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162-63. Purusha is not bound, but prakriti. 64-68. Final emancipation. Its nature and when at- tained. SECTION 6. Karika 69 (70-72). Concluding verse and apochryphal additions. Metrical Structure. — The Sawkhya Karikas differ from the vast majority of Hindu works on philosophy, through the fact that they are composed in metrical form, at least in their present state. The metre employed by Igvara Krishna is the arya, per- haps the most complicated and most different of all the many modes of Sanskrit versification, but one which is frequent in works of the golden age of the literature, during which period our author flourished. In structure this metre is quite different from nearly all other Indian metrical forms, inasmuch as it is based not on the number of syllables in the verse, or pada, but on the number of morae. A light syllable, that is, one contain- ing a short vowel, counts as one mora ; a heavy syllable, in other words, a syllable containing a long vowel, or a closed syllable, counts as two. The verse is divided into two half stanzas, each of which is made up of eight padas or feet, and the caesura occurs in both cases at the end of the third foot. These feet are formed, each of two morae, appearing as two heavy syllables (— — ), as two light syllables and one heavy (__ — , _ — _, — __), or a four light syllables (____). The eighth foot of each half stanza is catalectic, consisting of one heavy syllable ( — ). But here occurs an irregularity, frequent also in other works than the Karika, namely, the occasional occurrence of a light (_) in place of the heavy syllable. It should be noted further that the sixth foot of the first half stanza must always form an amphibrach (_ — _), and the sixth foot of the second half stanza must be a single light syllable (_), while no odd foot may be an amphibrach. Applying these rules, it is easily seen that the first half stanza consists of thirty morae, the second of twenty-seven, as follows : In my recent paper, "I Metri delle Sawkhya Karika," pub- lished in "Sttidi Italiani di Filologia Indo-Iranica" (vol. viii. tip. Carnesecchi, Firenze, 1912), I have already treated in detail the numerous metrical defects of the Karikas. Of the entire seventy- two verses, forty-seven contain to a greater or less degree errors in regard to versification.
2viii. tip. Carnesecchi, Firenze, 1912), I have already treated in detail the numerous metrical defects of the Karikas. Of the entire seventy- two verses, forty-seven contain to a greater or less degree errors in regard to versification. 1. Thirty-three of the Karikas are found to have the irreg- ularity mentioned above; that is to say, a single mora, or light syllable, in the last foot, of one-half verse or of both. These verses are 31, 42, 52, 72, 82, II1, IS1'2, 161, 172, 181' 2, 191' 2, 211, 222, 242, 272, 292, 322, 341' 2, 352, 362, 382, 421, 441, S31, 552, 571'2, [602], 611-2, 632, 662, 682, and (721-2). It is noteworthy that the majority of these irregularities occurs in the second half verse, and indeed many may be regarded as due to the fact that the words in question as mere verse fillers. 2. In two karikas there is a disregard for the rule of the amphibrach in the sixth foot of the first half serve. Karika 3 reads : "mulaprakritir avikritir; | mahad-adya/* prakriti-vikritaya/i sapta ; | shodacakas tu vikaro; | na prakritir, na vikriti/z purusha/t||" and Karika 47 : "paiica viparyaya-bheda | bhavanty, agaktes tu karawa- vaikalyat | ashtaviragati-bhedas ; tushfir navadha; 'shtedha siddhi/i ||." In both cases, the foot in question consists of four short syllables (_^__). 3. Four karikas contain more than the regular number of morae. Karika 20: "tasmat, tat-sawyogad | acetanaw cetanavad iva lingam, | guwa-kartritve ca tatha | karteva bhavatiti udasina/t ||."(1) Scheme: I I II.. — . I I I Karika 43 : "sawsiddhikag ca bhavaft | "sawsiddhikag ca bhava/z | prakritika, vaikritikag ca dharma- 'dyah | drsh/a/i karawa-'grayiwa/i, karya-'grayi«ag ca kalala-'dya/i 1 1 Scheme: U~ _ | II -. , I ^ I ^~ Karika 52: v<na vina bhavair lingaw, | na vina lingena bhava-nirvritti/* ; | linga-'khyo, bhava-'khyas | tasmad dvividha/i pravartate sarga/i || " Scheme: _-| I ll.-l l_-_|- Iii this case the second half verse has the scheme of a first half verse. In classical Sanskrit this occurs regularly and is known as the giti or udgatha. Karika 66: " 'drishfa rnaya' ity upekshaka | eko ; 'drish^a 'ham' ity uparamaty anya; | sati sawyoge 'pi, tayo/? | prayojanam na 'sti sargasya || (2) Scheme: |^_^|_^ _|| | U — w | JBetter reading perhaps "sanaka/z sanandanag ca" cf Saw- khya Sutras 6.69). 2Some manuscripts read uuparatai-'ka" for "uparamaty" anya," correcting the metre. 4. Karikas 50 and 59 are defective in the fifth foot of the second half verse, the scheme of which is ^ —
