kavidarpan

Author(s): H D Velankar
Publisher: Rajasthan Prachyavidya Pratishtan
Catalog link: https://jainqq.org/explore/023461/1

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के राजस्थान पुरातन गन्माला के
प्रधान सम्पादक - पद्मश्री जिनविजय मुनि, पुरातत्वाचार्य [सम्मान्य सञ्चालक, राजस्थान याच्यविद्या प्रतिष्ठान, जोधपुर ]
ग्रन्थाङ्क ६२ अज्ञातकर्तृक वृत्तिसहित - प्राकृतभाषाग्रथित
कविदर्पण
प्रकाशक
राजस्थान राज्य संस्थापित राजस्थान प्राच्यविद्या प्रतिष्ठान RAJASTHAN ORIENTAL RESEARCH INSTITUTE, JODHPUR
जोधपुर ( राजस्थान)

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राजस्थान पुरातन ग्रन्थमाला
प्रधान सम्पादक-पद्मश्री जिनविजय मुनि, पुरातत्त्वाचार्य [सम्मान्य सञ्चालक, राजस्थान प्राच्यविद्या प्रतिष्ठान, बोधपुर ।
ग्रन्थाङ्क ६२
अज्ञातकर्तक वृत्तिसहित प्राकृतभाषाग्रथित
कविदर्पण
प्र का शक .
राजस्थान राज्य संस्थापित राजस्थान प्राच्यविद्या प्रतिष्ठान RAJASTHAN ORIENTAL RESEARCH INSTITUTE, JODHPUR
जोधपुर ( राजस्थान )

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राजस्थान पुरातन ग्रन्थमाला
राजस्थान राज्य द्वारा प्रकाशित सामान्यतः अखिल भारतीय तथा विशेषतः राजस्थानदेशीय पुरातनकालीन संस्कृत, प्राकृत, अपभ्रंश, राजस्थानी, हिन्दी आदि भाषानिबद्ध
विविध वाङ्मयप्रकाशिनी विशिष्ट ग्रन्थावलि
प्रधान सम्पादक पद्मश्री जिनविजय मुनि, पुरातत्त्वाचार्य सम्मान्य संचालक, राजस्थान प्राच्यविद्या प्रतिष्ठान, जोधपुर प्रॉनरेरि मेम्बर ऑफ जर्मन ओरिएन्टल सोसाइटी, जर्मनी; निवृत्त सम्मान्य नियामक (आनरेरि डायरेक्टर ), भारतीय विद्याभवन, बम्बई; प्रधान सम्पादक,
सिंघी जैन ग्रन्थमाला
ग्रन्थाङ्क ६२
अज्ञातकर्तृक वृत्तिसहित प्राकृतभाषाप्रथित
कविदर्पण
प्रकाशक . .. राजस्थान राज्याज्ञानुसार सञ्चालक, राजस्थान प्राच्यविद्या प्रतिष्ठान
जोधपुर ( राजस्थान )
जान

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अज्ञातकर्तृक वृत्तिसहित प्राकृतभाषा-प्रथित
कविदर्पण
सम्पादक
प्रो. एच. डी. वेलणकर, एम. ए.
सह-सञ्चालक, भारतीय विद्याभवन. बम्बई
प्रकाशनकर्ता
राजस्थान राज्याज्ञानुसार सञ्चालक, राजस्थान प्राच्यविद्या प्रतिष्ठान
जोधपुर ( राजस्थान )
विक्रमाब्द २०१८ ) प्रथमावृत्ति १०००
भारतराष्ट्रीय शकाब्द
बजाज्ञा 'घ'g'T. H wi"
17.07 बोलनमार..
प्रधान सम्पादकीय वक्तव्य एवं मुखपृष्ठ के मुद्रक- साधना प्रेस, जोधपरशन अव ।
शेष भाग के मुद्रक - मौज प्रिन्टिग ध्यरो, बम्बई रा.प्रा. वि. प्र..

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RAJASTHAN PURATANA GRANTHAMALA
PUBLISHED BY THE GOVERNMENT OF RAJASTHAN
A series devoted to the Publication of Sanskrit, Prakrit, Apabhramsa, Old Rajasthani-Gujarati and Old Hindi works pertaining to India in general and Rajasthan in particular.
GENERAL EDITOR
'PADMASHREE JIN VIJAYA MUNI, PURATATTVACHARYA
Honorary Director, Rajasthan Oriental Research Institute, Jodhpur Honorary Member of the German Oriental Society, Germany; Retired Honorary Director, Bharatiya Vidya Bhawan, Bombay; General Editor, Singhi Jain Series etc, etc.
⭑ ⭑
VS. 2018 ]
No. 62
A Prakrit work with Commentary
KAVIDARPANA
of an unknown author
*
Published
Under the Orders of the Government of Rajasthan
By
The Hon. Director, Rajasthan Prachya Vidya Pratisthana
:
(Rajasthan Oriental Research Institute) JODHPUR (RAJASTHAN)
All Rights Reserved
[ 1962 A D.

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TABLE OF CONTENTS
pp.
1 Preface by the General Editor ... 2 Introduction : (Figures within brackets refer to Paragraphs.) (a) Kavidarpana : Abbreviations and works referred to
here in a foot-note on p. 1; The sources of our knowledge of the work (1); Jinaprabha's references to Kavidarpaņa examined (2); the only manuscript of the work (3); authors and works quoted in the work (4); general nature of the contents (5); contents of chs. 1 and 2; the peculiar classification of the Mātrā Vịttas, including strophes, in view of the number of Pādas in a stanza or a strophe; strophic couplets and triplets in Sanskrit and Prākrit literature (6); the three Dvipadis, i.e., metres of 2 Pādas each (7); two of them called Ullāla; the meaning of the term Ulläla (8); Catuspadis: the Gāthā as the chief among them; its nature and the metres derived from it (9); the 10 Ardhasama Catuspadis; the Sama Catuspadis of 16 Mātrās in a Pada; the longer Sama Catuspadis and the Ardhasama Catuspadis (10); The Pañcapadi metre Mātrā rather neglected by the author (11); origin and kinds of Şatpadis, the Dhavalas and the Mangalas (12); Strophic couplets: Şatpada and Phulla (13); other couplets (14); contents of ch.3: Mere enumeration of the 26 Jātis beginning with Uktā: The significations of the words Jāti, Chandas and Vrtta; Mātrā Vrtta and Varna Vrtta (15); contents of ch. 4: 109 Varņa Vșttas defined; significations of the words Vitāna, Samāni and Pramāņi (16); the term Vitāna used in other works on prosody (17); contents of ch. 5: the Ubhaya Chandas, namely, the group of 11 metres headed by the Vaitālīya; the six Pratyayas treated very briefly in ch. 6 (18).
I-XXIX (b) Gäthälaksana of Nanditādhya: Contents (19); The author and his probable age (20).
XXX - XXXII (c) Chandahkośa of Ratnasekhara : Contents (21); the
author; Ratnasekhara and Prākṣta Paingala (22); unscientific nature of the treatment (23); Mātrā Vșttas:
1.

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सवृत्तिकः कविदर्पणाः
Sama Catuspadis (24); 7 Ardhasama Catuspadis, 2 Vişama Catuşpadis and 7 strophic couplets (25); conclusions suggested by the treatment of metres (26); the new type of prosodial music called Tāla Sangita gradually coming to forefront (27); but often only unconsciously followed by the poets and the pro
sodists (28). ... ... ... ... ... XXXIII - XLIII (d) Jinaprabhiyam : Definitions of a few metres are found
in the commentary of Jinaprabha on Nandişeņas' Ajitaśāntistava; these metres are 25 in all; only one of these is strophic; its nature discussed (29); 8 Varna Vrttas found among them (30); 6 Sama Catuspadī Mātrā Vrttas (31); 4 Ardhasama Catuspadi Mātrā Vșttas (32); 6 Vişama Vịttas (33); the terms Nārāca and Veștaka used as names of metres; the nature of the Vaişamya in the Vsttas examined (34).
XLIV - LII 3 Text of Kavidarpaņa and its commentary
1 - 68 4 Index of verses in the text
69 - 72 5 Index of Prākrit stanzas in Commentary ...
73 and 74 6 Index of Sanskrit stanzas in Commentary 7 Index of Mātrā Vrttas in Kavidarpana
76 - 77 8 Index of Varna Vșttas in Kavidarpana
78 - 80 9 Index of Prākrit stanzas in App. I-III ...
81 - 84 10 Index of Sanskrit and Prākrit metres in App. I-III
85 - 86 11 Appendix I: Gathālaksana of Nanditādhya - Text
87 - 98 12 Appendix II : Chandaħkośa of Ratnasekhara - Text
99 - 110 13 Appendix III : Chandolakṣaṇāni of Jinaprabha ... 111 - 119 14 Corrections ... ... .. ... ... ...
120 - 124 15 Brief Notes ... ... ... ... .. ... ... 125 - 154 16 Concordance of the present and the earlier editions of Kavidarpaņa ... ... **
155 - 156 ***

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Foreword by the General Editor
Virahānka's Vrttajātisamuccaya and Svayambhū's Svayambhūcchandas represent the tradition in metrics prior to Hemacandra. The Kavidarpaņa, on the other hand, can be taken to represent to a degree the post-Hemcandra metrical tradition. Even though it treats of the Varņavsttas as well as the Mātrāvrttas, it is primarily interested in the Prakrit and Apabhraṁs'a Mātrā-metres. It is quite familiar with the Chandonusrāsana, but the method of treatment and scheme of classification are considerably different. From the hints and observations of the commentator, we gather that in these matters the Kavidarpana belonged probably to a tradition that was represented by Manoratha and the Chandahkandalī with regards to Prākrit-Apabhraṁs'a metres and by S'ūra with regards to Sanskrit ones. Unfortunately these sources are lost co us and the importance of the Kavidarpana, besides other things, lies in preserving for us that new school of prosody. The several eulogistic references to Kings Bhimadeva, Siddharāja Jayasimha, Kumārapāla and Sākambhari-rāja (as also to some Jainācāryas) found in the illustrations adduced by the unknown Jain author and the commentator point to the latter's very close connection with the regions of Gujarāta and Rājasthan.
In his learned and exhaustive introduction Prof. Velankar has discuss d all the important points relating to the work. While giving a critical analysis of the contents, he has drawn our attention to the borrowings, correspondences and parallels from the whole field of earlier literature on the classical metres. His comparative approach has shed light on numerous points and his discussion of the history and significance of the names Ullāla, Kāvya, Vstta, Jäti, Vitāna, Upajāti etc. are especially rich in illuminating information.
Besides the Ka vidarpaņa and its commentary, the present volume includes two other short manuals of Prakrit-Apabhraṁs'a metres (the Gathālakṣana of Nanditādhya and the Chandaḥkos a of Ratnasekhara) and also the text of Nandişena's Ajita-Sānti-Stava along with the metrical definitions of its commentator Jinaprabha. Of these the Gathālakṣaṇa seems to have reached us in a composite form. Prof. Velankar suspects of several interpolations. His view that vol. 26-30 are unde. fined, quite out of context and hence likely interpolations, is borne out

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by the fact that they are directly borrowed from the Svayambhūcchandas, (Pūrvabhāga, 3.2, 4.2, 4.1, and 3-3; Prof. Velankar's edition, p. 105). So also are the illustrations of the Dūhā (vol 83, Svayambhūcchandas 5.2, p. 53).
On the other hand, though the text of the Chandaħkosa, seems to have been preserved properly, the work itself is mostly but an expansion of some earlier metrical manual of Alha and Gulha. Its interest lies in the fact that in contrast with the classical prosodic tradition of Şvayambhū, Hemacandra, etc. it represents a metrical tradition which has later crystallized as the bardic tradition in the hotch-potch of Prāksta-paingala and in the 'Pingala' and 'Dingala' metrical treatises and practices.
Here it should be noted that many of the metrical forms, that have been described in the different and divergent prosodic traditions typified by the metrists from Virahānka to Ratnasekhara, were very vigorously cultivated in Rājasthān and Gujarāta, and we can point to the metrical versatility of Abdala Rahamāna, the author of the Sandes arāsaka and to the numerous citations from the Vịttajātisamuccaya, the Gathālakṣana and the Chandaḥkosa in the commentary on the same (both of which are closely connected with Rājasthān), as just one proof of that fact.
One cannot emphasize too much the fact that Prof. Velankar has done a signal service to Indology by bringing to light and studying critically all those important works, which are unique and invaluable as sources for reconstructing the entire history of Middle IndoAryan prosody. We are grateful to him for allowing us to enrich the Rājasthän Purātana Granthmālā by this publication.
Rajasthan Oriental Research Institute, Branch: Chiltodgadh (Rajasthan) March 1, 1963.
-MUNI JINAVIJAYA

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INTRODUCTION

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INTRODUCTION*
1. The existence of the Kavidarpana was first known from a reference to it in Jinaprabha's commentary on the Ajita-śānti-Stava of Nandisena. This commentary was composed in Samvat 1365; it quotes certain definitions in Prakrit while explaining the different metres which are employed in the hymn. These definitions are 34 in number and all but one are composed in the Gathā metre. The first of these explains the terms used for the five kinds of the Mātrā Ganas in the subsequent definitions. The second definition consists of a pair of Gathās which explain the constitution of a Gāthā, while the third, which is the only one composed in the metre which it defines, defines the composition of a śloka. All the remaining ones, i.e., Nos. 4 to 34, are in the Gathā metre: and define the ing 31 metres employed in the hymn. At the end of these definitions Jinaprabha gives one more Gāthā, No. 35, which is composed by himself and which states that the definitions given so far were 'spoken out' by him
are the refererarely bay, 1913 abor
* The following works and articles are alluded to in the following introduction and the notes at the end.
1. Chandahkośa of Ratnasekhara (CK.) edited here in Appendix I; 2. Chandaħsekhara of Rājasekhara; edited at JBBRAS., N.S. vol. 22, 1946; 3. Chandassūtrz of Pingala; NSP. edition, Bombay, 1938; 4. Chandonuśāsana of Jayakīrti (JK.); edited in the Jayadāman, by the Haritosha Samiti, Wilson College, Bombay, 1949; 5. Chandonuśāsana of Hemacandra; in Prāksta and Apabhraíśa portions of the work, the references are to my edition of these at JBBRAS., vol3. 19 and 20
(1943-44); in other cases, the references are to the edition of the text at Jayadāman mentioned in Note No. 3 and only rarely have I alluded to the edition published by Devkaran Mulji at the N.S. Press, Bombay, 1912; 6. Jayadevachandas of Jayadeva (JD.) edited at Jayadāman mentioned in Note 3 above; 7. Jānāśrayi (JNS.); edited at Trivandrum, 1948; 8. Kavidarpaņa (KD.); the present edition; 9. Ratnamañjūşā; published by the Bharatiya Jnana Pitha, Kashi, 1949; 10. Vrttajātisamuccaya of Virahānka (VJS.); recently edited in the Rajasthan Puratattva Series; 11. Svayambhūchandas of Svayambhū (SB.); edited in the Rajasthan Puratattva Series; 12. Apabhranía Metres; published at the Bombay University Journal, Nov. 1933; 13. Apabhramsa Metres No. II; Bombay U. Journal, Nov. 1936; 14. Apabhramśa Metres No. III; at R. K. Mookerji Com. Volume, 1944; 15. Metres and Music; Poona Orientalist Vol. VIII, 1943. 1. See Peterson, Reports III, p. 231 and Velankar, A Descriptive Catalogue of Mss.
in the Library of the BBRAS., Vol. III. No. 1794. 2. They are published here in Appendix III together with the original hymn, as
edited by W. Schubring at ZII. No. II pp. 178-203, with a very few changes in the text of the hymn as suggested by the definitions. These are indicated in the
notes on the stanza in question. 3. To be exact, the Gathā is extended into a Gīti in Nos. 9, 20, 28 and 31. Nos.
8, 21, 22, 24, 29, 33 and 34 consist only of a Purvārdha of the Gathā, while Nos. 25, 26 and 32 consist only of an Uttarārdha of it. On the other hand, No. 11 consists of one whole Gātha and a Purvārdha of another attached to it.

