고전 산스끄리뜨의 바이딸리야(Vaitālīya) 운율 군(群) 연구 (Ⅰ)__바이딸리야와 아우빠찬다시까(Aupacchandasika)를 중심으로__
A Study on the Vaitālīya in the Classical Sanskrit Metre (Part I): Focused on Vaitālīyā and Aupacchandasika
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초록
바이딸리야(Vaitālīya)는 ‘단-장-단’(∪⏤∪) 등과 같은 운각(韻脚, gaṇa)들과 마뜨라(mātrā) 수(數)로 구성된 자띠(jāti, 또는 mātrāchandas로도 불림) 범주에 속하는 시형이다. 바이딸리야는 아리야(ārya) 군(群)의 운율처럼, 한 개의 단독 운율을 의미할 뿐만 아니라 동시에 바이딸리야를 비롯해서 이와 유사한 구조를 지닌 아우빠찬다시까(aupacchandasika), 아빠딸리까(āpātalikā) 등과 같은 아홉 운율을 통칭하는 용어이기도 하다. 바이딸리야 군에 속하는 아홉 운율들 중에서 가장 널리 사용된 것은 바이딸리야와 아우빠찬다시까이다. 바이딸리야 구의 운율들은 네 구의 후반부가 ‘⏤∪⏤∪⏤’(8마뜨라) 또는 ‘⏤∪⏤∪⏤⏤’(10마뜨라)과 같은 형식으로 끝맺지만 전반부의 형태는 고정되어 있지 않다. Apte와 Brown은 바이딸리야, 아우빠찬다시까를 하나의 정형시(定型詩)처럼 소개하고 있지만 필자의 분석에 따르면 바이딸리야, 아우빠찬다시까의 경우만 해도 조합 가능한 시형(詩形)이 각각 12,544개나 되는 복잡한 형태의 운율이다. 바이딸리야 군의 운율은 삥갈라(Piṅgala)의 Chandaḥśāstra를 비롯해서 라뜨나까라샨띠(Ratnākaraśānti)의 Chandoratnākara, 께다라브핫따(Kedārabhaṭṭa)의 Vṛttaratnākara, 강가다사(Gaṅgādāsa)의 Chando- mañjarī 등에서 정의되었다. 하지만 암호와 같은 간략한 게송만으로 그 의미를 온전하게 파악하기 힘들고 주석서들의 해설 역시 상충되거나 다소 납득하기 힘든 해설상의 오류도 담고 있다. 본고에서는 먼저, 바이딸리야 군의 운율 중 가장 표준적 모델이라 할 수 있는 바이딸리야 그리고 이 운율과 더불어 가장 빈번하게 사용된 아우빠찬다시까를 정의하고 분석했다.
Abstract
Vaitālīya is a metre belonging to the jāti(also known as mātrāchandas). Like the Āryā metre, the term vaitālīya means not only one independent metre, but also a term encompassing nine metres such as Aupacchandasika, Āpātalikā, Dakṣiṇāntikā, Prācyavṛtti, Udīcyavṛtti, Pravṛttaka, Cāruhāsinī, Aparāntika. The structure of these nine metres are fixed in the second-half of the four pādas such as ‘⏤∪⏤∪⏤’ or ‘⏤∪⏤∪⏤⏤’, but the structure of the first-half is not fixed. Therefore, the structure of these metres are not fixed form, but the structure of each metre are very diverse. According to my analysis, there are 12,544 types of Vaitālīya. The Vatalīya metres were defined in almost Sanskrit chandas-literatures, including Chandaḥśāstra and they are frequently used in classical Sanskrit literature, but have not been studied carefully. This article focuses mainly on Chandomañjarī and Vṛttaratnākara with Vivṛti-s. Among nine metres, the standard metre is Vaitālīya and of the nine metres the most frequently used are Vaitālīya and Aupacchandasika. 1. Of the two metres, the rules of vaitālīya are summarized as follows: ① The first half of the odd Pādas is consist of 6 mātrā-s(1~6th mātrā-s), and the first half of the even pāda-s is 8 mātrā-s (1~8th mātrā-s). ② ‘8 short syllables’(∪∪∪∪∪∪∪∪) cannot be used in the first half(1~8th) of even pāda-s. ③ In the first half of the odd pāda(1~6th mātrā-s) and the even pāda(1~8th mātrā-s), a guru(⏤: long) cannot be used for 2-3rd, 4-5th and 6-7th mātrās. ④ Both the second half of the odd and the even pāda ends with ‘⏤∪⏤∪⏤’(Ra, L, G). Based on the above rule, the formats available for odd and even pāda-s are as follows. (cf. table of pp.181-182) Vitalia is not a fixed poem, but a combination of the above charts Ⓥ and Ⓢ, all 12,544 poems are possible. Among them, the combined form of Ⓥ1 + Ⓢ1 and Ⓥ1 + Ⓢ1 is the same as the Aparavaktra of Ardhasamavṛtta, and Ⓥ4 + Ⓢ4 and Ⓥ4 + Ⓢ4 of Vaitālīya is the same as the Viyoginī of Ardhasamavṛtta. 2. In the case of Aupacchandasika, it is the same as the rule of the Vaitaliya, but the second half of the odd and the even pādas ends with ‘⏤∪⏤∪⏤⏤’(Ra, Ya). (cf. table of p.183) Of the 12,544 types of Vaitālīya’s structures, ‘a,c∪∪∪∪∪∪⏤∪⏤∪⏤, b,d∪∪∪∪⏤∪∪ ⏤∪⏤∪⏤’ is the same as Aparavaktra metre and a,c∪∪⏤∪∪⏤∪⏤∪⏤, b,d∪∪⏤⏤∪∪⏤∪⏤∪⏤is the same as Viyoginī (=Sundari) metre of Viṣamavṛtta. Similarly, among the 12,544 kinds of Aupacchandasika’s structures, ‘a, c∪∪∪∪∪∪⏤∪⏤∪⏤⏤, b, d∪∪∪∪⏤∪∪⏤∪⏤∪⏤⏤’ is the same as Puṣpitāgrā metre and ‘a,c∪∪⏤∪∪⏤∪⏤∪⏤⏤, b,d∪∪⏤⏤∪∪⏤∪⏤∪⏤’is the same as Malabhāriṇī (=Śiśulīlā) metre of Viṣamavṛtta.
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