32Some manuscripts read uuparatai-'ka" for "uparamaty" anya," correcting the metre. 4. Karikas 50 and 59 are defective in the fifth foot of the second half verse, the scheme of which is ^ — 5. The most serious fault in the metrical structure of the karikas is to be found in the separation of words and compounds by the caesura in one half verse, or even in both. This occurs twelve times throughout the work, to wit, Karika 4, 7, 9, 10 12, 22, 262, 28, 32 and 62*. Commentaries to the Karikas. — There are extant four com- mentaries to the Sainkhya Karikas. Besides that of Gaudapada, the earliest and by far the most important, there is a long com- ment known as the Sawkhya Tattva KaumudI, composed by Vacaspati Migra at a much later date and influenced throughout its pages by the monistic Vedanta and the theistic Yoga. It has been translated by Prof. Richard Garbe (Der Mondschein der Sawkhya Wahrheit, 1892). The remaining two are very modern works, and throw but little light on the original doctrines of the school. They are known as the Sawkhya Candrika, of Narayawa Tirtha and the Sawkhya Kaumudi by Ramakrisrwa Bhafrfacarya. Gaudapada's Bhashya. — The bhashya or gloss of Gaudapada, under which simple and modest title this earliest comment on the memorial verses goes, is the work of a scholiast who is believed to have lived at least two generations before the celebrated Vedanta commentator, S'awkaracarya, who flourished somewhere about the first half of the eighth century of our era. A trans- lation of this gloss into Chinese in connection with the Karikas themselves was made during the latter part of the sixth century, as mentioned above, fixing beyond question the latest date to which this work may be assigned, but further than that the uncertain chronology of Indian history does not aid us.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
162-63. Purusha is not bound, but prakriti. 64-68. Final emancipation. Its nature and when at- tained. SECTION 6. Karika 69 (70-72). Concluding verse and apochryphal additions. Metrical Structure. — The Sawkhya Karikas differ from the vast majority of Hindu works on philosophy, through the fact that they are composed in metrical form, at least in their present state. The metre employed by Igvara Krishna is the arya, per- haps the most complicated and most different of all the many modes of Sanskrit versification, but one which is frequent in works of the golden age of the literature, during which period our author flourished. In structure this metre is quite different from nearly all other Indian metrical forms, inasmuch as it is based not on the number of syllables in the verse, or pada, but on the number of morae. A light syllable, that is, one contain- ing a short vowel, counts as one mora ; a heavy syllable, in other words, a syllable containing a long vowel, or a closed syllable, counts as two. The verse is divided into two half stanzas, each of which is made up of eight padas or feet, and the caesura occurs in both cases at the end of the third foot. These feet are formed, each of two morae, appearing as two heavy syllables (— — ), as two light syllables and one heavy (__ — , _ — _, — __), or a four light syllables (____). The eighth foot of each half stanza is catalectic, consisting of one heavy syllable ( — ). But here occurs an irregularity, frequent also in other works than the Karika, namely, the occasional occurrence of a light (_) in place of the heavy syllable. It should be noted further that the sixth foot of the first half stanza must always form an amphibrach (_ — _), and the sixth foot of the second half stanza must be a single light syllable (_), while no odd foot may be an amphibrach. Applying these rules, it is easily seen that the first half stanza consists of thirty morae, the second of twenty-seven, as follows : In my recent paper, "I Metri delle Sawkhya Karika," pub- lished in "Sttidi Italiani di Filologia Indo-Iranica" (vol. viii. tip. Carnesecchi, Firenze, 1912), I have already treated in detail the numerous metrical defects of the Karikas. Of the entire seventy- two verses, forty-seven contain to a greater or less degree errors in regard to versification.