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[INTRODUCTION
सवृत्तिकः कविदर्पणः 'mostly depending on the Kavidarpaşa'.
2. In 1935 I edited the Kavidarpana from the single palm-leaf manuscript existing at the Bhandarkar Oriental Research Institute, Poona. It was published in the Annals of the Institute, vols. 16 and 17 (1935-36) and the definitions of Jinaprabha mentioned above were given in the Appendix. But long before this, in 1923, W. Schubring had published these definitions along with the text of the Ajita-śānti-Stava at ZII. Vol. II, pp. 178203, carefully editing them both from a few Mss., which were available to him. He also gave here a Sanskrit hymn called Rsabha-Vira-Stava by the side of the main hymn, for comparison. This latter was composed by śānticandra Upadhyāya of the Tapa Gaccha in the 17th century A.D., in very close imitation of the metres of the original hymn. Schubring, however, did not give the last stanza composed by Jinaprabha at the end of the definitions. In this stanza Jinaprabha mentions the source of his definitions to be the Kavidarpana. His words are 'Kavidarpanam upajīvya prāyeņa (mostly depending upon the Kavidarpaņa)'. Actually, it is found that only four Gāthas have been reproduced from the Kavidarpana that is before us, while the remaining ones, whether Gäthās, Gītis or their halves, appear clearly to have been composed by Jinaprabha himself from the model stanzas of the hymn, on which he was commenting. This has been very well noticed by Schubring on p. 181 of the said article, and so, the words of Jinaprabha in the last stanza (No. 35) in the definitions published in Appendix III here, are to be understood in only a restricted sense. All that he has actually taken from the Kavidarpana is the four stanzas mentioned above, and what makes him use the words upajīvya is only the terminology employed by him for prescribing the Mātrā Gaņas in the composition of the different metrical lines. Perhaps, even the use of the Gathā metre for the definitions may have been adopted by Jinaprabha from the Kavidarpana. It is true that many of the metres employed in the hymn are unusual and were probably unknown to Jinaprabha from any other source and for that reason, he may have proceeded to compose his own definitions on the pattern of the Kavidarpaņa. But it is also found that in the case of a few metres, he has neglected the Kavidarpaņa, though he could have very well quoted from it its definitions of these metres. Thus the Vānavāsikā which is employed for the composition of v. 33 of the hymn, is defined at Kavidarpaņa 2. 19-20. Similarly, the Aparāntikā used for v. 34 of the hymn is defined at Kavidarpana 5.7. It must, of course, be admitted that the former is not an independent definition of the Vānavāsikā, though it is in the Gāthā metre, while the latter is not

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88 1-3 ]
सवृत्तिकः कविदर्पणः
composed in the Gāthā, but in a single line of the Aparāntikā metre itself, according to the scheme adopted by the author of the Kavidarpana in Chs. IV and V of his work. This is, perhaps, why Jinaprabha composed his own definitions in the Gathā metre for the sake of uniformity, though at least in one case, this uniformity is set aside in Def. No. 3 (of the Sloka). There are four more metres employed in vv. 15, 17, 25 and 26 of the hymn, which are known to the Kavidarpana; in the ms., they are described as Kusumalatā, Khidyitaka, Kṣiptaka and Aḍilā Dipaka respectively, but the Kavidarpana knows them under the names of Aupacchandasaka (KD. 5.2), Vamsapatrapatita (KD. 4.84), Rathoddhată (KD. 4. 27) and Svägatā (KD. 4.28), which are also the names known to Pingala and his successors. Jinaprabha is silent about this point and even here composes his own definitions of these in the Gathā metre, perhaps for the sake of uniformity, as said above.
iii
3. The definitions given by Jinaprabha are, for this reason, not in any way useful for the edition of the Kavidarpana, even though they first appeared to me to be so owing to the mention of that work by him. At one time, I was also inclined to believe that the recension of the Kavidarpana which Jinaprabha had before him may have been different from the one represented by our manuscript. But, very clearly, the fact that only 4 out of a total of 34 passages are common to the two works does not support the view that they are the versions of one and the same work. I have, therefore, ultimately to depend upon the single palm-leaf manuscript mentioned above for my edition. Fortunately, this manuscript is correctly written for the most part, there being only a few scribal errors or omissions of letters. The first folio is, however, lost and only foll. 2-86 are now available. The colophon at the end of the last chapter is also missing, but it does not seem that any substantial matter from either the text or the commentary is lost. A page is divided into two parts, leaving a space of about a quarter of an inch from top to bottom between them. The part on the left side is somewhat shorter than that on the right side of the page, which has generally 3 or 4 lines according to the breadth of the leaves, a line containing 45 letters on an average, in both the parts together. The Ms. shows the Pṛṣṭhamātrās throughout; it sometimes writes the letter i in the older way, i.e., with two dots and an ukāra added under them. In chapter IV, ya which stands for the yagana, is almost always written as va. Letters dropped through oversight are indicated with appropriate signs somewhere in the margin or between the relevant lines. The colophon at the end of the chapters is brief and does not men

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सवृत्तिकः कविदर्पणः
[INTRODUCTION tion either the name of the author or of the commentator. That both of them were Jain is amply clear from the introductory stanza (which has to be reconstructed from the commentary) and the commentary on the same. Both of them quote Hemacandra's Chandonuśāsana and the verses from the text of the Kavidarpaņa are quoted by Jinaprabha in Samvat 1365 as we saw above. This means that the Kavidarpana was composed sometime in the 13th century A. D. The work seems to have become popular by the time of Jinaprabha, who chose to follow it rather than Hemacandra's Chandonuśāsana, while explaining the metres of the Ajita-śānti-Stava. The reason for this preference may have been the simplicity of treatment of the subject matter. But it is also not impossible that both Jinaprabha and the author of the Kavidarpana belonged to the same, i.e., the Kharatara Gaccha and hence Jinaprabha considered him to be nearer to himself than Hemacandra in a way.
4. Kavidarpana reproduces the illustration of Śrīdhavala at 2.34.1 from Hemacandra's Chandonuśāsana 5.33, of Dvipadikhanda at 2.36.3 from Śrīharşa's Ratnávali Nātikā 1.14-16, of Cūdāla-Dohaka at 2.17.2 from Jinasimhasūri, of Dvibhangi at 2.35.1 from Suraprabhasūri, of another Dvibhangi at 2.36.1 from Tilakasūri. The exact sources of the last three quotations are not traceable at present; but they appear to be from some biographical poems composed by these authors. In addition to these authors, Kavidarpana mentions Kings Bhimadeva (in 2.30.3), Kumārapāla (in 2.30.4-6; 33.4; 37.3), Jayasimhadeva (in 2.3.3) and sākambhari-rāja (in 2.30.4). It also alludes to Tilakasūri (in 2.30.2), Yaśoghoșasūri (in 2.32.1), and Guru Samudrasūri (in 2.22.1), evidently as the comtemporary distinguished personalities. On the other hand, the commentator largely quotes from the Chandahkandalī, which is evidently a work on Prakrit prosody written in the Prakrit language and employing the same terminology as is used in the Kavidarpaņa. Thus vv. 66-68 on KD. 2.28.2, 71-80 on KD. 2.30.6 and 84-85 on 2.32.1 in the commentary are all from this work. The Kavidarpaņa also quotes besides this, one stanza from Svayambhūchandas (v. 31 on p. 6) and several from Manoratha (v. 43 on p. 17, v. 95 on p. 42 and v. 96 on p. 43). Both these are Prakrit writers on Prosody, like the author of the Chandahkandalī; the work of the former is now available and published, while the latter is unknown so far from other sources. Among the Sanskrit prosodists the commentator quotes from Śūra on p. 1 and on p. 8 under KD. 2.4; he mentions that the technical terms used for the Mātrā Gaņas in the Kavidarpana are borrowed from śūra (śūra-paribhasa iyam pūjya-prayukta sarvå iti arthaj

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सवृत्तिकः कविदर्पणः jñeyā). On the same page and under the same stanza he also quotes Trilocanadāsa in support of the view that the Āryyā or Gāthā is a Catuspadi and not a Dvipadi. On p. 18 under KD. 2.9, he speaks of Pingala as one who gave the name Aryāgīti to the metre which is known as Skandhaka in Prakrit. He gives his own illustrations of varieties not mentioned by the author, but added by himself from other sources, on KD. 2.8 (vv. 10-43, varieties of a Gāthā), 2.13 (vv. 46-58, derivatives of the Gāthā), 2.33 (vv. 87-94, varieties of a Dvibhangi called Satpada or Kāvya), 2.35.3 (v. 97, à Dvibhangi), 2.37.2 (v. 98, a Tribhangi), and 4.122-127 (20 stanzas in all). Among the illustrations of the varieties of a Gāthā (vv. 10-43), he quotes one (v. 36) from Padaliptasūri and one (v. 43) from Manoratha, but does not mention the source of the other quotations, as also of vv. 46-58, which illustrate the derivatives of the Gathā. On the other hand, vv. 87-94, 97 and 98, which respectively illustrate the different kinds of a Şaţpada, a Dvibhangi and a Tribhangi which are not actually mentioned by the author, are all of them wholly reproduced from Hemacandra's Chandonuśāsana. In the first chapter, he quotes a few stanzas or portions of them, to illustrate some prosodial rules on KD. 1.5 (vv. 3-10) and 1.8 (vv. 11-30); but most of these (vv. 7-10, 18-20, 24, 25, 28, 29) are reproduced from Hemacandra's Chandonuśāsana. Of these v. 18, 20, 24, 25, 29 are first quoted by Halāyudha in his commentary on Pingala's Chandas-sūtra 6.1 and then by our commentator through the medium of Hemacandra. In the case of vv. 21, 22, 23 and 27, the so called Yatyupanişad, our commentator adopts the readings given by Hemacandra and not those that are found in Halāyudha. Besides these, he quotes from other writers without mentioning their names on KD. 1.1 (v. 1), 1.4 (v.4), 1.6 (vv. 3-6), 1.8 (vv. 11-17, 26, 30), 2.3 (vv. 1-3), 2.4 (v. 4), 2.8 (vv. 5-9), 2.9 (vv. 44-45), 2.20.4 (v. 60), 2.23 (v. 61), 2.25 (vv. 62-65), 2.32 (vv. 81-82), 2.33 (v. 86), 3.1 (v. 1), 4.40 and 4.104. The illustrations of the different Vipulās given on KD. 4.122-127, which are all in Sanskrit, are again reproduced many of them directly from Halāyudha's commentary and some of them through the medium of Hemacandra. Some of these are also borrowed from the Classical Sanskrit poets and dramatists; thus KD. 4.122.3 is from Bhavabhūti's Uttararāmacarita; 4.123.1 from Rājasekhara's Viddhaśālabhanjikā I; 4.123.3 and 4.127.5 from Māgha's śiśupālavadha 2.44 and 49. In addition to these he often quotes grammatical rules from Hemacandra's Sabdanuśāsana, Adhyāya VIII, for explaining a few Prakrit words and forms occurring in the text or in the illustrations given by the author. Similarly, the following personalities are mentioned in the illustrations given in the commentary :-Ratnasūri (2.32, p. 15), Dharmasüri and King

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INTRODUCTION
Jayasimha (2.54, p. 21), King Siddharāja Jayasimha (2.53, p. 21) and King Kumārapāla (2.55, p. 21). The commentator thus does not appear to be very far removed from the times of the author of the text.
5. The author of the Kavidarpana composes his illustrations like Hemacandra as a general rule and introduces the name of the metre in the illustration itself by means of the usual device of Mudrā. His main aim was to compose a practical guide in respect of metres, particularly those in the Prakrit and the Apabhramśa languages, which are usually employed by the popular bards. Accordingly, he has expended great care on the second chapter which deals with the Mātrā Vịttas, whether single or strophic, composed in the Prakrit or the Apabhramśa languages. In this chapter he employs the Gathā metre for his definitions which he composes in the Prakrit language throughout; but he gives separate and full illustrations of all the metres defined by him, composing them in the language to which the metre belongs. He himself is, of course, silent about the language to which the metre belongs, unlike Hemacandra who has classified metres according to the language in which they are generally composed and employed, assigning a separate chapter to the Apabhramsa metres which begin with Utsäha. Hemacandra composes his definitions in the Sanskrit language, throughout his work, in the form of Sūtras accompanied by a brief commentary, which, too, is written in Sanskrit. But his full illustrations are composed in the respective languages to which the metres belong. Our commentator certainly knows this division of metres according to the language adopted by Hemacandra, as is clear from his remarks on the quotations from Svayambhuchandas on Yati, at the end of his commentary on v. 8 in chapter I on p. 6. But the author of the Kavidarpaņa does not follow Hemacandra in this respect and classifies the metres under three heads in accordance with the unit of scansion, namely, a Varņa, a Mātrā or both, that underlies their constitution. For this reason, we do not find a uniform use of the Prakrit language in the illustrations of metres defined in Chapter II, as we find it in the case of the following chapters which deal with the Varna Vșittas and the mixed Mātrā-Varna Vrttas. As his main interest was in the Prakrit and Apabhramsa metres, as said above, he does not give full illustrations of the Varņa and the Miśra Vịttas which are generally found in the Sanskrit language and which are defined in the later chapters of the Kavidarpana. In the case of these latter, the definition itself serves as the illustration and the definition is given in a single line in the case of the Sama Catuspadis, in two lines in that of the Ardhasama Catuspadis

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सवृत्तिकः कविदर्पणः and in four lines in that of the Visama Catuspadis, being always composed in the Prakrit language. Thus in the second chapter, all illustrations of the Ullālas, Kumkuma and Karpūra (2.3.1-2), of Mauktikadāma (2.3.3), of the Catuspadis beginning with Pañcānanalalitā and ending with Cūdāladohaka (2.14-17), of Vadana, Madilă, Adilā and Paddhatikā (2.2122), of Rāsāvalaya and Vastuvadana (2.25), of Utsäha and Mātrās (2.2628), of Ghattās, Kīrtidhavala, Şatpada, Phulla, Sridhavala, and Tarala (2.30, 32-34), of the Dvibhangis and Tribhangis which contain a Dohaka or an Ullāla (2.35-36) and of a Kadavaka which consists of 4 stanzas in the Paddhatikā metre (2.37) are composed in the Apabhramsa language. On the other hand, the examples of the Gātha and its varieties and derivatives as also of those Dvibhangis and Tribhangīs which employ a Gāthā or a Khanda are all composed in the Prakrit language.
6. Kavidarpaņa consists of six chapters of which the first is introductory; it first gives the threefold classification of the metres based upon the unit of scansion, viz., Mātrā, Varna, cr both, as said above and then proceeds to enumerate the different kinds of Gaņas, whether of Varņa or of Mātrā, which are employed in defining the composition of the lines of the different metres (vv. 1-3). The next two stanzas (vv. 4-5) discuss the nature and the graphical representation of short and long letters in Prakrit and Apabhramśa poetry, while the definition of a Pāda and the explanation of a few technical terms used to convey numerical figures are given in the following stanza (v. 6). Finally, in the last two stanzas (vv. 7-8) rules regarding the observance of the Yati in the middle as well as at the end of a line are given. Our author is clearly in favour of the Yati, but only so far as the Varna Vịttas are concerned, where he invariably mentions it while defining them in the fourth chapter. The commentator here quotes a stanza from Svayambhūchandas (1.72) according to which the Yati was considered as optional even in the case of the Sanskrit Varna Vsttas by older prosodists like Māndavya, Bharata, Kāśyapa and Saitava, though it was adopted as compulsory in Sanskrit metres by Pingala and Jayadeva who closely follows him. In the second chapter, which is the most important one in the work, the first main division of metres, namely the Mātrā Vrttas, is treated and the author shows considerable originality in the treatment of the subject. He arranges these metres under eleven heads in accordance with the total number of Pādas or lines which a stanza or stanzas in a simple or a composite metre may contain. Thus he begins with the Dvipadī, i.e., a metre with two Pādas, and ends with a Sodaśapadi, j.e., a metre having 16 Pādas in it. Among these Dvipadī, Catuspadī,

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[INTRODUCTION
Pañcapadi, Satpadi and Aṣṭapadi metres are simple metres consisting of a single stanza each, having respectively 2, 4, 5, 6 and 8 Pādas in them; while some Ṣatpadis, Saptapadi, some Aṣṭapadīs, Navapadi, Daśapadi, Ekādaśapadi, Dvādaśapadi and Soḍaśapadi metres are always composite ones consisting of 2, 3 or even 4, stanzas in simple metres of the same or of different types, strophically combined. These strophic couplets or triplets are a peculiarity of Prakrit and Apabhraṁśa poetry, especially the latter. They owe their origin as much to the idea of variety and ornamentation as to the need of finishing an incomplete sentence or topic started in the earlier stanza. But the incompleteness in many cases is intentional and not due to negligence or want of skill, though their early origin may perhaps be traceable to these two factors. Thus the couplet or triplet is intended to form a unit, both syntactically and in respect of contents. In some cases, the repetition of a few words from the earlier stanza in the later one is acutally prescribed to give greater effect to this intention. Really speaking, such a strophic combination of stanzas may be considered as the beginning of lyric and narrative poetry in the Prakrit and the Apabraṁśa languages. Such strophic couplets and triplets are certainly not wanting in Vedic and Classical poetry; but they are comparatively few. In Vedic poetry we get the Barhata and Kakubha Pragathas made up of a stanza in the Bṛhati or the Kakubh metre coupled with another in the Satobṛhati metre. Similarly, we get the Trcas consisting of three Rcs in the same, i.e., Gayatri metre. Generally, they appear to have been composed with the idea of presenting a musical unit for being melodiously sung in the propitiation of the deity at sacrificial sessions. They too exhibit a syntactical unity in a few cases, but almost always a unity of the contents. The Pragatha has also an element of variety and decoration in it; but it does not seem to have served as a starting point for the growth of lyric or narrative poetry in Vedic Sanskrit. On the other hand, the Yugmakas, the Kulakas, the Viseṣakas in Classical Sanskrit are unornamental and owe their origin evidently to the poet's convenience. They are more or less syntactical units in the same metre, and are not based on any idea of variety or ornamentation. As against this, the strophical couplets in the Prakrit and the Apabhramśa languages are intentional and definitely meant for variety and ornamentation.
viii
7. Among the Dvipadi metres our author selects only three, namely, the two Ullālas, specifically called Kumkuma and Karpura in the language of 4. See also my remarks on the Dvipadi and the Rasaka in Paras 3 and 4 of the introduction to the new edition of the Vṛttajatisamuccaya of Virahānka. 5. See Vṛttajatisamuccaya, 4.86 for these.

