Dear list members,

In the description of the samavakāra the Nāṭyaśāstra (18, 76) mentions that in this type of play the uṣṇik, gāyatrī and and other uneven/complex metres should be used (or should, instead, be avoided (vl. kavibhir naiva prayojyāni):

uṣṇig gāyatryādyānyanyāni ca yāni bandhakuṭilāni

vr̥ttāni samavakāre kavibhis tāni prayojyāni

The "classic" example of the samavakāra (NŚ 4, 4) is the Amr̥tamanthana, in which gods and demons violently compete for possession of the amr̥ta. Can someone enlighten me of what is so special about the uṣṇik and gāyatrī metres (and those of the bandhakuṭila type) that they should be used or, instead, be avoided in a play of the samavakāra type.

With kind regards,

Herman