पीडीएफ सुरेशभट इन च्या सौजन्याने
eight, seven, six or five Matrās (or syllabic instants. Once the fundamentals were graspeed, I was able to Co-ordinate all the three kinds of metrical Composition: Wrtas, Jātis and Chandas, which have been always employed by Marathi poets As for ]ःatis, three or four of them were mentioned by Marathi pros0dists wh0 on the armalogy of Wrtas merely counted the rnumber of syllabic instants in a line. But 170re important than the number of syllables or syllabic instants in a line is its interTal rhyth17-structure, as als0 is the pattern of the starm2a formed by 1ines. Tw0 metres having the same number of syllabic instants in? each line may yet be different from each other because of differ ent intermal rhythmic structures.The same rules of rhythm are exemplified in the Chandas in which all syllables whether short or 101g are treated uniformly as 10ng. This kind of verse does not appear in classical Sanskrit a11d though Vedic 17etres are called Chandas the difference of short and long appears t() 1be observed in the17. This type of versifica tion, however, is C01170rm in 170der1 Bengali In the field of wrtas my work has been mainly of compilation and re-classification, though I have discovered and eimphasized the factor of internal rhythmic structure. Besides, I have Collected a g00d deal of new material and made it available t() students for the first time.But my studies in the field of Jati and Chandas and the general the0retical ground-work with which I have now provided the Science of pros0dly- these I humbly Submit as my contribution t0 the knowledge of metrics. The author acknowledges his indebtedlmess to the University of B0mbay for the substantial financial help it has granted towards the cost of publication of this b00k January, 1937