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ix the bards of Magadha, and the Mauktikadama. Of the two Ullālas the second, i.e., the Karpūra, appears to have been more commonly used and hence described as of 25 kinds, in view of the number of short letters contained in each of them. Thus, the shortest among these twentyfive contains only 8 short letters and 24 long ones, while the longest one has all, i.e., 56, short letters in it. In both the Ullālas no long letter is compulsory, but a short
senting the 13th Mātrā and 3 shorts representing the 26th, 27th and 28th Mātrā in the Karpūra (only the 26th and 27th in the Kumkuma) in each half is compulsory. The Yati in both the halves is after the 15th Mātrā and in practice even the 14th and the 15th Mātrās are represented by short letters for keeping a sort of balance between the concluding portions of three Mātrās in the two parts, caused by the presence of the Yati in each half. The third Dvipadi which our author defines is the Mauktikadāma. Here the Yati after the 12th and the 20th Mātrā in each half which has 32 Mātrās in all, is prescribed as compulsory. It is difficult to see why this particular Dvipadi is selected out of a very large number of them which are defined by Svayambhū and Hemacandra. Nor is the Yati very prominently felt in the halves of the illustration given by the author himself. Besides, the same Dvipadi is turned into a Şațpadi which has three lines of 12, 8 and 12 Mātrās respectively, in each of its two halves, merely when a Yamaka is introduced at the point of the 1st and the 2nd Yatis in each half. The author himself defines such a șațpadī at KD. 2.30. It is also noteworthy that this same name Mauktikadāma is given by Ratnasekhara in his Chandahkośa v. 6 to a Catuspadi which has 16 Mātrās in each of its four Pādas and is virtually the same as cur Dvipadi, but where there is only one Yati at the 16th Mātrā instead of our two at the 12th and the 20th Mātrās, a Yamaka being also introduced at the point of the Yati. Yet it must be pointed out that Ratnasekhara's Mauktikadāma is a Varņa Vrita with 4 Madhyaguru Caturmātras (or Jaganas) in each Pāda and must be traced to a similar Sanskrit metre noted by Hemacandra, at Chandonuśāsana 2.172. On the other hand, as seen from the illustrations of both our author and of Hemacandra, the Dvipadi Mauktikadāma shows preference for the Adiguru and Sarvalaghu Caturmätras, apparently avoiding the Madhyaguru Caturmātra or the Jagana.
8. The name Ullāla given to the first two Dvipadis is very interesting. Kavidarpaņa says that they belong to the Bandins or the bards; Hemacandra on Chandonuśāsana 7.3 mentions them as Ullālakas and ascribes them to the Magadhas, i.e., the bards of Magadha in particular, or perhaps the bards in general, as the terms Magadha and Māgadhikā (metre) were

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[ INTRODUCTION
by this time extended to all bards irrespective of their home. Virahanka and even Svayambhū are apparently not aware of these particular Ullalas or their names, so that the extensive use of this metre as well as its popular name, i.e., Ullāla, may be ascribed to about the 11th century. It, however, does not appear to be suitable for a running narrative, but may have been used as a sort of variety, either at the beginning or at the end of a Kadavaka, composed in the Paddhatikā or some similar metre. Our commentator has well noted this point and observed at the end of his comments on KD. 2.31 : 'Of these, certain kinds of Catușpadī like the Pañcānanalalitā and a few Dvipadis like the Kumkuma are seen employed at the commencement of Sandhis.' By a convention of the bards, a Dvipadi is employed either at the commencement of a Sandhi or at the end of a Kadavaka and is then called a Dhruvā, Dhruvakā or Ghattā, as our commentator tells us on KD. 2.30.6 and quotes from the Chandahkandali in support of it. Svayambhūchandas 7.1 and Hemacandra on Chandonusāsana 7.57 further note that a Dvipadi gets this name Dhruvā, only when it is thus employed for 'restrospective allusions, requests, plot-contents, or auspiciousness'. But otherwise, it is called merely a Dvipadī. It is clear, however, that though Svayambhū mentions this peculiarity of the Dvipadīs, his treatment of them in chapter 6 begins with Laya and Bhramarapada which have 28 Mātrās in each of their two Pādas and altogether drops the Kurkuma and the Karpūra, the famous Ullālas of the Bandins. On the other hand, Hemacandra begins his Dvipadis in chapter 7 with these two, which are the shortest among the Dvipadīs that can serve as the Dhruvās and which had evidently gained great popularity among the bards between the times of Svayambhū and Hemacandra, receiving a special name for themselves at their hands. In addition to such a use of these Ullālas as Dhruvās in a Sandhi or a Kadavaka of long narrative poems, Apabhramśa bards used them for the composition of strophic couplets or triplets as illustrated by the Kavidarpana 2.33 (Satpada and Phulla) and 2.36 (Tribhangi). Prakrta Paingala defines only the second of the two Ullālas, namely the Karpūra, while explaining the composition of a șațpada at 1.118; but does not give any independent status to it. The 25 varieties of the Karpūra Ullāla mentioned by our commentator on KD. 2.3 are only secondarily hinted at by the Prāksta Paingala, while giving the 71 Prastāras or kinds, in view of the presence of the short and long letters in each, at 1.120-123. Chandaħkośa goes a step further and neglects even the name of the poor Ullāla i.e., Karpūra, though it virtually alludes to this Dvipadi while defining the composition of two strophic couplets, namely, Şatpada and Rāsākula, in yv. 12 and 29. It is again significant that both the Präkrta Paingala and the

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Chandaḥkośa do not show any knowledge of the shorter Ullāla, i.e., the Kumkuma. This may mean that out of the two Ullālas popularized by the bards of Magadha only one was generally adopted by the Apabhramba poets of the 13th and the 14th century, whether as a Dhruvā or as a strophe in couplets and triplets, but its favourite name or rather epithet, was completely forgotten. I think the term Ullāla was meant, originally at least, as an epithet of a Dvipadi in view of its 'charming surges or sweeps culminating in the thin skirts, each consisting of three short letters, first at the end of the 15th and then at the end of the 28th Mātrā in each of its two Pādas. The root lal signifies 'movement', 'a charming movement', as the past passive participle lalita suggests. This is indirectly corroborated by the way in which the term Ullāla is employed by both the Präkrta Paingala I.146 and the Chandahkośa v. 31, in the definition of a strophic couplet called Kundalika. If the text alone of this definition—which is almost identical in the two works—is taken into consideration, Ullāla would appear to mean 'a peculiar decoration consisting in the repetition of the last few words in the last line of the first stanza at the commencement of the second'. The strophic Kundalika is made up of a Dohā which forms its first half, and a Kāvya (whose stanza consists of four Pädas of 24 Mātrās each), which forms its other half. It must have Ullāla i.e., the decoration in the form of the repetition alluded to above. The commentator of Chandaḥkośa takes the word Ullälaka as another name of the Kāvya a stanza of which contains 96 Mātrās; this is virtually also the explanation of one of the three commentators of the Präkrta Paingala, while the other two explain the term to mean 'turning back and then proceed', or in other words, 'an immediate repetition of a few letters which are already once employed'. Chandaħkośa uses the same term Ullälaka in the same sense once more in the definition of a sister metre Kundalini, where the metre of the first stanza is Gāthā instead of Dohā, while that of the second is the same, i.e., the Kāvya, as in the Kundalika. This Kundalini is unknown to the Prākṣta Paingala.
9. The next main division of metres according to the scheme of the Kavidarpana is the Catuspadi. Among these, the Gathā stands first and in vv. 4-8, a Gathā, which is the same as the Aryā in Sanskrit, is defined together with all its kinds such as Pathyā, Vipulā and Capalā. The commentator gives additional information about some more kinds of the Gāthā, such as the 26, which begin with Kamalā and are based upon the number of short and long letters in them; the four, which bear the names of the four castes and have either all short or all long letters in one or

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INTRODUCTION both of their halves, except those that are compulsorily short or long; and lastly those four, in which only two Ganas follow each other in succession, the second of which is always a Madhyaguru or a Jagana, the first being any one of the remaining four Caturmātras. Hereafter in v. 9, there follow in succession the derivatives of the Gathā, namely, Gīti, Upagīti, Udgīti and Skandhaka; in v. 10 the derivatives of the Gīti, namely, Ripucchandas, Lalitā, Bhadrikā and Vicitrā; in vv. 11-13, the remaining derivatives of the Gāthā such as Gātha and others ending with Mālāgātha. The commentator mentions nine more derivatives of the Gath, the first of which is Jātīphala; the remaining 8 are but the extensions of the Jātīphala, secured by adding one Caturmātra each time before the last long letter of the first half of the Jātīphala. Their names begin with Dāma and end with Mālādāma. In all these 17 derivatives of the Gāthā, the second half is always the same as that of the Gāthā. It is also noteworthy that all but three (Jātīphala, Gāthini and Dāmini) have masculine names. Both our author and commentator seem to have followed very closely Hemacandra's Chandonusāsana in giving these varieties. Virahānka, Vșttajātisamuccaya, 4.9-14 and 2.2-3 mentions only Gīti, Upagīti, Skandhaka and Gītikā, which last is the same as our author's Bhadrikā; whereas Nanditādhya mentions Udgiti, Upagīti, Samkīrṇa Skandhaka and Skandhaka at Gāthālakṣaṇa, vv. 62-75, though some of these are given under different names. It is to be remembered that the Gāthā together with its varieties and derivatives is a Catuspadi according to the author of the Kavidarpaņa, though he has not mentioned its "Pāda' even once, throughout his treatment of the metre; he always refers to its Dala or half. This is very probably due to the influence of Hemacandra, who in his turn was influenced by Pingala and his commentator Halāyudha. Those two, namely, Halāyudha and Hemacandra, clearly state that the mention of an Ardha in the definition of the Āryā (i.e., the Gāthā in Prakrit) indicates that the division into Pādas or quarters is not to be understood in the case of this metre. This
also to be the view of the Sanskrit prosodists in general including the author of the Jānāśrayī, though Jayakīrti states at Chandonuśāsana, 5.3, that an Aryā has four Pādas. On the other hand, the common tendency among the Prakrit prosodists is to consider the Gāthā as a metre of four Pādas. Prākṣta Paingala 1.54, Gāthālakṣaṇa, v. 16 and Chandaħkośa v. 51, all mention the four Pādas of the Gāthā; yet Virahānka seems to favour the view of the Sanskrit prosodists at VJS. 4.35-36, where the 4th Caturmätra in each half of the Gāthā is required to be a Samanta; i.e., á Jagaņa, or a Vipra or a Sarvalaghu Caturmātra as seen from the stanzas themselves which serve as illustrations. Strangely enough, Virahānka,

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while defining a Gāthā at VJS., 4.1-2, does not mention either a Pāda or a Dala. Any way, that the author of the Kavidarpana considered Gīti, which is only a derivative of the Gathā, to be a Catuspadi is quite certain; since, at KD. 2.35 to 37 he defines a Dvibhangi which is an Asta-padi and two Tribhangis which are Dvādaśa-padīs, assuming in all the three cases that the Gīti which is the metre of the second or the third strophe, has four Padas. So the commentator is right in introducing v. 4 in chapter 2 with the words catuspadīm kulakena āha 'He defines the Catuspadi by a Kulaka'; the Kulaka here is a collection of five stanzas.
10. Having thus started with the Gathā, which is a sort of a Visama Catuspadī, the author now proceeds to define a few, i.e., 10 important Ardhasama Catuspadis in vv. 14-18, followed by 21 Sama Catuspadis, in vv. 19-26, under this Catuspadi Prakaraṇa. Among the Ardhasama Catuspadīs, Dohaka plays an important part, yielding five different derivative metres, one of which is, strictly speaking, a Sama Catușpadi (Samdohaka in v. 16), mentioned here incidentally, owing to its connection with the Dohaka. Out of the rest Pañcānanalalitā, Malayamāruta and Rāsa (v. 14) are unknown to Virahānka. The first two are unknown even to Svayambhū, who, however, knows the Rāsa and mentions it under the name Rāvanamastaka at Svayambhūchandas, 6.14. The last among these Ardhasamas is Māgadhikā, which is only another name of the Vaitālīya, when it is composed in the Māgadhi language according to Virahānka, VJS. 4.28; Kavidarpana does not lay down the condition of the language, but somehow tries to distinguish it from the Vaitālīya which is defined under the mixed metres in ch. 5 (v. 1), by mentioning only the Mātrās in the former, excluding the mention of the Aksara Gana which is prescribed for the latter. In short Māgadhikā is considered as a pure Mātrā Vștta and this is in keeping with what Hemacandra, too, has done.6 Next, the treatment of the Sama Catuspadi starts with the 6 metres of the Mātrāsamaka group which are usually defined among the Sanskrit Mātrā Vșttas.? All these have four Caturmātra Ganas in each of their four equal Pādas. Five more metres of the same length, i.e., having 16 Mātrās in each Päda, are further defined in vv. 21-22. As a matter of fact, we have only three such metres, namely, Muktavalikā, Vadana and Paddhatikā, whose constitution mutually differs only in respect of the Mātrā Gaņas which are employed in them. Hemacandra mentions this last metre, i.e., Paddhatikā, both among the Sanskrit and the Prakrit metres, but prescribes the restrictions as above only for
6. See his Chandonuśāsana, 3.62 (Jayadāman, p. 106). 7. See Jayadāman, Introduction, pp. 28-29. 8. See note on the passage.

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( INTRODUCTION the Sanskrit, but not for the Prakrit one. The remaining two metres of this group of five are Aạilā and Madilā; these are exactly identical with Vadana in their constitution, but Vadana has no rhyme, Adilā has two different rhymes for the two halves, while Maạilā has only one common rhyme for all the four Pādas. Ten more Sama Catușpadīs are next given in vv. 22-26; they are :-Khanda with 13 Mātrās, Madanāvatāra with 20, Galitaka and Rāsāyalaya with 21, Khañjaka and Rāsaka with 23, Candralekhā, Vastuvadana and Utsāha with 24 and lastly Dvipadi with 28 Mātrās in each of their four Pādas.10 Regarding the names Galitaka, Khañjaka, Sirsaka and Rāsa, the commentator quotes a conventional rule according to which 'All metres except Gāthā, Dandaka and the like, are generally called Galitakas; all Galitakas are generally called Khañjakas when they have the Anuprāsa and rhymed Pādas. All Khañjakas when coupled with one, two or even three metrical stanzas, are called Sirsakas and, finally, all Mātrā Vịttas (Jātis) may get the name Rāsa'. Regarding the last, the commentator quotes an old authority, already quoted by Hemacandra, Chandonuśāsana 5. 3, which means :-'All Jātis are employed here in view of their constitution; Rāsābandha is indeed an elixir among the assemblies of elderly persons'.11 The author wholly neglects the Antarasamā and the Samkirna Catuspadis, but the commentator mentions them on v. 31 below while explaining the name Chaddanikā and quotes from the Chandahkandali in support. An Antarasamā has its 1st and 3rd, as also 2nd and 4th Pädas equal and similar; while the Ardhasama has 1st and 2nd as well as 3rd and 4th Pādas equal and similar. It will be seen that the Antarasamā itself becomes the Ardhasamā when its 2nd and 3rd Pādas exchange their places; also that the terms are used in a slightly unusual sense. Antarasamā is one, whose alternate Pādas are equal, while Ardhasamā is one whose Pädas are equal in each Ardha. Ordinarily, the term Ardhasamā is used for the so-called Antarasamā, meaning thereby that it has two equal and similar Ardhas, or halves, each of which is made up of two unequal lines. Each of these two main varieties of a Catușpadī, namely, the Antarasamā and the Ardhasamā, is of 55 kinds, according as one pair of their Pädas (1st and 3rd in the Antarasamā; 1st and 2nd in the
9. For the different significations of the words Adilā and Madilā, and the constitu
tion of their metrical lines, see notes on the passages. 10. See Vrttajātisamuccaya, Introduction, para 5 for a discussion of the name
Dvipadi as applied to a Catuşpadī metre; also see notes on the passage for the
constitution of the different metres. 11. Hemacandra, too, mentions this conventional rule about the names at Chando
nuśāsana, 4.40 com., 41 and 76; for the name Rāsaka see note on the passage and on VJS., 4.37-38.

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Ardhasamā) contains from 7 to 16 Mātrās and the other pair contains from 8 to 17 Mātrās in it respectively. The names of the 55 kinds in both are the same and begin with Campakakusuma. On the other hand, we get another set of 55 kinds when the first pair contains from 8 to 17 Mātrās and the second contains from 7 to 16. Their names begin with Sumanorama and are the same in the case of both the Antarasamā and the Ardhasamā Catuspadīs. The names and full illustrations of all the 110 varieties of the Antarasamā Catuspadīs are given by Hemacandra at Chandonuśāsana 6. 19-20. The next Sūtra (which, however, is not printed in bold type in the editions through oversight) states how the Antarasamās themselves become Ardhasamās, by an exchange of the 2nd and the 3rd Pādas among themselves.
11. It is rather striking that the Kavidarpana dismisses the old Apabhramsa metre Mātrā in a couple of stanzas giving only a single variety of it containing 15, 11, 15, 11 and 15 Mātrās in its five Pädas respectively It is true that the author calls it pracurabhedā 'having many divisions', but evidently does not consider the divisions to be important. We might well contrast this with his treatment of the other Apabhramsa metre Dohaka in vv. 15-17. It is also equally strange that our author's normal Mātrā does not agree with that of Hemacandra, the latter having one Mātrā more in each of the 5 Pādas. The four varieties of this Metre which are noted by Virahānka at VJS., 4.29-30 are still different. Virahāņka actually defines the middle or the odd Padas (1st, 3rd, and 5th) of the four varieties and says that they contain 13, 14, 15 and 16 Mātrās respectively. It is his commentator who fills up the gap with the help of other treatises on the subject and from Virahānka's own defining stanzas, which also contain the illustrations. According to him the even Pädas (2nd and 4th) of the four varieties respectively contain 11, 12, 13 and 14 Mātrās in them. None of these four varieties agrees either with that of the Kavidarpana or those of Hemacandra. But a look at them all only shows that the odd Pädas of this metre must be longer than the even ones (by 2 Mātrās according to Virahāńka, and from 3 to 5 Mātrās according to Hemacandra and the author of the Kavidarpaņa).
12. A longer Dvipadī which shows a Yati first after the 8th, the 10th or the 12th Mātrā and then another Yati regularly after the next 8 Mātrāsthus dividing the Pāda into three parts—in both the halves, has undoubtedly developed into a Satpadī in course of time. This is particularly so when a word is completed at the places of the Yati and the process was further

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hastened when even a rhyme was introduced at the same place. The position of a rhyme (i.e., the main rhyme) in the case of the Şațpadis points to the same conclusion. It is not the 3rd and the 4th Pādas that are rhymed, but the 3rd and the 6th, which means that the chief rhyme contemplated the stanza as consisting of two halves rhyming with each other. The other two rhymes, when they exist, namely, that of the 1st with the 2nd and of the 4th with the 5th, were originally conceived as only internal rhymes; but, it is these internal rhymes themselves that probably led to and finalized the division of the originally single Pāda into three Pādas. Kavidarpana gives six different kinds of the Satpadī, which he calls by the name Ghattā, in vv. 29-31 and remarks that there are many other divisions of the Satpadi. He also mentions the peculiar Anuprāsa or Yamaka of this metre as explained above and remarks that the Satpadī gets an additional name Chaddanikā when it is employed at the end of a Kadavaka, briefly summing up its contents. The commentator adds, on the authority of the Chandahkandali (vv 73-74 on p. 35), that a Şațpadi receives two more names, Dhruvā and Dhruvakā, since it is recommended as compulsory, both at the commencement of a Sandhi and at the end of a Kadavaka. This seems to be an old convention mentioned by Hemacandra, on Chandonuśāsana 6.1-3. In addition to these six, the commentator mentions the three main varieties, each of which is further of eight kinds, of a Satpadi, following the Chandahkandali and Hemacandra's Chandonusāsana. The first of these main varieties is Satpada-jāti; its 3rd and 6th Pādas may each contain from 10 to 17 Mātrās in them, thus giving rise to its 8 varieties, while the other four Pādas contain only 7 Mātrās in each of them. The second main variety is Upa-jāti and the third is Avajāti. As in: Şațpada-jāti, so in Upajāti and Avajāti, the 3rd and the 6th Pādas may contain from 10 to 17 Mātrās in them, thus giving rise to 8 sub-varieties of each of the two. But the remaining Pādas, i.e., 1st, 2nd, 4th and 5th, contain 8 Mātrās in Upa-jāti and 9 Mātrās in Ava-jāti. The commentator further adds, following the Chandahkandali and Hemacandra, that like the Satpadī, even the Catuspadi and the Dvipadi are employed both at the beginning of a Sandhi and at the end of a Kadavaka; they are then called Dhruvā, Dhruvakā or Ghattā like the Şațpadi. But the additional name Chaddanikā is given only to the Catuspadi and the Șaţpadi, but not to a Dvipadī, when they stand at the end of a Kadavaka, briefly summarising the contents of the Kadavaka and finally leaving the earlier topic. There is also one more Şațpadi called Kīrtidhavala, whose rhyme is peculiar since its 1st Pāda rhymes with the 3rd in each of the two equal halves into which a stanza in this metre is divisible. No other rhyme is

