S H A 
S H A 
followers of Budd’ha; while the Zend, or sacred language of 
ancient Iran, has long enjoyed a similar rank among the 
Parsis, or worshippers of fire, and been the depositary of the 
sacred books of Zoroaster. It is perhaps, however, more 
accurate to consider all the three, rather as different dialects 
of the same derivative language, than as different languages; 
and conformably to this idea, the Bali itself may be reckoned a 
dialect of Prakrit. The term Prakrit, both in books, and in 
common use among the Bramins, is employed with some 
degree of latitude. Sometimes the term is confined to a par¬ 
ticular dialect employed by the Jainas, as the language of 
religion and science, and appropriated to females, and 
respectable characters of an inferior class, in dramas. Some¬ 
times it includes all the dialects derived immediately from 
the Shanscrit, whether denominated Prakrit, Magad’hi, 
Suraseni, Paisachi, or Apabhransa ; and sometimes it is even 
extended to the Desa-b’hashas, or popular tongues of India, 
as'Mahrasht or Mahratla, Canara, Telinga, TJdia and Ben¬ 
gali. According to the extended use of the term Prakrit, it 
may certainly include both Bali and Zend; and if more ex¬ 
tensive research should justify the idea derived from an im¬ 
perfect investigation. Dr. Leyden apprehends that the Bali 
may be identified with the Magad’hi, and the Zend with the 
Suraseni, of Shanscrit authors. 
These three dialects, the Prakrit, Bali and Zend, have 
been regularly cultivated and fixed by composition. The 
same laws of derivation are applicable to the formal ion of all 
the three; but yet there is often considerable diversity in the 
forms which particular words assume, as appears from the 
comparative specimen given by Dr. Leyden. 
The learned Mr. Colebrooke has published in the 10th 
volume of the Asiatic Researches, an elaborate essay on 
Shanscrit and Prakrit poetry. He observes, that the prosody 
' of Shanscrit will be found, from the examples which he has 
adduced, to be richer than that of any other known language, 
'in variations of metre, regulated either by quantity or by 
number of syllables, both with and without rhyme, and sub¬ 
ject to laws imposing in some instances rigid restrictions, in 
others allowing ample latitude. The rules relative to Prakrit 
prosody, are applicable, for the most part, to Shanscrit pro¬ 
sody also; since the laws of versification in both languages 
. are nearly the same. 
Shanscrit prosody admits of two sorts of metre; one 
governed by the number of syllables; and which is mostly 
uniform or monoschematic in profane poetry, but altogether 
arbitrary in various metrical passages of the Vedas. The 
other is in fact measured by feet, like the hexameters of the 
Greek and Latin; but only one sort of this metre, which is 
denominated Ary a, is acknowledged to be so regulated; 
■ while another sort is governed by the number of syllabic 
instants or matras. 
The most common Shanscrit metre is the stanza of four 
verses, containing eight syllables each; and denominated 
from the name of the class “ Anushtubb,” for an account of 
which, and of other kinds of metres, we refer uhi supra. 
The Shanscrit writers notice different species of prose. 
They discriminate three and even four sorts, under distinct 
names. 1. Simple prose, admitting no compound terms. 
It is denominated “ Muctaca.” This is little used in polished 
compositions; unless in the familiar dialogue of dramas. It 
must undoubtedly have been the colloquial style, at the 
period when Shanscrit was a spoken language. 2. Prose, 
in which compound terms are sparingly admitted. It is 
called “ Culaca.” This and the preceding sort are by some 
considered as varieties of a single species named Churn ica. 
It is of course a common style of composition; and, when 
polished, is the most elegant as it is the chastest. But it 
does not command the admiration of Hindoo readers. 
3. Prose abounding in compound words. It bears the 
appellation of “ Utcalica praya.” Examples of it exhibit 
compounds of the most inordinate length : and a single word, 
exceeding a hundred syllables is not unprecedented. This 
extravagant style of composition, being suitable to tire taste of 
the Indian learned, is common in the most elaborate works 
of their favourite authors. 4. Prose modulated so as fre- 
Vol, XXIII. No. 1557. 
97 
quently to exhibit portions of verse. It is named “ Vritta- 
gand’hi.” It will occur without study, and even against 
design, in elevated compositions; and may be expected in the 
works of the best writers. 
Some of the most elegant and highly wrought works in 
prose are reckoned among poems, as already intimated, in 
like manner as the “ Telemache” of Fenelon. The most 
celebrated are the “ Vasavadatta” of Suband’hu, the “ Dasa 
Cumara” of Dandi, and the “ C&dambari” ofVana. 
SHA'NTY, adj. [perhaps a corruption of janty. ] Showy ; 
gay. Used in the north of England. 
SHAOSUMRE, a town of Hedsjas, in Arabia; 25 miles 
north of Calaat-el-Moilah. 
SHAOWN, a village of Hedsjas, in Arabia; 45 miles 
south of Yambo. 
To SHAPE, v. a. preter. shaped; part. pass, shaped and 
shapen; anciently skope. [jeeeapian, pcapan, Sax. scheppen, 
Teut., skapa, Su. Goth., creare, formare : vox antiquissima, 
omnibusque lingu. Septentr. usitatissima. Sereniusi] To 
form; to mould with respect to external dimensions. 
I that am not shap'd for sportive tricks. 
Nor made to court an amorous looking-glass; 
I, that am rudely stampt, and want love’s majesty. 
To strut before a wanton ambling nymph. ShaJcspeare. 
Mature the virgin was, of Egypt’s race; 
Grace shap'd her limbs, and beauty deck’d her face. Prior. 
To mould ; to cast; to regulate ; to adjust. 
Drag the villain hither by the hair, 
Nor age nor honour shall shape privilege. Titus Andronicus. 
Charm’d by their eyes, their manners I acquire, 
And shape my foolishness to their desire. Prior 
To imagine; to conceive.—When fancy hath formed and 
shaped the perfected ideas of blessedness, our own more 
happy experiences of greater must disabuse us. Boyle. — 
To make; to create. Obsolete. —I was shapen in iniquity, 
and in sin did my mother conceive me. Ps. 
To SHAPE, v. n. To square ; to suit; 
Their dear loss, 
The more of you ’twas felt, the more it shap'd 
Unto my end of stealing them. ShaJcspeare. 
SHAPE, s. Form; external appearance. 
The other shape, 
If shape it may be call’d that shape had none, 
Distinguishable in member, joint or limb. Milton. 
In vegetables and animals the shape we most fix on, and 
are most led by. Locke. —Make of the trunk of the body.— 
Fathers and mothers, friends and relations, seem to have no 
other wish towards the little girl, but that she may have a fair 
skin, a fine shape , dress well,and dance to admiration. Law. 
—Being; as moulded into form. 
Before the gates there sat, 
On either side a formidable shape. . Milton. 
Idea; pattern. 
Thy heart 
Contains of good, wise, just, the perfect shape. Milton. 
SHAPE, Inflammation of the, among neat cattle, an affec¬ 
tion in cows, arising in hot weather, and which is shewn 
by a swelling of the parts with boils or eruptions. It is 
analogous to pseudo-syphilis in men. 
SHAPELESS, adj. Wanting regularity of form; wanting 
symmetry of dimensions. 
You are born 
To set a form upon’that indigest, 
Which he hath left so shapeless and so rude. ShaJcspeare. 
SHA'PESMITH, s. One who undertakes to improve the 
form oi the body. A burlesque and obsolete word. 
No shapesmith yet set up and drove a trade, 
To mend the work that providence had made. Garth. 
SHAPELINESS, s. Beauty or proportion of form. 
2 C SHA'PELY, 