2viii. tip. Carnesecchi, Firenze, 1912), I have already treated in detail the numerous metrical defects of the Karikas. Of the entire seventy- two verses, forty-seven contain to a greater or less degree errors in regard to versification. 1. Thirty-three of the Karikas are found to have the irreg- ularity mentioned above; that is to say, a single mora, or light syllable, in the last foot, of one-half verse or of both. These verses are 31, 42, 52, 72, 82, II1, IS1'2, 161, 172, 181' 2, 191' 2, 211, 222, 242, 272, 292, 322, 341' 2, 352, 362, 382, 421, 441, S31, 552, 571'2, [602], 611-2, 632, 662, 682, and (721-2). It is noteworthy that the majority of these irregularities occurs in the second half verse, and indeed many may be regarded as due to the fact that the words in question as mere verse fillers. 2. In two karikas there is a disregard for the rule of the amphibrach in the sixth foot of the first half serve. Karika 3 reads : "mulaprakritir avikritir; | mahad-adya/* prakriti-vikritaya/i sapta ; | shodacakas tu vikaro; | na prakritir, na vikriti/z purusha/t||" and Karika 47 : "paiica viparyaya-bheda | bhavanty, agaktes tu karawa- vaikalyat | ashtaviragati-bhedas ; tushfir navadha; 'shtedha siddhi/i ||." In both cases, the foot in question consists of four short syllables (_^__). 3. Four karikas contain more than the regular number of morae. Karika 20: "tasmat, tat-sawyogad | acetanaw cetanavad iva lingam, | guwa-kartritve ca tatha | karteva bhavatiti udasina/t ||."(1) Scheme: I I II.. — . I I I Karika 43 : "sawsiddhikag ca bhavaft | "sawsiddhikag ca bhava/z | prakritika, vaikritikag ca dharma- 'dyah | drsh/a/i karawa-'grayiwa/i, karya-'grayi«ag ca kalala-'dya/i 1 1 Scheme: U~ _ | II -. , I ^ I ^~ Karika 52: v<na vina bhavair lingaw, | na vina lingena bhava-nirvritti/* ; | linga-'khyo, bhava-'khyas | tasmad dvividha/i pravartate sarga/i || " Scheme: _-| I ll.-l l_-_|- Iii this case the second half verse has the scheme of a first half verse. In classical Sanskrit this occurs regularly and is known as the giti or udgatha. Karika 66: " 'drishfa rnaya' ity upekshaka | eko ; 'drish^a 'ham' ity uparamaty anya; | sati sawyoge 'pi, tayo/? | prayojanam na 'sti sargasya || (2) Scheme: |^_^|_^ _|| | U — w | JBetter reading perhaps "sanaka/z sanandanag ca" cf Saw- khya Sutras 6.69). 2Some manuscripts read uuparatai-'ka" for "uparamaty" anya," correcting the metre. 4. Karikas 50 and 59 are defective in the fifth foot of the second half verse, the scheme of which is ^ —
32Some manuscripts read uuparatai-'ka" for "uparamaty" anya," correcting the metre. 4. Karikas 50 and 59 are defective in the fifth foot of the second half verse, the scheme of which is ^ — 5. The most serious fault in the metrical structure of the karikas is to be found in the separation of words and compounds by the caesura in one half verse, or even in both. This occurs twelve times throughout the work, to wit, Karika 4, 7, 9, 10 12, 22, 262, 28, 32 and 62*. Commentaries to the Karikas. — There are extant four com- mentaries to the Sainkhya Karikas. Besides that of Gaudapada, the earliest and by far the most important, there is a long com- ment known as the Sawkhya Tattva KaumudI, composed by Vacaspati Migra at a much later date and influenced throughout its pages by the monistic Vedanta and the theistic Yoga. It has been translated by Prof. Richard Garbe (Der Mondschein der Sawkhya Wahrheit, 1892). The remaining two are very modern works, and throw but little light on the original doctrines of the school. They are known as the Sawkhya Candrika, of Narayawa Tirtha and the Sawkhya Kaumudi by Ramakrisrwa Bhafrfacarya. Gaudapada's Bhashya. — The bhashya or gloss of Gaudapada, under which simple and modest title this earliest comment on the memorial verses goes, is the work of a scholiast who is believed to have lived at least two generations before the celebrated Vedanta commentator, S'awkaracarya, who flourished somewhere about the first half of the eighth century of our era. A trans- lation of this gloss into Chinese in connection with the Karikas themselves was made during the latter part of the sixth century, as mentioned above, fixing beyond question the latest date to which this work may be assigned, but further than that the uncertain chronology of Indian history does not aid us.
The source text as printed, transcribed diplomatically. Where the source language uses a non-Latin script that reaches us only through a Victorian romanisation, this layer is labelled transliteration, because that is what we hold.
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