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agfach: anfactor:
Hemacandra,
mentioned in the definition nor noticed in the illustration. Chandonusāsana 5.35 does not mention even this rhyme, though perhaps his illustration contains it. As the commentator explains, this Kirtidhavala is one of the three Dhavalas which have 8, 6 or 4 Pādas each. The Dhavala of 8 Pādas will be defined by our author under Aṣṭapadi according to his scheme. But the Dhavala of 4 Pādas is neglected both by our author and his commentator; the latter only mentions one of these last, i.e., Gunadhavala and says that this and other Dhavalas of 4 Pādas should be known from other bigger works. Hemacandra defines and illustrates all the three Dhavalas together with their varieties, (2 of Aṣṭapadi, one of Satpadi and 3 of Catuspadi), at Chandonusasana 5.32-38. An interesting stanza is quoted by our commentator, probably reproduced from Hemacandra, according to which (No. 81 on p. 37) the name Dhavala owes its existence to the fact that in these metres the praise of some great man is sung under the image of a bull (a Dhavala). The employment of this image is, however, immaterial in actual practice. Hemacandra uses it only in one out of the six illustrations which he gives for the six kinds of the Dhavala. According to another stanza quoted by both Hemacandra and our commentator, the name Dhavala is only a common term affixed to the name of any metre like Utsäha, Helā, Vadana and Aḍilā, when it is used for praising a great man under the image of a bull. Thus we have an Utsäha-Dhavala, a Hela-Dhavala etc. When, on the other hand, any of these metres are employed for celebrating any auspicious event the term Mangala is similarly affixed to their names and we get an UtsähaMangala, a Hela-Mangala etc. Both these stanzas (vv. 82, 93 on are in p. 37) Sanskrit and this may indicate the practice of using the even Sanskrit language for the purposes mentioned above. Our commentator also quotes two more stanzas (vv. 84, 85 on p. 37-38) from the Chandahkandali, which are in Prakrit, containing the same information, but with the addition of two more metrical forms. They are Phullaṭaka and Jhambaṭaka; the former is not a separate metre, but a separate term used of metres that are used in praising deities. Thus any metre like Utsäha is to be called Phullaṭaka (or perhaps Utsäha-Phullataka like Utsäha-Dhavala) when used in praising deities. A Jhambaṭaka, however, is a separate Catuspadi metre, whose Pada contains 3 Caturmatras and 1 Dvimātra in it. There is no restriction about the nature of these Mātrā Gaņas. Hemacandra, Chandonuśāsana 5.41-42 gives both these metres or metrical forms without referring to any authority. Perhaps he knew the Chandahkandali or a similar work in Prakrit. But he makes a significant remark: vakṣyamana-gandhodakadhārā eva ganavaśāt jham
xvii

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bațaka-samjñām labhate. "The Gandhodakadhārā itself, which will be described later, gets the name Jhambataka when it is used as a song (i.e., to be sung in some Tāla and not merely to be recited like a Sloka)'. Svayambhū mentions the convention about the Dhavalas and the Mangalas at 4.36-41, besides defining an independent metre called Mangala, whose first 2 Pādas contain a Sanmātra and 2 Caturmātras each, while the last 2 contain five Caturmātras each This Mangala is entirely different from the one given by Hemacandra at Chandonuśāsana 5.39. Svayambhū does not refer to either the Phullațaka or the Jhambațaka and Hemacandra must have got them from some other work on Prakrit metres, as said above. It should be noted that all the four terms, namely, Dhavala, Mangala, Phullațaka, as also Jhambataka, are used only in the case of songs sung for different purposes and not for stanzas intended for mere recital.
13. In v. 33 the author defines two strophic couplets, namely, Satpada and Phulla. The first is a Şatpadi and the second a Saptapadi metre. The Şațpada is alternatively called Sārdha-chandas or Kavya according to our author and his commentator quotes a Prakrit stanza in support of this. The same stanza is also quoted by Hemacandra at Chandonuśāsana 4.79; but from it he understands only the first two as the names intended for the couplet and totally ignores the third, i.e., Kavya. It is interesting to note, again, how the Vastuvadana itself is called a Kavya at Pro Paingala I. 108-109 and how the name Kavya is not given to a strophic couplet by any one except the author of the Kavidarpaņa. It would appear that the question turns upon the interpretation of the word Kävya in the quotation mentioned above. Our author took it as a proper name, while Hemacandra and others took it only as a common name. That it was known to the author of the Chandaḥkośa as a proper name of a couplet can, however, be inferred from CK. vv. 31 and 38 where a stanza in the Vastuvadanaka (or the Rodaka as Chandaḥkośa calls it in CK. v. 13) metre is described as only a half Kāvya (kavvaha addha; kavvapayajuyala). The two stanzas, v. 31 and v. 38, define two couplets Kundalika and Kundalinī; the 2nd constituent of both is a stanza in the Vastuvadana or the Rodaka metre, while the 1st is a Doha in the Kundalika and a Gāthā in the Kundalini. Each of these two couplets contains 8 Pādas; and when the last 4 Pādas in both of these are called half a Kāvya, the inference is that the strophic couplet as a whole was called Kavya. But as said above Prakrta Paingala calls the Vastuvadana itself a Kāvya at I. 108-109, thus giving rise to a self-contradiction, since Prakrta Paingala 1. 146 closely agrees with CK. V. 31. See also Praksta Paingala

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I. 117, 120, and 148 where the name Kāvya is very clearly intended to signify a single stanza and not a couplet. It is, therefore, possible to assume that for some time the name Kāvya was given to a couplet and then in course of time it was transferred to one of its constituents. I have suggested a similar process in the case of the name Dvipadi in my introduction to the Vļttajātisamuccaya, p. V-VI. It is also worthy of note that the name Kāvya is not given to a single stanza by any one except the Prākṣta Paingala.
14. The second couplet defined in v. 33 is Phulla, which is a Saptapadi, as it consists of a stanza in the Mātrā metre which has 5 Pādas, and another in the Ullāla metre which has only 2. The specific name Phulla is not mentioned anywhere else, except in the quotation from Manoratha (v. 95) which the commentator gives here. Hemacandra casually refers to the couplet, but does not mention the name, at the end of his comments on 4.79. In v. 34 an Astapadi metre called Sridhavala is defined; it is however, not a Dvibhangi or a couplet. The only other author who defines it is Hemacandra at Chandonuśāsana 5.33. Rājasekhara also gives it at Chandaḥsekhara 5.22, but does not mention the name. Our author here bodily reproduces Hemacandra's illustration, clearly mentioning his name. Hemacandra also gives another Astapadi Dhavala called Yasodhavala, whose Pādas contain respectively 14, 12, 14, 12, 11, 10 or 12, 11, 10 or 12 Mātrās in them. Perhaps Hemacandra has borrowed from Rājasekhara's Chandahsekhara 5.22-25, where, however, no names for any of the three kinds of the Dhavalas are mentioned. Five more Dvibhangis, the first four of which are Astapadīs, are further defined in vv. 34-35; the first of these (given in v. 34) has got a specific name, i.e., Tarala. It is made of a Dohaka and a Sandohaka and the commentator understands the name Dohaka as an Upalaksana of the Avadohaka, Upadohaka and Uddohaka mentioned in vv. 15-17 above. This name Tarala, too, is borrowed by our author from Manoratha, a quotation from whom is given here by the commentator. The other three Dvibhangis of the Aştapadi type have no specific names; they are made up of (1) a Vastuvadana and a Dohaka; (2) a Dohaka and a Vastuvadana; and (3) a Dvipadi and a Gīti. As said above in para 9, Gīti is to be considered as a Catuspadi. The fifth or the last Dvibhangi is called Vastu and is made up of a Mātrā and a Dohā. It is thus a Navapadi and is also known as Raddā.12 Hereafter, in v. 36, are defined in succession, a Daśapadi which is a couplet formed by a Dohaka and a Ghattā, an Ekādaśapadi, and a Dvādaśapadī, both of which are Tribhangīs or Triplets, 12. Compare Vrttajātisamuccaya, 4.31; Hemacandra, Chandonuśāsana, 5.23; Ratnase
khara, Chandaħkośa v. 34 and Präkrta Paingala, I. 133-134.

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the first formed by a Vastu (which is itself a couplet consisting of a Mātrā and a Dohaka) and an Ullāla, and the second by 2 Khandas followed by a Gīti. This last again has received a specific name Dvipadikhanda and the illustration for it has been borrowed by our author from Śriharsa's Ratnävalī Nātikā, Act I. It is difficult to say how the word Dvipadi has come to form part of the name of this Tribhangī, though the word Khanda in it is easy to understand. Perhaps, at one time a couplet formed by a Khanda and a Gīti was called a Dvipadī, where the word Pada signified a metrical unit or a stanza, and not a line 13 One more Dvibhangi consisting of 2 Ghattās and a Tribhangi formed by a Dvipadi, a Khanda and a Gīti, both the Dvibhangi and the Tribhangi being Dvādaśapadis, and lastly a Caturbhangi which is a Sodaśapadi made of 4 stanzas in the same metre like the Paddhatikā, are defined in v. 37 of the second chapter. This Şodaśapadi is technically called a Kadavaka and many such Kadavakas forma Sandhi, which roughly corresponds to a Sarga in the Sanskrit poems. Both the terms Sandhi and Kadavaka are peculiar to Apabhramśa poetry; but in actual practice, a Kadavaka does not necessarily contain a group of 4 stanzas of 4 lines each as prescribed by our author. It often contains several rhyming couplets of lines, not necessarily divisible into stanzas of 4 lines each, composed in different metres which are amenable to a Tāla of 5, 6, 7 or 8 Mātrās, even when these metres are ordinarily metres of 4 lines.14
15. The third chapter of the Kavidarpana merely introduces the Varna Vșttas by enumerating three broad divisions, i.e., Sama, Ardhasama and Vişama, as also the 26 subdivisions or Jātis of the first of these. A technical term, namely, Vștta is also prescribed here for the Varna Vrttas. Some older writers following the lead of Pingala's Chandassūtra 5.1 have tried to use the term Vștta exclusively for the Varņa Vșttas; they do not, however, employ any similar exclusive term for the Mātrā Vrttas and call them by the common name Chandas. It was probably Dandin, Kavyādarśa 1.11, who first gave the specific name Jāti to them and this is then sought to be adopted by Halāyudha on Pingala, Chandassūtra 5.1. But this nomenclature is not scrupulously followed by any one, including Pingala himself. For he evidently understands even the Mātrā Vịttas like the Vaitālīya and Mātrāsamaka by the word vịtta in the Sūtra (pādah) yathā-vṛtta-samāptir vā (4.11), since they are divided into Padas, even if the Āry, and its derivatives which have only
13. See the discussion on the name Dvipadi in para 5 of the Introduction to the
Vrttajatisamuccaya. 14. See Apabhramsa Metres II, p. 67.

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सवृत्तिकः कविदर्पणः
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sense
a
on
2.2
Ardhas and not Pādas are excluded from it. Bharata does not define the Mātrā Vṛttas separately, nor does he classify metres under three heads, namely, Sama, Ardhasama and Viṣama. But he certainly included Vanavāsikā, which he defines as a Mātrā Vṛtta at 16.146, under Vṛttas; this is clear from the word vṛttajña occurring in the same stanza and also from the word Vṛtta which he uses with reference to it at 16.151. Here at the latter place, he makes a distinction between the Vṛttas and the Aryās; but at 16.168 again, he seems to use the word Vṛtta in the of based on Mātrā or general metre, whether Varna. On the other hand, he calls the 26 classes of the Sama Varna Vṛttas by the name Jāti at 32.34-39. This is also done by Hemacandra in his commentary Chandonusāsana (idānīm ekākṣarādyāḥ saḍvimchando-jātīr aha) and 3.3 satyakṣarāvasānāḥ (anuṣṭubhi aṣṭāṣarāyām jātau). Jayadeva closely follows Pingala and even he seems to use the word Vṛtta in a broad sense at JD. 4.29 and 8.3 ff., so as to include even the Mātrā Vṛttas. His commentator Harṣața actually uses the word Matra-Vṛtta while explaining the Vaitaliya at JD. 4.15 (p. 15, 1. 10), and calls the metres of the Mātrāsamaka group by the name Vṛtta while explaining JD. 4.24-29 (p. 17, 11. 6, 11). Harṣața uses the word Matra-Vṛtta again in his commentary on JD. 7.34 and 8.1. Virahānka, too, does not use the word Jāti to signify the Mātrā Vṛttas and the word Vṛtta to signify Varna Vrttas exclusively, even though the title of his work, namely Vṛtta-jati-samuccaya, may mislead one to think so. For, the word Jāti occurring in the title of his work clearly means 'a class, a division' and nothing more. He himself uses the words Mātrā-Vṛtta and Varna-Vṛtta at VJS., 1.3 and 6.45, Mātrā-Vṛtta alone at 4.65, 6.18, 35, 36, 37 and Vṛtta alone in the general sense of a metre at 4.108-109; 6.12, 26, 29, 32, etc. Hemacandra attempts to follow Dandin and Halayudha and distinguishes between Vṛtta and Jati in his commentary on Chandonusasana 1.11 (vṛttam: prag matrachandobhyo yad abhidhasyate tad vṛtta-samjñam jñeyam; mätra-chandāmsi tu jātir iti prasiddhāni). He also refers to the name Jāti in the sense of Mātrā Vṛttas only in his commentary on Chandonusasana 8.2; but he actually uses the awkward compound word Mäträ-Vṛtta at Chandonusāsana 8.15, which word is, strictly speaking, against the distinction which he tries to make between Vṛtta and Jāti. On the other hand, we have also seen above, how he uses the word Jāti to signify a class of the Varna Vṛttas like Uktā, Atyuktā and others. Kedara, author of the Vṛttaratnākara, does not refer to this distinction at any place and includes the Mātrā Vṛttas under the term Vṛtta occurring in the title of his work. At Vṛttaratnakara 1.21, he accordingly promises

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to give the definitions of all Vrttas, beginning with the Mātrā Vrttas in the 2nd Adhyāya. All this would show that in spite of the distinction suggested by Pingala and expressed by Dandin, the word Vștta is used indiscriminately to designate a Mātrā-chandas as well as a Varna-chandas, from the days of Pingala himself, even though Pingala, Jayadeva, Hemacandra and the author of the Kavidarpaņa try to restrict it to a Varnachandas only. Jānāśrayī, however, sticks to the distinction between Vịtta and Jāti, which it distinguishes at 5.1 as follows: Jāti is that which though the same can yet belong to many different Chandases. Chandas is one of the 26 varieties beginning with 'Uktā' etc. and it differs with the difference of the number of letters in a Pāda, so that one and the same Jāti, though possessed of the same number of Mātrās, may yet possess different number of total letters and thus belong to different Chandases. On the other hand, a Vștta can belong to one Chandas alone, as it can have always the same number of letters. Ratnamañjūṣā does not allude to this distinction anywhere. Probably these efforts suggest an older tradition according to which the non-Vedic metres were called Vịttas as distinguished from the Vedic metres which are always called Chandāmsi, which is surely an older word often occurring in the Vedic literature. For a long time, it would appear that the Mātrā Vșttas were unknown to Sanskrit prosody, the unit Mātrā being foreign to the Vedic and postVedic Sanskrit prosody. This metrical unit appears to have been suggested to early Sanskrit poet-metricians from the Prakrit Mātrā-Tāla Vrttas, which presuppose a Kāla Mātrā first and then a corresponding Varna Mātrā. A Varņa Mātrā, no doubt, was known in the times of the Prātiśākhyas, as representing the smallest syllabic quantity which can be pronounced in the shortest unit of time, i.e., a Kāla Mātrā; but its use as a metrical unit must be regarded as subsequent to the introduction of the Aryā into the fold of Sanskrit metres.15 To return to the contents of the 3rd chapter : In v. 3 of the chapter, Sesa Vșttas are mentioned as distinct from the Dandakas; but both these are those metres which contain more than 26 letters in each of their four Pādas. There is, however, an important distinction between the Dandakas and the Sesa Vịttas. The latter are just like the other Varna Vșttas, having a certain order of short and long letters at definite places. But the Dandaka is much different and discloses its origin in popular Dance Poetry. The lines of a Dandaka contain the same Aksara Gana repeated several times in succession, after the initial five or six short letters, or sometimes, even without them. Thus
15. See Apabhramśa Metres III, para 11.

