treatises |
| Udgiti | Variable | Elevated musical patterns | उद्गीतिरुच्चैर्गानस्था उत्कर्षविधिसाधना। मात्राकालनिबद्धा च गीतिकाव्ययोजना॥ | udgītir uccair gānasthā utkarṣavidhisādhanā | mātrākālanibaddhā ca gītikāvyayojanā || | “Udgiti is established in high song, achieving excellence in method. It is bound by matra-time and employed in lyrical poetry.” – Classical treatises |
Notes:
Legend:
- L = Laghu (short syllable)
- G = Guru (long syllable)
Important Points:
- Anushthubh is the most common meter in Sanskrit literature, especially in epics like Ramayana and Mahabharata
- Gayatri is considered the most sacred meter, used in the famous Gayatri Mantra
- Trishtubh is frequently used in the Rigveda and is considered very ancient
- Some meters like Brihati and Mahabrihati have mixed patterns combining different syllable counts
- The patterns shown are typical; some meters allow variations in certain positions
- Classical Sanskrit poetry often uses these meters with strict adherence to the patterns
- Vedic texts show more flexibility in meter usage compared to classical Sanskrit literature
- Upajati – A mixed meter combining Indravajra and Upendravajra patterns (11 syllables)
- Totaka – A light, rhythmic meter with L-L-L-G pattern repeated (12 syllables)
- Bhujangaprayata – A meter with all short syllables, creating a swift rhythm (12 syllables)
- Vasantatilaka – A very popular classical meter, often called the “spring ornament” (14 syllables)
- Malini – A graceful meter often used in devotional poetry (15 syllables)
- Pancha-chamara – A regal meter, literally meaning “five whisks” (16 syllables)
- Shikharini – A majestic meter, meaning “peaked” or “mountain-like” (17 syllables)
- Shardula-Vikriditam – One of the most beloved meters in classical Sanskrit, meaning “tiger’s play” (19 syllables)
- Matra-samakam – A time-based meter system where the duration (matra) rather than syllable count determines the rhythm
- Indravajra and Upendravajra – These are the two fundamental 11-syllable meters that combine to form Upajati
- Vamshastha – A popular 12-syllable meter used extensively in classical literature
- Drutavilambita – Another 12-syllable meter favored by great poets
- Mandakranta – One of the most famous and beloved 17-syllable meters in Sanskrit poetry
- Arya – A crucial matra-based meter that was very important in early Sanskrit and Prakrit literature
- Pushpitagra – Another classical 12-syllable meter
- Prithvi – A majestic 17-syllable meter
- Harini (17 syllables) – Named after deer for its graceful, deer-like rhythm
- Champakamala (15 syllables) – Named after the champaka flower garland, used in ornate poetry
- Kusumitalatavellatā (19 syllables) – One of the longest regular meters, meaning “flowering creeper”
- Aupacchandasika – A complex Vedic meter with variable patterns used in ancient texts
- Giti – Musical meters based on matra count, designed for singing
- Udgiti – Elevated musical patterns, also matra-based, used in lyrical compositions
Sources: Examples are drawn from Rigveda, Atharvaveda, Yajurveda, Bhagavad Gita, and various classical Sanskrit texts as preserved in traditional manuscripts and scholarly editions.
Note on Transliteration:
The transliterations follow standard conventions:
- Long vowels are marked with macrons (ā, ī, ū)
- Retroflex consonants are marked with dots underneath (ṭ, ḍ, ṇ, ṣ)
- Aspirated consonants are shown with ‘h’ following the consonant
- Visarga is represented as ‘ḥ’
- Anusvara is represented as ‘ṃ’
References:
Meters in Sankrit Poetry – Part 1 to 3 – https://www.youtube.com/watch?v=WfdUc9_th5U, https://www.youtube.com/watch?v=SysdjIwuCgM, https://www.youtube.com/watch?v=Q4O8-tMYZWo