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सवृत्तिकः कविदर्पणः
there can be no doubt that the Dandaka was originally a Tāla Vṛtta sung to the accompaniment of a time-keeping instrument or of a regular rhythmic dance as in the case of the Dandaka in the 5th Act of the MalatiMadhava of Bhavabhūti. It was sung in the Tāla of 8 or 10 Mātrās according as the particular Akṣara Gana contained 4 or 5 Mātrās in it.16 The Seşa Vṛttas are merely hinted at by our author; but they are more fully described by Jayakirti at JK. 2.262-275; by Hemacandra at Chandonuśāsana 2.381-386 and Svayambhu at SB. 1.135-139. They appear to belong to the tradition of the Jain prosodists. Pingala, Jayadeva (who closely follows Pingala) and Kedāra do not mention them at all. Ratnamañjūṣā mentions only the Aticchandas; but the Jänäśrayi mentions none at all.
xxiii
16. Kavidarpana defines in the fourth chapter 109 Varna Vṛttas of the Sama Catuşpadi type including the Dandakas, 8 Ardhasama Catuspadis and all the four different groups of the Vişama Catuṣpadīs, viz., the Vaktra, the Padacatururdhva, the Udgata and the Upasthita-pracupita. Of these last four, the author discusses the Vaktra group in greater details in vv. 118-127, while the remaining three are disposed of in a single stanza each. The Sama Catuṣpadīs are distributed over 26 classes called Jatis which contain from 1 to 26 Akşaras in each Pāda. The names of these 26 Jātis are given in chapter 3; they begin with Uktā and end with Utkṛti. Among these, the class called Anuṣṭubh has 8 Akṣaras in each Pada of the metres belonging to it. Kavidarpana defines 6 metres of this class and in Sūtra 19 states that any other metre of this class should be called Vitana. The position of this Sūtra makes it absolutely clear that 'any other metre' of this same class, i.e. the Anustubh, is meant by the author; yet the remarks of the commentator are rather obscure, particularly so the words vakṣyamanebhyo anya-sama-vṛttam, which must be taken to mean that Vitāna signifies any Sama Vṛtta belonging to any one of the 26 classes mentioned above. Our commentator, however, is not the original culprit, since he has almost copied out the words of Hemacandra's own commentary on his Chandonusasana 2.67-68 (NSP. edition p. 5a, line 4 ff.) which are: uktad vakṣyamānāc ca anyat sama-vṛttam chando vitānasamjñam: 'Any metre other than those that are already defined and those that are yet to be defined is called Vitana'. Jayakīrti in his Chandonusāsana 2.67-68 considers Vitāna as an alternative name for Citrapadā; perhaps he has followed an older tradition represented by Virahanka, VJS., 5.11. But it is more likely that he has adopted this definition and name in view of Halayudha's criticism of Jayadeva's definition
16. See notes on Sutras 105-109 for the different kinds of the Dandakas, below.

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xxiv
सवृत्तिकः कविदर्पणः
[INTRODUCTION and illustration of Vitāna at JD. 5.5 and of Citrapadā at JD. 6.3, in an identical metrical form (anyad ato hi vitānam; citrapadapi ca bhau gau). Against this Halāyudha on Chandassūtra 5.8 remarks : -'Since the whitedressed one (the “vetāmbara author Jayadeva) has said : Vitāna is any metre other than these, (and then again) Citrapadā too contains two Bhaganas and two long letters, this latter is without any purpose as it were (since it is included in the former which has the same metrical formula)'. Jayakirti's defence of Jayadeva is probably due to the fact that both of them were Jains.17 But if it is a defence, it is very lame and the real explanation of Jayadeva's definition of Vitāna seems to be that this word was intended by him, like his predecessor and model Pingala, to be applicable to all Varņa Vșttas whether Sama, Ardhasama or Vişama,17a which were not of the Samānikā or the Pramāņikā type. This meaning of the word Vitāna as it seems to have been understood by Pingala and Jayadeva. was, however, forgotten and given up at the time of Kedāra, Jayakīrti and Hemacandra, all of whom treat Vitāna as a proper name, along with the names Samānikā and Pramānikā. They mention all the three names among the metres of the Anustubh class and understand by the term Vitāna any other Sama Vștta of the Anustubh class which is different from Samānikā and Pramāņikā and which they have not defined. In this they have followed Halāyudha, who in his commentary on Chandassūtra 5.8 has clearly
17. See Jayadāman, Introduction p. 33. 17a. The word anuştubhi occurring in Jayadeva's definition of the Samāni is, how
ever, puzzling. Jayadeva was probably prompted to use it here, in view of the immediately following Vaktra group of the Vişama Vsttas, to which the word anuştubh is really applicable. In Pingala's Chandassūtra, the word anuştubh occurs at the right place, though it is dragged backwards by Halāyudha. On the other hand, if the word is taken, as it is, in the definition of Samānī and also of Pramāņi and Vitāna, as is done by Jayadeva's commentator Harşața, the term Vitāna would yet apply to all the different Vaktras, which are Visama (in respect of the order of the short and the long letters, if not in respect of their number) and defined in Sūtras 6 to 15 of the fifth chapter, as also to those others which are Sama and defined in Sutras 3 to 5 in the sixth chapter, since all these are different from the Samāni and the Pramāņi in point of their la-ga-krama. Thus the term Vitāna cannot be taken as a proper name of one particular metre, but must be regarded only as a class name of several metres and so is not open to Halāyudha's criticism. At the same time it should be noted that Samānikā and Pramānikā are essentially Vrttas of the Sama type and if they are restricted to one particular class like the Anuştubh, they would become mere proper names of particular metres and not class names, as they are evidently intended to be, of, more metres than one. Further, as proper names, their right place would be in the sixth chapter along with the other metres like the Citrapadā, and there is no reason why this threefold division should be given here. It would, therefore, be correct to understand all the three terms as class names only and probably intended to be applicable to all the Varna Vșttas by Pingala and Jayadeva.

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ŠS 16-17 ] सवृत्तिकः कविदर्पणः
xxy said so: abhyam samani-pramānibnyam .anyad astākşarapādam chando vitānam nāma : 'Any other metre having 8 Aksaras in its Pāda, which is different from Samāni and Pramānī, is called Vitāna'. Halāyudha has: given 4 different illustrations of the Vitāna, all of which have 8 Akşaras in their Pādas and the order of the short and long letters in which is different from the one cbtaining in Samānikā and Pramāņikā. It should also be noted how Halayudha has anticipated the word anustubh from Sūtra 5.9 for interpreting Sūtras 5.6-8, in order that this threefold classification into Samāna, Pramāna and Vitāna of metres should be applicable only to the metres of the Anustubh class. This manipulation and interpretation of the word vitāna by Halāyudha, however, makes the signification of that word quite uncertain.18 For Kedāra has defined only 6 metres of the Anustubh class including the Samānikā and the Pramānikā; so that according to him all those 9 metres defined by Hemacandra and all the 5 defined by Jayakīrti, but not mentioned by Kedāra, will have to be called Vitāna. The same will be true in the case of Hemacandra and Jayakirti and thus the signification of the term Vitāna becomes unsettled and. uncertain. Hemacandra gives 4 illustrations of the Vitāna, of which he copies 3 from Halāyudha; but one of these must be included under Nārāca which he has defined earlier, owing to the identical order of short and long letters in both. The fact, therefore, seems to be that all the three authors have followed the wrong lead of Halāyudha and missed the original signification of the word as intended by Pingala and understood by Jayadeva.
17. Other authors who treat the term Vitāna as a common name, and not as a proper one belonging to a particular metre, are the authors of the Jānāśrayi and the Ratnamañjūsa, both of whom are writers from South India. But the author of the Jānāśrayī mentions the threefold classification of metres into Samānikā, Pramānikā, and Vitāna at the commencement of his treatment of all the Varņa Vșttas like Pingala and Jayadeva; while the author of the Ratnamañjūsā mentions it at the beginning of the Sama Varna Vșttas, after finishing the treatment of the Ardhasama and the Vişama Varna Vrttas in earlier chapters. He clearly means thereby, that the name Vitāna and the threefold classification applies only to the Sama Varna Vșttas and not to the others. His commentator accordingly gives illustrations for all the three from the metres of the Jagati class, and remarks that the name Vitāna is to be applied to any metre beginning with Tanumadhyä and ending with Bhujangavijrmbhita (i.e., to any
18. Compare
teel:'
na:
a teraz la faucha 37454nevi madai

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Xxvi
सवृत्तिकः कविदर्पणः
( INTRODUCTION
Sama Varņa Vștta). He also seems to mean that even the Mātrā Vrttas which are of the Sama Catuspadī type like Mātrāsamaka, Nrtyagati and Natacaraṇa, are to be called by the name Vitāna. On the other hand, the commentator of the Jānāśrayī seems to have held the view that the threefold classification applied only to the Sama Varņa Vșttas, since he employs the Sama Varna Vșttas having 8, 6, 12 and 10 Akşaras in a Pāda only, for illustrating the three classes. This view is also shared by Hemacandra and the commentator of the Kavidarpana, so far as their words are concerned, as said above in the last paragraph. But the fact that Hemacandra mentions Samānikā and Pramānikā as proper names of two metres of the Anuştubh class and then defines Vitāna in relation to them, shows that in actual practice he took Vitāna as applicable only to the Sama Vrttas of the Anustubh class, though his words unmistakably convey his awareness of an older tradition by which the term was applied to any Sama Varņa Vịtta. This is further borne out by the illustrations of Vitāna which Hemacandra gives and which are all from the Anustubh class. In this connection I may also point out that according to Utpala, Vitāna has ten Aksaras in each of its four Pādas; they are made up of 3 Saganas and a long letter at the end.19 But according to Virahānka, VJS. 5.11, it is a metre of the Anustubh class having 8 letters in each Pāda, made up of 2 Bhagaņas and 2 long letters, (like the Citrapadā of Jayadeva). To sum up then, it is evident that according to Pingala, Jayadeva and the Jānāśrayi the word Vitāna signified any Varna Vștta, whether Sama, Ardhasama or Visama, if it differed from the Samānikā and the Pramāņikā in the order of their short and long letters. It signified a similar Sama Varna Vrtta only, in the opinion of the Ratnamañjūsā and perhaps also of the commentator of the Jānāśrayī. This second view seems to be supported unconscicusly by the words of Hemacandra and of the commentator of the Kavidarpana, which words reveal their knowledge of an older tradition supporting the view. Lastly, later writers like Kedāra, Jayakīrti, Hemacandra, and the author of the Kavidarpana held that the word Vitāna signified a similar metre, i.e., a metre which differed from Samānikā and Pramāņikā, of only the Anuştubh class, to which also the threefold classification of metres into Samānikā, Pramāṇikā and Vitāna belongs. Virahānka may be regarded as the exponent of this last view which considers Vitāna as a proper name. There is yet another word like Vitāna, the history of whose signification is interesting. It is Upajāti; this word is generally supposed to signify a metre which contains a mixture of the Pādas of the Indravajrā and the Upendravajrā. But Hemacandra 2.156-157 and our
19. Compare trisagair api viddhi vitānam : Utpala on Bệhat Samhitā, 103.46.

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$$ 17-18 ]
सवृत्तिकः कविदर्पणः
xxvii
author (under his influence) at KD. 4.40 allow it even in the case of the following two metres, namely, Indravamśā and Vasastha. They also record a view of the elders, according to which all the Sama Varna Vrttas belonging to any of the 26 classes may have their Pādas mixed up to produce an Upajāti. Halāyudha too mentions this view in his commentary on Chandassūtra 6.17. An Upajāti resulting from the mixture of the Pādas of the Indravajrā and the Upendravajrā is alternatively called Indramālā according to Jayakīrti 2.117, Ratnamañjūsā 5.27 and Jānāśrayī 4.36. Similarly that Upajāti which arises from a mixture of the Pādas of the Vamsastha and 'Indravaṁsā is called Vamsamālā according to Jayakīrti, Chandonuśāsana 2.145 and Ratnamañjūşā 6.6.
18. The fifth chapter of the Kavidarpana treats of the Ubhayachandas, i.e., mixed metres which are partly Varna Vrttas and partly Mātrā Vịttas. They are 11 in number headed by the Vaitāliya. Sanskrit prosodists, including Hemacandra, define these metres under the Sanskrit Mātrā Vrttas, which have a few restrictions in respect of short and long letters.20 Out of the three groups of the Mātrā Vrttas, adopted by the Sanskrit prosodists, the author of the Kavidarpana has already defined two, namely, the Gāthā group and the Mātrāsamaka group in the second chapter under the Catuspadī Mātrā Vrttas. He has laid down a few restrictions regarding the employment of short and long letters at some places in the lines of these metres, and even mentioned the avoidance of an Aksara Gana like the Jagaña; yet he obviously does not consider them as mixed metres or Ubhayachandas, probably because, there is no employment of any positive Akşara Gana in any of them. On the other hand, Aksara Ganas like the Ragana, Yagana and the Bhagana are prescribed for the lines of metres in the Vaitālīya group. When, however, the Vaitālīya is defined as a pure Mātrā Vịtta under the name Māgadhikā, no Aksara Ganas are laid down at Kavidarpana, 2.18. This means that no long letters are prescribed anywhere, since the fixation of long letters alone is what distinguishes an Aksara Gana from a Mātrā Gana. A Mātrā is equivalent to a short letter and serves as a unit for measuring both the syllabic quantity of a Gana and the time which it may take in pronunciation. In Tāla Vrttas, the Mātrā measures the time which a particular Gana ought to take in recitation, while in the pure Mātrā Vịttas, it measures the total syllabic quantity, or, in other words, the total number of short letters which a Gana ought to have, regardless of the combination of any two of them into a long letter. It should also be noted, that in pure Mātrā
20. See Jayadāman, Introduction, p. 24.

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xxviii
सवृत्तिकः कविदर्पणः
[INTRODUCTION
Vrttas, the distribution of the entire syllabic quantity of a metrical line into the Mātrā Ganas aims only at the avoidance of a long letter at the junction of these Ganas, thereby securing their separateness from each other. But in the Tāla Vrttas the Mātrā Ganas have another function to perform. They must represent the groups of time-units or Kāla-Mātrā which constitute and govern the Tāla of a metrical line. These groups of time-units too, have to be kept separate from each other by avoiding a long letter at their junction, so as to prevent their interlocking. 20a Any way, the author of the Kavidarpana has for some such reasons as given above, separated the Vaitālīya group from the other two groups of Mātrā Vịttas, viz., the Gāthā group and the Mātrāsamaka group, describing these latter under pure Mātrā Vịttas in the second chapter. In the Vaitālīya group, there are three chief metres; they are 1. Vaitālīya; 2. Aupacchandasaka; 3 and Apātalikā. The odd lines of a Vaitālīya are divisible into two parts, the first consisting of 6 Mātrās regardless of the position of a long letter in them. The second part consists of a Ragaņa followed by a short and a long letter in succession. The even lines are identical in structure with the odd ones, except that they have 2 additional Mātrās at their commencement: A Vaitālīya is turned into an Aupacchandasaka if the Ragana in all the lines is followed by a Yagana, instead of the short and the long letter at the end. Similarly, it is turned into an Apātalikā, when the Ragana is replaced by a Bhagana and the short letter after it by a long one, so that the concluding part of all the four lines consists of a Bhagana followed by 2 long letters. There is, however, one more condition about the 8 Mātrās at the commencement of the even Pädas of all the three metres; it is that among the letters that represent them, six short letters in succession must never be employed. If the 4th and the 5th out of the 8 Mātrās in the even Pādas are combined into a long letter, these three metres get the additional name of Prācyikā; and when the 2nd and the 3rd out of the 6 Mātrās in their odd Pādas are similarly represented by a long letter, they get the additional name Udicyikā. When the long letter as directed above is used in both the odd and the even Pädas of the three main metres, they get the appendage Pravṛttaka affixed to their names. Thus we have three varieties of each of the Prācyikā, the Udicyikā and the Pravrttaka. In the same context, the author defines 2 more Sama Vșttas, each of which is sixfold. Thus we get 6 kinds of Aparāntikā, all the four Pādas of which are respectively equivalent to the even Pādas of the three principal metres and the three varieties of the Prācyikā. Similarly, we have 6 kinds of Cāruhāsinī, all the four Pādas of which are respectively equal to the odd Pādas 20a Şee Apabhrañśa Metres III, para 4 (p. 1067).

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$S 18
]
सवृत्तिकः कविदर्पणः
xxix
of the three chief metres and the three varieties of the Udicyikā. One more variety called Dakṣiṇāntikā is defined by our author; it has the 2nd and the 3rd Mātrā combined into a long letter in all the Pādas. This will be of 15 kinds as explained in the notes. Hemacandra defines three more metres under the Vaitālīya group; they are the Māgadhi, which is exactly the same as our Māgadhikā defined at KD. 2.18; Paścimāntikā which is made up of the odd Pādas of the Māgadhi; and Upahāsini which is made up of the even Pādas of the same metre. At the end of this chapter the author gives a method of finding out the number of short and long letters, (when any one of them is known), in the case of a Mātrā Vịtta, the total number of whose Mātrās is known. This really belongs to the sphere of the 4th Pratyaya or Laghukriyā as mentioned in the next chapter, which deals with them only in a perfunctory manner. Out of the six Pratyayas, which are enumerated at the beginning of the chapter, the author defines only two, namely, the Prastāra and the Samkhyā and these two, he explains only as connected with the Mātrā Vrttas.

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II
(For Nanditādhya's Gathālaksana See Appendix I).
19. Nanditādhya's Gäthälaksana is one of the oldest treatises on Prakrit metres. As its name indicates, it was originally composed for defining a Gātha and the metres derived from it. Naturally short and long letters are defined at the beginning for that purpose and it is stated in v. 4 how the letter ai, au, ah, s, s, and the nasals of the ka, ca and ta Vargas from the Sanskrit alphabet do not exist in Prakrit. But the statement about the nasal of the Tavarga, i.e., about the letter na, is striking. For actually Nanditādhya uses this letter when it occurs at the beginning of a word, and this is quite in keeping with what Hemacandra says in his Sabdānuśāsana VIII. 1.228. Nanditādhya also mentions the characteristic short pronunciation of the vowels e and o, of the nasalized i and hi, as also of the letters which precede a conjunct consonant containing r or h, in Prakrit; but for no obvious reasons he does so rather late in his treatise, i.e., in v. 54 and illustrates the use of all of them in vv. 55-60, at the end of his treatment of the Gathā and before commencing that of the derivatives of it. He divides a Gāthā into 16 Añías, 13 of which are Caturmātras, 2 'are Dvimātras and 1 is Ekamātra (v. 7), but does not enumerate or define any Mātrā Gaņas anywhere. Only incidentally, he mentions the five kinds of a Caturmātra in vv. 12-13, which are to be employed at the different Āmsas of a Gāthā. Yet the specific names which he uses at v. 8 (also v. 78a) are nowhere explained or even suggested. I have not met with these terms anywhere else in treatises on Prakrit or Sanskrit metres. The terms which are employed in the definition of the Madanāvatāra in v. 76 are clearly borrowed from Virahānka's Vșttajātisamuccaya and it appears, v. 77 is actually quoted from his work (VJS. 1.7), in support of them. But there is sufficient evidence to believe that the portion of Nanditādhya's work beginning with v. 74 upto the end is not a part of the original treatise, which was intended to define and illustrate the Gāthā alone, including probably also its derivative metres. For Nanditāļhya is a staunch follower of the Prakrit language and disparages the use of the Apabhramsa forms in composition, in v. 31. On the other hand, the metres which are defined after v. 74 are mainly those that are peculiar to the Apabhramsa language, namely, Paddhatikā, Madanāvatāra, and Dohā with the metres derived from it. Both the definitions and the illustrations, when they are given, are composed in the Apabhramśa language, and this is certainly against the spirit of the above mentioned statement in v. 31. The reference to a ladylove as the addressee in vv. 76-77 (also in vv. 82, 84) is not in keeping with

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ŠS 19-20 1 सवृत्तिकः कविदर्पणः
xxxi the impression which is left on the mind of the reader that Nanditādhya was a Jain monk. But even the first 74 stanzas do not all appear to be from Nanditādhya's pen. V. 8 looks like a marginal note added by a reader: it is not really needed, its purpose being served by vv. 12, 13. Vy. 15, 30 and 65 all contain illustrations of a Gāthā; but only one of these, perhaps the first, seems to be genuine, as it is in its proper place, i.e., after the definition of that metre in vv. 12-13. V. 16 is a sort of introduction for the three main varieties of the Gāthā, viz., Pathyā, Vipulā and Capalā. These three together with the subdivisions of the last one are defined and illustrated in vv. 17-25. All these may be genuine; but the illustrations of Gīti, Udgiti, Samkīrṇā and Gāthā given in vv. 26-30 appear to be quite out of context and uncalled for. The first three are the derivatives of the Gāthā and not mere varieties of it; so that their proper place is only after finishing the varieties like the four which have the names of the four castes in vv. 32-38, or the 26 which are based on the smaller or larger number of short and long letters in them in vv. 40-44. All these derivative metres again are defined and illustrated in vv. 61-73, under different names. Besides vv. 26-30 give only the illustrations and are not preceded by definitions as in other cases. They, therefore, do not seem to have formed part of the original work of Nanditädhya. Lastly, v. 52 refers to these names, i.e., Gīti, Udgiti and .. Upagiti and on that account, is not genuine. Thus out of a total of 92, only about 65 stanzas seem to be genuine.
20. Nanditadhya was a Jain Pandit, probably a monk. He mentions his name only in two stanzas, vv. 31 and 63. Both these stanzas offer some help in arriving at the probable extent of Nanditādhya's original work. The first states, in clear words, his contempt for the Apabhramsa language, which excludes the possibility of his having included in his treatise Apabhraṁsa metres and particularly of his having defined and illustrated them in the Apabhramśa language itself. The second records the six varieties of the metres derived from the Gāthā and this shows that his Gathālaksana was to include the definitions of these too. In four other stanzas he refers to himself in the first person; of these the first two, i.e., vv. 1 and 2, declare his intention to define the Gāthā in accordance with what he has learned from his preceptors and to distinguish between short and long letters, as they are employed in Prakrit poems composed by earlier teachers and poets. In the other two stanzas, vv. 20 and 32, he promises to give illustrations of the metres which he has defined in the earlier stanzas. This would show that Nanditadhya intended to give illustrations and not merely the definitions of the Gātha and its derivatives. The illustrations of Pathyā,

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xxxii
सवृत्तिकः कविदर्पणः
[INTRODUCTION
Vipula and the three kinds of Capala in vv. 21-25 contain the names of the respective metres introduced by the device of Mudra, and appear to have been composed by the author for the occasion. But those in vv. 34-37 do not contain the names of the illustrated metres and may have been bor. rowed by Nanditaḍhya from other sources. V. 36 evidently belongs to some religious epic poem of the Jains and other illustrations which suggest that the author was a Jain are vv. 15, 21-26, 36, 37, 57, 62, 67, 68, 70, and 71. Again vv. 57 and 59-61 appear to belong to some religious poem of the Jains. Thus, in short, Nanditaḍhya's Gathalakṣana was originally intended to contain a discussion of the following topics only: (1) Short and long letters, including those that become so by position (vv. 2-5, 56-62); (2) Gāthā and its composition (vv. 6-16); (3-5) its varieties like the Pathya and others (vv. 17-25); also the four which bear the names of the four castes (vv. 32-39); and the 26 which depend upon the number of short and long letters in them (vv. 40-44); (6) the method of finding out the number of short and long letters in a particular variety of a Gāthā (vv. 45-47); (7) the method of finding out the total number of letters in a given Gāthā and its name among the 26 varieties (vv. 53-55); and (9) lastly, the six metres derived from Gāthā, with their illustrations (vv. 63-75). As regards the date of Nanditaḍhya, we have some indications; thus while illustrating the short o in Prakrit, Nanditaḍhya quotes a stanza from Rajasekhara's Karpuramañjarī (II.49) in v. 56; and Hemacandra in his Chandonusāsana (NSP. ed. p. 27, lines 15-17) seems to quote vv. 40-42 from Nanditaḍhya's Gäthälakṣaṇa. These two indications, together with Nanditaḍhya's dislike for the Apabhramśa language, seem to fix his date somewhere about one thousand A.D.

Page #44

III
(For Ratnasekhara's Chandaħkośa See Appendix II.)
21. Chandaħkośa of Ratnasekhara is a short treatise on a few Apabhramsa metres, which were considered by its author to be more im and usually employed at his times. In addition to these it also defines the Gāthā together with its varieties and the metres derived from it. In almost all the cases, including those of the Găthā, the defining stanza itself serves as an illustration of the metre which is defined in it. It is remarkable that the Chandaḥkośa is composed partly in the Prakrit and partly in the Apabhramśa language. Thus stanzas 1-4 and 51-74 are written in Prakrit and in a comparatively concise style. No authorities are mentioned in this part. On the other hand, vv. 5-50 are written in the Apabhraíba language and in a rather verbose style. This second part contains references to two Apabhramsa poet-prosodists, Arjuna and Gosala, or Alhu and Gulhu as they seem to have been popularly called. The former is mentioned in 9 stanzas, namely, 10, 11, 15, 19, 27, 30, 34, 35 and 41; the latter in stanzas 6, 12, 14, 18, 26 and 29. In two of the stanzas, vv. 12 and 29, in which Gulha is mentioned, we find also a reference to the vain arrogance and ignorance of Sanskrit Pandits, who treat Apabhramśa poetry with contempt. There are two more allusions; one in v. 45 to Pingala and the other to Nāgarāja, i.e., Pingala himself, in v. 4. But neither of these references can be verified either from the Chandassūtra or from the Prākrta Paingala. The first of these two stanzas, i.e., v. 45, defines a Mātrā Vrtta called Hakkā; this is, however, known to the Prākṣta Paingala as Catușpadi (I. 97). The other stanza, v. 4, defines a Varna Vịtta called Somakrānta; this is called Vidyunmālā both in the Chandassūtra 6.6. and the Prākṣta Paingala II.66. Arjuna and Gosala are mentioned as kavi in vv. 12, 27, 30 and 35 ; further, the stanzas in which their authority is quoted contain such expressions as Alha utta, ujjuno jampae, ajjuni kahio, Gulhu jampai-payampai, gosalena payāsio etc. From these it is obvious that these two were distinguished poet-prosodists, who wrote in the Apabhramśa language and had very likely composed manuals of Apabhramsa prosody, from which Ratnasekhara has quoted in his Chandaḥkośa. It is really difficult to say what portion from vv. 4-50 of the work was actually composed by Ratnasekhara and how much he reproduced from Arjuna and Gosala; but the appearance of those stanzas at least in which the names of these poets are mentioned, should leave no doubt that they were actually reproduced from their works. As regards some others like vv. 12, 16, 25, 31, 46 and 50, whose close resem

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blance with corresponding stanzas in the Prākṣta Paingala raises some im
questions, I shall offer my remarks in the next paragraph. But if these latter too are considered as actual quotations, as I believe them to be, Ratnasekhara's authorship must be restricted only to about 25 stanzas, if at all, out of the 46 (from 5-50). On the other hand, vv. 1-4 and 51-74 appear to be composed by Ratnasekhara himself.
22. Ratnasekhara, the author of the. Chandaḥkośa, was a pupil of Vajrasenasūri and the successor of Hematilakasuri of the Nāgapurīya Tapā Gaccha, as we know from the last stanza in the commentary on it, composed by Candrakirtisūri, successor of Rājaratna of the same, i.e., the Nāgapuriya Tapā Gaccha. Candrakīrti was a lineal descendant of Ratnasekhara himself and was separated from him by a little more than two centuries. Two dated works composed by Ratnasekhara are known; they are Śrīpālacarita composed in Sam. 1428 and Gunasthānakramāroha with Vịtti composed in Sam. 1447. The former is in Prakrit while the latter, both text and commentary, are in Sanskrit.21 According to Pattāvalī, quotated in Shri M. D. Desai's Jaina Gurjara Kavio II. p. 759, Ratnasekhara was born in Sam. 1372; thus his literary activities must be ascribed to the second half of the 14th century of the Christian era. Prākşta Paingala, which bears many verses in common with the Chandahkośa, is not an old work even though it bears the name of Pingala. It is again, doubtful, whether in its present form it is the work of a single author, as rightly observed by the editor in his introduction (pp. VII-VIII) to the Bibliotheca Indica edition of Calcutta, 1902. Hamir, the Rajput king of Mewar, whose reign ended in A.D. 1366, is mentioned in about eight illustrations of different metres in this work. This and other indications show that the work originated sometime in the second half of the 14th century A.D. But Ratnasekhara did not certainly know it even though it seems to have been contemporaneous with him. His references to Pingala do not refer to it nor to the Sanskrit Chandassūtra. These references appear to be of a general nature, i.e., to Pingala, as the originator of the Chandasśāstra and not to any particular work. But even in the case of six other stanzas which bear very close resemblance to those in the Prākrta Paingala, it is almost certain that Ratnasekhara did not borrow them from the latter and that both Ratnasekhara and Prakrta Paingala borrowed them from some earlier source. Further, a careful examination of these passages shows that while Ratnasekhara reproduced them without any changes, Prākşta Paingala made some significant changes in them, by introducing the name of Pingala
21. See Velankar, Descriptive Catalogue, Nos. 1592, 1593, 1596 and 1783.

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XXXV therein with the obvious intention of ascribing the authorship of these stanzas to Pingala. Thus the words gulha kavi erisa vuttau in CK. 12 are substituted by sesa kai vatthu niruttau at Präkrta Paingala I.107 in an otherwise almost identical stanza. The same may be said about CK, 16, 25 ond 31. These, however, do not contain any name, but appear with the name of Pingala at Prākṣta Paingala II.208, 1.170 and 1.146 respectively (as Faņīndra, Nāgarāja and Sukavibandhu). There are two more stanzas in the Chandaħkośa, namely, 46 and 50, which bear a close verbal similarity with Prākąta Paingala II.69 and 1.44 respectively; but in this case, the latter has not introduced Pingala's name in either of them. At any rate this comparison of the two slightly different forms in which the same stanza appears in the two works in the above mentioned six instances must lead us to the inference that these stanzas were not originally composed by either Ratnasekhara or the author of the Prākrta Paingala, but that they were borrowed from an earlier work (perhaps only with the help of their memory), by both. For, if Ratnasekhara had borrowed them from the Praksta Paingala, he would certainly not have dropped Pingala's name from them, or substituted Gulha's name for it, and this is perfectly clear from the other stanzas in the Chandaḥkośa, which contain the names of Arjuna and Gosala. Ratnasekhara had no ambition of being called an , original authority on Prakrit prosody and so he did not introduce his name anywhere in his definitions. The author of the Prāksta Paingala, on the other hand, wanted to lend authority to his composition by ascribing it to the famous originator of Prosody.
23. Ratnasekhara's treatment of the Prakrit and Apabhramśa metres is not very methodical. Among the Prakrit metres he defines only the Gāthā (in vv. 51-54), with its varieties like Pathyā and its derivatives like Gīti and others (in vv. 55-66). He mentions the 26 varieties of Gāthā, together with their names, as also the 4 varieties which bear the names of the four castes and also the other main varieties, namely, Pathyā, Vipulā and Capalā. In vv. 67-70, he defines in succession Vigāthā22, Giti, Upagīti and Skandhaka, while in 'vv. 71-73 he merely explains the method of finding out the number of short or long letters in a given stanza of a particular metre. In this connection Ratnasekhara mentions an interesting equation according to which ths of a Mātrā is equivalent to a Yoni. This measure, namely, Yoni, is mentioned by him in v. 30 in a casual manner;
22. This is the same as the Udgiti of the Sanskrit writers like Pingala and his
followers; but the name Vigāthā, which is possibly the clder one, is found even at Nanditādhya, Gāthālakṣaṇa v. 62 and Prāksta Paingala 1.66.

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[INTRODUCTION but otherwise, it does not figure anywhere else in the treatise. We are here reminded of Nanditādhya's equally obscure equation that a Mātrā is equivalent to a Karsa in point of weight, given in v. 47. Ratnasekhara employs the Apabhramśa language in the earlier portion of his work, namely, vv. 5-50, meaning thereby that the metres defined in this portion were mainly used in Apabhraíśa poetry. He defines 45 metres in all in this part of the work, of which 14 are Varna Vrttas, 15 are Sama Catuspadi Mātrā Vșttas, 7 are Ardhasama Catușpadī Mātrā Vịttas, 2 are Vişama Catușpadi Mātrā.Vșttas and 7 are strophic couplets, both the constituent inetres of which are Mātrā Vșttas. His treatment does not follow any definite principle of classification and so all the five different classes of metres are mixed with one another. Only at the commencement, he defines 8 Varna Vrttas in which the 8 Aksara Gaņas or Trikas appear singly. Thus in Somakrānta a line contains 2 Ma-Ganas and 2 long letters; in Dodhaka, it has 4 Bha-Gaņas; in Mauktikadāma, 4 Ja-Gaņas; in Totaka, 4 Sa-Ganas; in Bahula, 3 Na-Gaņas; in Bhujangaprayāta, 4 Ya-Gaņas; in Kāminimohana (otherwise known as Madanāvatāra in Prakrit prosody), 4 Ra-Ganas; and in Madanākula, 4 Ta-Gaņas in succession. It is, however, to be noted that when these Varna Vșttas are adopted in Prakrit and Apabhramśa poems, a long letter can be substituted by two short ones and two short ones by a long one, if this did not disturb the Tāla of the song or stanza; because, all these are usually adopted not for their Varna Sangita (i.e., music due to alternation of short and long sounds), but for their Tāla Sangīta (i.e., the music of time-regulated accent or stress) Here, for example, a long letter is replaced by two short ones in a YaGaņa (cau for co in v. 9), in a Ra-Gana (ai in aisohanam in v. 10), and in a Sa-Gaņa (jama in kari jamaka in v. 16); on the other hand, a long letter is substituted for two short ones in the 3rd and the 6th Sa-ganas of the second line in the Hakkā metre in v. 45. We shall discuss this point a little later, in details. The next four Varņa Vsttas which our author defines in vv. 14-16 and 44 are the two Nārācas, the Somakānta and the Pañcacamara, the Drumilā and the Mehānī. The first Nārāca contains 8 pairs of short and long letters following each other in succession, while the second contains 10 such pairs. Drumilā defined in v. 16, has 8 SaGanas coming one after another, while the Mehānī, defined in v. 44, contains 8 long letters in each line, except the third and the fourth, where the 7th letter is short. This is comparable with the Somakrānta of v. 4. The next Varna Vrtta is the Hakkā defined in v. 45; it contains 7 Sa-Ganas followed by a short letter at the end in each line and is comparable with the Totaka of v. 7; only as said above, in the second line the 3rd and the

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5th Sa-Ganas have their 2 short letters replaced by a long one each. The last Varņa Vștta defined in v. 46 is Nārāca; it contains only 4 pairs of short and long letters following one another in succession. This Nārāca is to be compared with the other two Nārācas in vv. 15-16. Short and long letters coming in succession seems to be the peculiarity of this metre. It is noteworthy that in all the Varņa Vrttas which are defined here, only one kind of the Akşara Gana is employed throughout a line and this is due to the fact that such metres alone can contribute to the Tāla Sangīta, which is an important factor of popular poetry including that in the Apabhramsa language.
24. We shall now take up the Mātrā Vșttas, first the Sama Catuspadī among them, in the ascending order of the Mātrās which a Pāda of these contains. Thus we have (1) Vijayaka (v. 19) which has 8 Mātrās distributed over 2 Caturmātras of any kind, in a Pāda. (2) Ekāvali (v. 47) has 10 Mātrās in a Pāda divided into two pañcamātras of any kind. This metre was definitely sung in the Tāla of 10 Mātrās. (3) Laghu Catuşpadī
(v. 40) has 15 Mātrās in a Pāda, the last 5 Mātrās consisting of a Pañcamātra. (4) Adilā (v. 41 ab) and (5) Madilā (v. 41 cd) contain 16 Mātrās each in a Pāda; they are generally divided into 4 Caturmātras of any kind, but in Adilā all the four Pādas have a common rhyme, while in the Madilā the two halves have two separate rhymes. (6) Bhinna Madilla
(v. 42) has similarly 16 Mātrās in a Pāda, but among the 4 Caturmātras which constitute the Pāda, a Ja-Gana or the Madhyaguru Caturmātra is to be avoided. Like Adilā, this Bhinna Madilla too has one common rhyme for all the Pādas. (7) Mālati (v. 49) also contains 16 Mātrās; but these are to be mostly made up of Trimātras and Pañcamātras, thus showing a short letter at intervals, compulsorily. There is one more metre which contains 16 Mātrās in a Pāda; it is (8) Paddhatikā (v. 36): This is the most popular metre of Apabhramśa narrative poetry. Its Pāda contains 4 Caturmātras of any kind, the last being a Madhyaguru. (9) Abhānaka (v. 17; cf. also v. 29 first half) contains 21 Mātrās in a Pāda; generally, any Caturmātra may be used, but a Pañcamātra must be avoided and the last three Mātrās are to be represented by three short letters according to a convention mentioned by the commentator. (10) Rodaka, also called Vastuka (v. 13; also cf. v. 12 first half, and vv. 31, 38 second half) contains 24 Mātrās in a Pāda; they are made up of 1 Şaņmātra, 4 Caturmātras and 1 Dvimātra at the end. The commentator also mentions Rāsakula as yet another name of the metre; but this seems to be a mere guess from the word at the end of the 4th line of the text. From the text itself it would

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appear that the metre was called Vastuka when composed in the Prakrit language, but when composed in the Apabhramśa or the Desi Bhāşā it was called Rodaka. Rāsākula is really the name of a strophic couplet mentioned below in v. 29. Kavidarpana 2.25 and Hemacandra, Chandonuśāsana 5.25 know this metre by the name Vastuvadana or Vastuka, while Prākṣta Paingala 1.109 calls it Kävya. (11) Gita (v. 18) also called Harigita at Präksta Paingala I.191, contains 28 Mātrās in a Pāda. This metre is sung in a Tāla of 7 Mātrās, the first stroke of the Tāla being on the 3rd Mātra in each Päda, which is thus divided into 4 Tāla, Ganas of 7 Mātrās of each. These Tāla Gaņas are to be kept separate like the Mātrā Ganas and so the 2nd and the 3rd, the 9th and the 10th, the 16th and the 17th, and lastly the 23rd and the 24th Mātrās must not be combined into a long letter. (12) Dvipadi (v. 35) which seems to be an old Prakrit metre, probably not adapted to the Tala Sangita, also contains 28 Mātrās in a Pāda, distributed over 1 Şaņmātra, 5 Caturmātras and 1 Dvimātra at the end.23 (13) Catuspadi (v. 37) contains 7 Caturmātras followed by a single Dvimātra at the end in each Pāda; it has thus 30 Mātrās in all in a Pāda. There appears to be no restriction about the nature of the Caturmātras that are to be employed in it. (14) Dandaka (v. 30) contains 32 Mātrās in each Pada and is evidently a song metre to be sung in the Tāla of 8 Mātrās. A Pada contains 8 Caturmātras out of which the even ones must always be JaGaņas or the Madhyaguru Caturmātras, while the odd ones may be any one of the remaining four Caturmātras. Like the other Dandakas this too may have been originally a dance metre. (15) Lastly, Padmāvati (v. 50) contains also 32 Mātrās in a Pāda, which are divided into eight Caturmātrās, but none of them must be a Ja-Gana or the Madhyaguru, technically called Payodhara, which spoils the rhythm of the metre, as we are told by our author.
25. Ratnasekhara defines 7 Mātrā Vșttas of the Ardhasama Catuspadi type and only 2 of the Vişama type. Among the former, Dohā is the most prominent one; its odd and even lines respectively contain 13 and 11 Mātrās (vv. 21-24; vv. 31, 32, 34 first half). Saurāṣtra or Soraţtha as it is called in Prakrit, is an inverted Dohā; it has 11 and 13 Mātrās respectively in its odd and even lines (v. 25). If five Mātrās are added at the end of the even Pädas of a Dohā, it is called Cūlikā (v. 26) and if ten Mātrās are similarly added to the same Pādas of the Dohā, it is called Upacūlikā (v. 27). If the odd Pādas of a Dohā contain 15 instead of the usual 13 Mātrās, the even Pādas being of the same i.e., their usual length, 23. See above Note No. 10.

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it is called Udgrāhaka or Udgāhaka (v. 28). This is the same as Samdohaka of KD. 2.16. The next Ardhasama Catuspadi is Ghattā, whose odd and even Pādas respectively contain 18 and 13 Mātrās. As a matter of fact, this is clearly a șațpadi Ghattā whose equal halves have three lines each, containing respectively, 10, 8 and 13 Mātrās in them. This can be judged from the Yati and Yamaka at the 10th Mātrā in the odd lines of the defining and illustrating stanza in the Chandaḥkośa, v. 43. For the same metre, cf. KD. 2.29. Ratnasekhara has defined one more Ardhasama Catuspadī, namely, Besara or Sphuţa-Besara in v. 20. Its 1st and 2nd Pādas contain 16 Mātrās each, while 3rd and 4th Pädas have 15 Mātrās each. The two Vişama Catuspadīs which he defines are but a result of a combination of the lines of a Dohā and a Gāthā; thus a Verālaka (v. 33) has the first three lines of a Dohā followed by the last line of a Gāthā, which, by the way, is considered as a Catuspadi as at KD. 2.35-36. The second Vişama Vștta is the Cūdāmaņi; its first half is that of a Dohā and this is followed by the second half of the Gathā (v. 48). In addition to these simple Varņa and Mātrā Vșttas, Ratnasekhara defines seven strophic metres all of which are Dvibhangis or couplets. Of these Şagpada (v. 12), also known as Kāvya or Sārdhacchandas to Hemacandra, Chandonuśāsana 4.79 com., Kavidarpana 2.33 and Prākṣta Paingala I.120, is made up of a stanza in the Vastu or Vastuvadana or Rodaka or Kāvya24 metre coupled with an Ullāla Dvipadi which has 28 Mātrās in each of its two Pādas. The Ullāla is again employed as the second constituent of another strophic metre called Rāsākula (v. 29), the first being a stanza in the Abhānaka metre defined in v. 17. The third Dvibhangi is also a well known one and appears to have been in vogue from very old days. It is a combination of a stanza in the well known Apabhramsa metre Mātrā, called Rādhaka by our author and another in the other famous Apabhraṁsa metre Dohā. It is called Vastu by Ratnasekhara, (v. 34) and also by Kavidarpana, 2.35; but it is known as Radda to Virahānka, VJS. 4.31 and also to the Prākrta
ngala I. 133 ff. Hemacandra knows both the names. It is possible that our author's Rādhaka is another form of the name Raddā, here given to the first constituent of the couplet which is known by that name.25 There are four more Dvibhangīs defined by Ratnasekhara. They are: (1) Kun. dalika (v. 31), (2) Kundalini (v. 38); Candrāyaṇa (v. 32); and Candrāyani (v. 39). These can be arranged in two pairs ; in the first formed by KundaJika and Kundalinī, the second constituent metre is the Kävya which is the same as the Rodaka of v. 13, i.e., has 24 Mātrās in each Päda; but in the se
24. See above para 24, No. (10). 25. Like the name Dvipadi and Kāvya; see para 13 above.

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cond pair formed by Candrāyana and Candrāyaṇī, the second constituent is a stanza in the Kāminimohana metre defined in v. 10 and otherwise known as Madanāvatāra. As regards the first constituent metre in the two pairs, it is Dohā in the Kundalika and Candrāyaṇa; but it is Gāthā in the KundaJini and Candrāyaṇī, or in other words, the Dohā gives a masculine and the Gāthā, a feminine name to the couplet as a whole, in each case.
26. Ratnasekhara thus defines in his Chandaḥkośa some unusual metres which are not known from other treatises. Evidently, he makes a selection from the then popular metres prevailing among the poets who wrote in the Apabhramśa language, or rather, languages. From this selection we may be permitted to make a few deductions and draw some tentative conclusions. Gāthā, the most ancient Prakrit metre was still holding the field, whether for individual stanzas or for the formation of couplets, which latter have certainly been popular from very early days as seen from Virahānka's Vrttajātisamuccaya. Along with the Gathā, however, two more metres, Ullala and Dohā, have come to the forefront. Ullāla seems to be an indigenous product of the land of the Magadhas, while Dohā was universally adopted by the Apabhramsa poets. Virahānka does not mention the former; but even in the case of the latter, i.e., Dohā, it would seem that at his time that metre was just making a headway, though it had already established itself as a constituent of at least one strophic couplet, i.e., the Raddā, also called Vastu. The Dohā, however, came to have its varieties only later, but certainly before Svayambhū's times. That these two metres, the Gātha and the Dohā, were equally popular at the time of Ratnasekhara can also be seen from the two other metres, Verālaka and Cūdāmaņi, which are a result of the combination of the Pädas of the Gāthă and the Dohā. We have also seen how both were used as strophic metres for the composition of couplets, Gāthā giving the feminine and Dohā the masculine name to the couplet. From the Varņa Vịttas, Ratnasekhara has selected only 14, but almost all of them having a uniform rhythm produced by the repetition of the same Gana throughout a Pāda. This is very significant and gives a sure indication of the new type of rhythm, or music as I have called it elsewhere, in Apabhramsa poetry, namely, the one which is based upon the regularly recurring pause indicated by a stress guided by the time-unit called Mātrā i.e., a KālaMātrā as distinct from the Varņa-Mātrā. The two units are indeed related; Kāla-Mātrā is the smallest part of time taken by the pronunciation of a letter and Varņa-Mātrā is that much quantity of a letter or even that whole letter, which can be pronounced in this Kāla-Mātrā. It is thus that a short

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letter is said to represent or rather consist of, one Mātrā, i.e., VarnaMātrā and a long letter, two Varņa-Mātrās.
27. This new type of rhythm or music is quite different from the rhythm or music which is at the basis of the Classical Sanskrit Varna Vịttas or the Vedic Aksara Vsttas. The music of the Vedic metres is produced by the modulation of voice, i.e., by raising or lowering of the voice in three or more pitches, while the music of the Classical Sanskrit Varņa Vșttas is dependent upon the alternation or variation of short and long sounds. Very different from these two is the Tāla Sangita or rhythm, where the main source of the music or rhythm is the regularly recurring stressed pause, which is guided by a time unit, namely the Kāla-Mātrā. This time unit is generally indicated by a time-keeping instrument or by a regularly trained clapping of hands or moving of some part of the body as in a dance. This type of Sangita or rhythm as also the metres which are based on it are purely popular in origin. They are totally foreign to Vedic or Classical Sanskrit metres. In the case of metres which obey the Tāla-Sangīta, a line of a stanza is divisible into Tāla-Ganas, just as a line of the Sanskrit Varna Vrttas is divisible into Aksara-Ganas or a lin Sanskrit Mātrā Vrttas is divisible into Mätra-Ganas. Further, these TālaGaņas have to be kept separate from each other by avoiding a long letter at their junction, like the Mātrā Gaņas in the case of the Sanskrit Mātrā Vșttas. The question of keeping the Aksara-Gaņas separate does not arise. because there is no possibility of their being mixed up; while it does arise in the case of the pure Mātrā Vịttas, since the Mātrā-Gaņas can be mixed up by combining the last Mātrā of the earlier Gana with the first Mātrā of a later Gaņa into a long letter. Thus, for example, the whole rhythm of a Gāthā will be disturbed if a long letter is ușed for the 4th and the 5th, or the 8th and the 9th Mātrās, together. But if such a mixture of the Mātrā Ganas is avoided, any letters, whether short or long, may be used anywhere in the line of a Gāthā, barring of course, the exceptions which are mentioned in the definition itself. Similarly, the Tāla-Gaņas must be kept separate by avoiding a long letter at the junction of these. The Mātrā-Gaņas are usually mentioned as five in number and respectively contain 2, 3, 4, 5 and 6 Mātrās in them, as said at Kavidarpana 1.2. The Tāla-Gaņas, however, are not mentioned anywhere in works on Apabhramsa prosody and are to be known from the actual singing of these metres and from manuals of Music. Broadly speaking, they are four in number and respectively contain 5, 6, 7 and 8 Kāla-Mātrās in them, or perhaps, 6, 7, 8 and 10 KālaMātrās in them. These Kāla-Mātrās in the Tāla Vșttas may be filled up by

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agfaen: anfador:
[INTRODUCTION
properly and correctly pronounced short and long letters, whose timevalue is fixed by tradition and convention, or by improperly pronounced short and long letters, to which time-value is attached by the poet or singer at his sweet will and against the conventional mode of pronunciation, or sometimes, even by a silent rest or pause in which no letters are pronounced at all. Each of these Tāla-Ganas forms a musical unit as it were and the Mātrā on which the stroke of the Tāla falls must not in any case be combined into a long letter with its predecessor, since the stroke of the Tāla cannot be made to accompany the 2nd of the two Kāla-Mātrās represented by the corresponding Varṇa-Mātrā of a long letter. If, on the other hand, the stroke indicating the pause of the Tāla were to accompany the first Mätra of the long letter, the Tala will be disturbed, since the stroke of the Tāla will be a little too early; while, if it were to accompany the next letter after the long one in question, the stroke of the Tāla will be a little too late. Beyond this rule of avoiding a long letter at the junction of two Tala-Ganas, the Apabĥraṁśa poets do not necessarily observe all the conventional rules about the pronunciation of letters according to Sanskrit prosody. They often take liberty in pronouncing letters, i.e., they pronounce short letters long and long letters short, not caring for the usual and conventional spelling of a word in the language. They sometimes even squeeze several letters within a Tala-Gaṇa, which if properly pronounced would not be contained in it. The Apabhraṁśa prosodists indeed do lay down certain rules of pronunciation of letters for general guidance; thus, they lay down that the usual distinction between short and long letters should be observed; but some letters considered as long as 'a rule have to be considered as short in Apabhramśa poetry. These are for example, e and o, nasalised letters and conjunct consonants which have h or r in them; but even these may be treated as long letters if required by the metrical rhythm. This means, that the poet may treat these letters as short or long according to his will and convenience. As said above, the poet's main concern is the preservation of his Tāla in the lines of the song; conventional pronunciation of letters and words may be set aside when necessary and sometimes the Käla-Mātrās required for a particular Tāla-Gaṇa may even be filled up by means of silent pauses where no letters are uttered or by stretching out the pronunciation of a letter so as to cover the necessary number of the Kala-Mātrās.
28. Among the metres defined by Ratnaśekhara many are amenable to the Tala of 8 Mātrās, which is of very common occurrence in Apabhramsa poetry. Thus Somakränta (v. 4), Dodhaka (v. 5), Mauktikadāma

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&$ 27-28 )
i
aafai
fa
at:
xliii
(v. 6), and Toțaka (v.7), all of which are based on the Akşara Ganas having four Mātrās in each of them, are to be sung in this Tāla of 8 Mātrās. Other metres which are amenable to the same Tāla are Şagpada (v. 12), Drumilā (v. 16), Vijayaka (v. 19), Danďaka (v. 30), Paddhatikā (v. 36), Aạila and Madila (v. 41), Bhinna Madilla (v. 42), Ghattă (v. 43), Hakkā (v. 45), Pramāņi (v. 46) and Padmăvati (v. 50). Those that are amenable to the Tāla of 5 or 10 Mātrās are Bhujangaprayāta, Kāminīmohana and Madanākula (vv 9-11) which have in them Aksara Ganas of 5 Mätras each. Even the Ekāvali (v. 47) is to be sung in this same Tāla. The two Nārācas in vv. 14 and 15 are to be sung in the Tāla of 6 Mātrās and the same is true of the third Nārāca in v. 46. The only metre in this collection which is to be sung in the Tāla of 7 Mātrās is Gita (v. 18). It is very significant that Ratnasekhara hardly mentions any of the pure Mātrā Vșttas which owed their origin to the unconscious efforts of the educated versifiers26 and which are described by Hemacandra at Chandonusāsana chapter 4 to 7.
26. See my remarks on the subject at JBBRAS., vol. 19 (1943), p. 29 and Metres
and Music, para 10, at Poona Orientalist, VIII.

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IV
(See Appendix III for Jinaprabha's definitions and the Stava).
29. In paragraphs 1 and 2 of this introduction, I have discussed the source of the definitions given by Jinaprabha in his commentary on Nandişeņa's Ajita-Santi Stava. Here in the following paragraphs, I propose to discuss the metres which are actually employed in the Stava. In determining the nature of the metrical structure of a line as known to Jinaprabha, I have sometimes taken the assistance of the Rṣabha-Vira Stava, which is composed in very close imitation of Nandişena's hymn by Santicandra and which is published by W. Schubring along with it at ZII. Vol. II. In the Ajita-Santi Stava Nandişeņa has employed 25 different metres of which, however, there is only one which is a strophical couplet.27 He does not employ any of the metres which are peculiar to Apabhramsa poetry and this is quite natural if we take into account the times in which Nandişeņa must have written. Nor are there any among them which may be described as Tāla Vṛttas, i.e., Vṛttas in which the chief sources of delight is the music which is produced by the rest-regulating stress. I have discussed this topic in a separate article in the R. K. Mookerji Volume, pp. 1065-81. The only strophical metre Bhāsuraka (v. 30) is made of 2 stanzas, the first being an Ardhasama Catuṣpadi Mātrā Vṛtta (with 9 and 12 Mātrās in the odd and even Pādas respectively) and the other, a Sama Catuṣpadi Mātrā Vṛtta, whose Pada contains 16 Mātrās divided into 4 Caturmatras, the last of which consists of two long letters. Owing to the purely mechanical scanning of the stanza by Jinaprabha, whose definition, therefore, merely records the Mātrā Gaņas one after another, the real nature of the metre has been very much obscured. This has been partly recognized by Schubring on p. 188, who perhaps rightly considers the metre of the second stanza to be the Varna Vṛtta called Dodhaka, whose Pada contains 3 Bhagaṇas followed by two long letters, if we grant, that the initial long letter of the first 2 Bhaganas in the 4th Pada is replaced by two short ones.28 I have, however, construed this as a Mātrā Vṛtta called Rasa as defined at Vṛttajatisamuccaya, 4.85; each of its 4 Padas contains 3 Caturmatras and 2 long letters. The composition of the metre of the first stanza is sufficiently clear; it contains in its odd Pādas 1 Caturmatra followed by 1 Pañcamātra,
27. Eight of them are Varna Vṛttas, six are Sama Catuspadi Mātrā Vrttas, four are Ardhasama Catuşpadi Mātrā Vṛttas, six are Vişama Mātrā Vrttas and one is a strophic metre, a couplet.
28. This is quite a common feature of Prakṛta poetry, when a Sanskrit Varņa Vrtta is employed in it more for its value as a song metre than for anything else.

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§§ 29-30 1
सवृत्तिकः कविदर्पणः
while its even Padas contain 3 Caturmätras each. It also shows the peculiar rhyme of the 1st with the 4th and the 2nd with the 3rd Päda. Further, according to Jinaprabha's scansion we must read ganehi for ganehim in iine 2; but the corresponding Mātrā Gaņa in Santicandra's Rṣabha-Vira Stava is a Pañcamātra, indicating that Santicandra at least reads ganehim (i.e., with the last letter being considered as long). Similarly, the reading paṇamiyassā, which Jinaprabha adopts in line 4 as seen from his scansion, is not supported by Santicandra, who seems to have followed the variant given by Jinaprabha and followed by me, so that we have 4, 4, SS in the 4th line instead of Jinaprabha's 5, 4, S. These considerations finally show that the metre of the 1st stanza has 9 and 12 Mātrās respectively instead of 10 and 12 of Schubring, in its odd and even Pādas.29 In the 2nd stanza we have a common rhyme for all the Pādas except the 1st one. Sānticandra has obviously corrected Nandişeņa and has employed one common rhyme for all the Pādas. Santicandra's treatment of this metre shows that he did not consider it to be a Varna Vṛtta, but took it only as a Mātrā Vṛtta.
xiv
30. Among the remaining 24 the following eight are Varna Vrttas of the Sama Catuşpadi type:-1. Sloka (v. 3); 2. Alinganaka (v. 5); 3. Sopā. naka (v. 8); 4. Khidyitaka (v. 17), later known as Vamsapatrapatita; 5. Vidyudvilasita (v. 21); 6. Kṣiptaka (vv. 24, 25), which is the same as the later Rathoddhatā; 7. Dipaka Aḍila (v. 26), which is the same as the later Svāgata; and 8. Nanditaka (v. 29). The 1st, i.e., Śloka, is well known and the definition which Jinaprabha quotes is almost the same as the one found at Nanditaḍhya's Gāthālakṣaṇa, v. 91. The 2nd, i.e., Alinganaka, has 6 Saganas (IIS) in each Pāda. The Taruņivadanendu of KD. 4.87 is almost identical with this, but it contains a long letter at the end of each Pāda in addition to the 6 Saganas. But the metre is more akin to the Toṭaka (VJS. 5.27) and the Bhramarāvali (VJS. 4.61), which respectively contain 4 and 5 Sagaņas only, in each of their Pādas. As regards the 3rd, the Sopānaka, it is interesting to note how Virahanka at VJS., 4.77-78, defines a strophic couplet called Sopānaka; its 2nd constituent is a Gāthā, while the 1st is an unnamed metre which is exactly the same as our Sopanaka. Here, too, it seems clear that the name was transferred from
29. Schubring thinks that the odd Pädas have 2 Pañcamātras or 10 Mātrās each; in the first line he reads thuyavandiyayassa, which, however, is not well supported by manuscript evidence. Besides the corresponding Pada of Santicandra is Jinamārudevo and contains only 9 Mātrās in it. He also counts the last syllable, i.e., him, in line 3 as a long one on the analogy of line 2 and lines 2-4 of the next stanza. But Jinaprabha's scansion shows it to be a short one and is also supported by Santicandra's corresponding short syllable.

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xlvi
agfan: enfaq qur:
[INTRODUCTION
the couplet to its constituent as in the case of the Dvipadi.30 The 4th or the Khidyitaka is nothing but the Vamśapatrapatita of Pingala and others, while the 5th or the Vidyudvilasita and the 6th or the Nanditaka are almost identical; both contain 2 Saganas in each of their Pādas, but the Nanditaka has an additional long letter at the end of each Pāda. There are no corresponding metres defined either by Pingala or his followers. The 7th is the Kṣiptaka which is used in vv. 24 and 25; as a Varna Vṛtta this is the same as the later Rathoddhata, but the Kṣiptaka in v. 24 is considered by Jinaprabha as a Matrā Vṛtta, while that in v. 25 is described by him as Varna Vṛtta containing the Akṣara Gaņas ra, na, ra, la, ga, i.e., the same as in the Rathoddhata. The 8th and the last is the Dipaka Adila, which Jinaprabha describes as a Kṣiptaka, possessing a common rhyme for all the 4 Padas. When considered as a Mātrā Vṛtta the description would be correct; but the evident Varņa Sangīta in it shows that it is nothing but the later Svāgatā having the Akṣara Gaņas ra, na, bha, ga, ga in its Pādas, where, however, the usual freedom enjoyed by the Prakrit poets of replacing a long letter by 2 short ones is quite evident in Pādas 1 and 4. I consider the names Khittaya and Divaya (Kṣiptaka and Dipaka) given in the mss. at the end of vv. 24, 25 and 26 as the older or at least alternative names of the Varna Vṛttas known later as Rathoddhata and Svagatā. The appendage Adila in the case of the second name, i.e., Dipaka, signified, not a new metrical formula31, but only an aspect of it connected with rhyme, as seen from the remarks and prescriptions of Virahanka, Vṛttajatisamuccaya, 4.32, 33, 34; Chandaḥkosa, v. 41; Svayambhuchandas, 4.29.
31. Nandişena employs six Mātrā Vṛttas of the Sama Catuṣpadi type, where in some cases, however, there is a partial restriction about the use of long letters at certain places. Thus he employs 1. Kisalayamālā in v. 19 whose Pādas contain 27 Mātrās each, where we have first, 5 Caturmätras of any kind, followed by a Jagana, a short and a long letter at the end of all. This metre is similar to Hemacandra's Kāmalekha at Chandonusasana 4.59 and Virahanka's Malati at Vṛttajatisamuccaya 3.35; but there is a slight difference at the end of the Päda. The last 7 Mātrās in the Kamalekha and the Malati are made up of a Madhyalaghu Pañcamātra (SIS) and a long letter, while in our metre they are made up with a Madhyaguru Catur
30. See Vrttajatisamuccaya, Introduction, para 5.
31. See notes on KD. 2.21-22 for a discussion on the name Adilă; it seems to have been used as a common name for many different metres, like the names Galitaka, Khañjaka and Rasaka. Also see JBBRAS., N. S. Vol. 19, 1943, p. 29, last four lines, and Bhayani, Introduction to Sandeśa Rāsaka (Singhe Jain Series, Bombay, 1945), p. 51.

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$8 30-32 )
सवृत्तिकः कविदर्पणः
xlvii
mātra, i.e., a Jagaņa, a short letter and a long letter following it at the end. 2. Sumukha, which is used for v. 20, has 13 Mātrās in each Päda, the last 3 being made up by a short and a long letter in succession. The first 10 Mātrās are represented by 2 Pañcamātras of any kind, though Jinaprabha prescribes different Mātrā Ganas for the different Pädas for' no obvious reasons, mechanically scanning them as in many other cases. This metre entirely agrees with Hemacandra's Upakhanda and Sundarā Galitaka, at Chandonuśāsana 4.46 and 4.28, or with Virahānka's Jyotsnā and Haṁsini at Vịttajātisamuccaya 3.3 and 4.72. 3. Ratnamālā, which is used in v. 23, . has 32 Mātrās in each Pāda, distributed over 8 Caturmātras of which the last must consist of two long letters. The first 7 Caturmatras may be of any kind in theory; but actually Nandişeņa has employed a Bhagana32 or the Ādiguru all through in the last three Pādas and also for the Caturmätras in the uneven places in the first Pāda, while those in the even places of this Pāda are regularly represented by two long letters. The Latākusuma of KD. 4.93 and the Sangatā of VJS. 3.34 are similar to our Ratnamālā, which, however, has one long letter more at the end of each Pāda. 4. Lalitaka, which is used for v. 32, contains a Trimātra, followed by 4 Caturmātras and a long letter at the end, thus having 21 Mātrās in each Päda. This is almost identical with the Galitaka of the Kavidarpana 2.23, though the scheme of this latter is not applicable to our metre only in the third line, where the first 2 Pañcamātras which are required by the Galitaka, are not kept separate.33 5. The Vánavāsikā of v. 33 and 6. Aparantikā of v. 34 are well known metres; the first belongs to the Mātrāsamaka group and has the 9th and the 12th of its 16 Mātrās in each Pāda represented by a short letter. The second, i.e., the Aparāntikā, is a derivative of the Vaitāliya, but is a Sama Catuspadi, all. its Pādas being identical in form with the even Pādas of the Vaitālīya.34
32. The Ardhasama Matrā Vșttas which are employed by Nandişeņa
in all. The 1st of these is the Māgadhikā which is used for two
namely, the 4th and the 6th. Its definition is quoted by Jinaprabha from the Kavidarpaņa, 2.18. Our Magadhikā is exactly the same as the Vaitāliya in its constitution; but sometimes, 2 short letters are substituted for the long ones (which are compulsory for the Vaitāliya) in the
32. In the 3rd Pāda, however, the initial long letter of the 3rd Bhagana is replaced
by 2 long ones. 33. For the other Lalitaka, which is purposely turned into a Vişama Vstta, see
below para 33. 34. See KD. 2.20 and 5.7. Both these metres are generally defined among the
Sanskrit Mātrā Vfttas; see Jayadaman, p. 157, No. 7 and p. 158, No. 17.

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xlviii सवृत्तिका कविदर्षणः
[INTRODUCTION Māgadhikā when it is employed in Prakrit poetry. See notes on the passage in the Kavidarpana. The second Ardhasama metre is the Kusumalatā used for v. 15; bu! it is only another name of the well known Aupacchandasaka, which is defined at the Kavidarpana 5.2. Jinaprabha, however, does not quote from the Kavidarpana, and composes his own definition for his own reasons which I have attempted to guess in para 2 of this Introduction, Hemacandra's Kusumalatāgļha at Chandonuśāsana 6.19.57, is nearly identical with our Kusumalatā; but the former contains 1 Matrā less in each Pāda, i.e., 15 in stead of 16 in the odd Pādas and 17 in stead of 18 in the even ones. The third Ardhasama metre employed by Nandişeņa is the Bhujangaparirangita in v. 16. Its odd and even Pādas respectively contain 12 and 14 Mātrās. The former are made up by a Pañcamātra, a Caturmātra, a short and a long letter in succession, while in the latter one Mātrā is added in the beginning after the 1st Gana and another before the last long letter. All the four Pādas have one common rhyme. The fourth and the last Ardhasama is the Citrāksarā used for v. 27. This metre is unlike the other Ardhasamas; here the 1st and the 4th Pädas are equal and similar and so are the 2nd and the 3rd. All the four have a common rhyme in our stanza as also in the corresponding stanza of śānticandra. Pādas 1 and 4 each contain 5 Caturmātras followed by 2 long letters, while Pādas 2 and 3 have each 6 Caturmātras followed by a single long letter. This is according to Jinaprabha's mechanical scanning; but really speaking, we have 2 short letters added at the commencement of the 2nd and the 4th Pādas, which are otherwise exactly identical with the other two. In point of rhythm this metre reminds us of the Ratnamālā of v. 23, with the only difference that the long letter at the commencement of the Bhagana is very often substituted by 2 short ones in our stanza, while in the Ratnamālā, this has happened only once, i.e., in the 3rd Gana of the 3rd Pāda. This kind of the Ardhasama is rather rare.
33. We shall now discuss the six Vişama Vrttas of the Mātrā Vștta class, which are employed by Nandişeņa. The first among them is the well known Gāthā; this has been used in vv. 1 and 2, as also for vv. 35, 36 and 37. It would appear that Nandişeņa considered Gāthā as a Catuspadi like the author of the Kavidarpana; this is clear from the one common rhyme which he has employed for all the four Pādas in vv. 2, 35, 36 and 37. Rhyme indeed is not a characteristic of the Gathā, which is merely a Prakritized form of the Sanskrit Āryā. But as Nandişena has employed rhyme prominently in his Prakrit poem, he has used it also for the Gāthā. Gātha must be considered as a Vişama Vrtta, whether we consider it as a Dvipadi

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88 32-33 ]
सवृत्तिकः कविदर्पणः
or a Catuspadī. The second Vişama Vștta is the Sangataka used for v. 7; its first 3 Pādas contain 20 short letters followed by 1 long letter at the end, while its 4th Pada has 21 short letters and 2 long letters, one of which occurs after the 15th and the other at the end of the Päda. According to the mechanical scansion, we get 4 Pañcamātras having all short letters and a long letter at the end in Pādas 1 to 3; while in the 4th, we have 2 Pañcamātras, 2 Caturmātras, 1 Pañcamātra and a long letter at the end. Jinaprabha says that all the Pañcamatras in Pada 4 consist of short letters; but he does not say anything about Caturmātras. We, however, actually find that the first consists of all short letters, while the second is a Jagana. The Vaisamya here is quite intentional, 3 Mātrās or 1 short and 1 long letter being intentionally added in the last Päda. The 3rd Vişama Vștta employed by Nandisena in v. 10 is Rāsālubdhaka. Here the 2nd and the 4th Pādas are equal and similar ; they contain 3 Caturmātras, a short letter and a long one in succession, i.e. 15 Mātrās each; but the 1st and the 3rd are not similar and equal. The 1st Pada contains 2 Caturmätras, followed by 1 sh long letters, while the 3rd Pada has 3 full caturmätras followed by two short and one long letters at the end. Thus we get 11, 15, 12, and 15 Mātrās in the four Pādas respectively. This Vaişamya too, is intentional; otherwise it would have been a regular Ardhasama metre. The next, the 4th Vişama Vrtta is the Rāsānandita employed in v. 12. Here the 1st and the 2nd Pädas have 3 Caurmātras each, of which the last is a Sagana. The 3rd and the 4th Pādas are similar to these, but the former drops 1 from the 2 short letters of the Sagana, while the latter, i.e. the 4th Pada drops both of them. Thus we get 12, 12, 11 and 10 Mātrās respectively in the 4 Pādas. It is to be noted that in the last metre, i.e. the Rāsālubdhaka, the number of Mātrās was larger in the second half of the stanza; here, on the other hand, it is smaller. Both have the appendage rasă in common as the first part of their names.33 The 5th Vişama Vrtta is Citralekhā which is employed in v. 13. The 1st and the 2nd Pädas of this metre are equal and similar; they contain a Pañcamātra, a Caturmātra, a Pañcamātra, two Caturmātras and a Sagana in succession. The 3rd Pada has one Caturmätra more immediately before the Sagana, while the 4th has a single short letter at the same place. We have thus 26 Mātrās in the 1st and the 2nd; 30 in the 3rd, but only 27 in the 4th. Mark, however, how the concluding portion of 12 Mātrās has the same rhythm in all the Pādas. It is divided into two equal
35. It is difficult to see what the name signifies; but it is very likely that it has a
reference to its peculiar word music, as in the case of the Adila and the Ulläla, for which see note on KD. 2.21-22 and Introduction, para 8.
ction, pahe Apila an that it has

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सवृत्तिकः कविदर्पणः
[INTRODUCTION
parts, each consisting of 4 short letters followed by 1 long letter. Here, too, the Vaişamya is quite intentional. Hemacandra's Citralekha at Chandonuśāsana 4.71 is a Sama Catuspadi, each Päda having 26 Mātrās in it like the first two Pädas of our metre, though the number of the Mātrās is differently made up there (5, 4, 4, 4, 4, 5). The last or the 6th Vişama Vștta employed by Nandişeņa is Lalitaka in v. 18. In this metre, the first 3 Pādas are equal and similar; they contain 4 Caturmātras followed by a short and then a long letter at the end. On the other hand, the 4th Pāda contains a Pañcamātra in place of the 2nd Caturmātra, but otherwise, it is exactly similar to the first three. Among the Sama Catuspadi Mātrā Vrttas, we have another Lalitaka in v. 32; its Pādas contain 1 Tri. mātra followed by 4 Caturmātras and a long letter at the end. It has thus 21 Mātrās in each Päda, while the present Lalitaka36 has only 19.
34. Besides these 24 single and 1 strophic metres, we find that Nandişeņa has employed three different kinds of what the ms. calls Nārāca (in vv. 14, 28 and 31) and three different kinds of what it calls Vestaka (in vv. 9, 11 and 22). Nārāca and Vestaka are both of them rhythmic kinds of prose, undivided into Pādas. In the former we get any number of long and short letters coming one after another; but sometimes the long letter is replaced by two short ones for the sake of variation.37 Veștaka is really speaking not a metre; it does not con tain any definite number of Mātrā or Varņa Gaņas, or of short and long letters, but is full of Anuprāsa and in some cases of rhyming ends of words and compounds. A sort of balance is attempted by the introduction of long letters at suitable intervals. Naturally, neither the Nārāca nor the Vestaka is divided into Pādas and Jinaprabha's scansion of these is purely mechanical.88 A word about the Vaiņamya in these Vișama Vsttas would not be out of place here. We have seen how this Vaisamya is intentional
• 36. For the different Galitakas, which seem to be the same as the Lalitakas, see
Virahānka, Vrttajātisamuccaya, 4.89-105 (and notes), Hemacandra, Chandonuśāsana 4.17-40 and Kavidarpaņa, 2.23 commentary. Could Lalitaka be an older
name of the Galitaka? It seems to be suggestive of the sound effect like Adila. 37. Nārāca appears to be a name given to those metres which contain a regular
succession of short and long letters, coming one after another. See Chandaḥkośa, vv. 14, 15. Here it is transferred to a prose passage which shows this peculiar characteristic. Sanskrit Varna Vrttas which show this peculiarity are called Cămara or Pañca-camara. Do the names suggest the peculiar movement of
the metre caused by the alternation of short and long letters ? 38. The Veştaka is supposed by earlier scholars to consist of Caturmätra Gaņas
which are Sarva-laghu or Sarva-guru at the even places and Sarva-laghu or Madhya-guru at the odd places and thus supplying the peculiar rhythm. But an analysis of our Veştakas will show that here and there Pañcamātras, too,

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88 33-35 ]
सवृत्तिका कविदर्पणः and not accidental; similarly, it is introduced at random and does not disclose any definite plan or scheme as in the case of the Sanskrit Visama Vịttas which are always the Varna Vrttas. It would be incorrect to seek to regularize them, though it is possible to maintain that these irregularities were introduced owing to the exercise of an option allowed in the selection of a Caturmātra or a Pancamātra Gana for the composition of a line. The range of variation is not against such an assumption and Virahānka has actually defined some seven Dvipadīs, which he calls Gaṇasama, where such an option about a Caturmātra and a Pañcamātra is permitted, at Vsttajātisamuccaya 3.40-46.
35. I am deeply indebted to Muni Shri Jinavijayaji for offering to publish this work, i.e. the Kavidarpana, along with the others in the Rājasthāna Purātana Granthamäla. I am also obliged to the Hon. Secretary of the BORI., Poona for granting me permission to publish the work separately.
15th August, 1961
H. D. Velankar
are intentionally introduced for the sake of variety and this is well recognized by Jinaprabha in his scansion. This name, too, seems to suggest the peculiar movement of the so-called metre. It moves round and round (vest to surround) apparently without any end in view.

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agfach: unfactor:
Concordance (Kavidarpaṇa)
I have edited the Kavidarpana in 1935-1936 in the Annals BORI..The numbering of stanzas adopted there is slightly different from the one adopted here. So to avoid any confusion in reference I give below a Concordance of the two editions. (only for the second Uddeśa).
lii
1st ed.
1-3
ex. 1-3
3.1-3
4-8
4.1
8.1-5
ex. 4-10
Com. ex 1-34
9
9.1-2
ex. 11-14
10-13
Com. ex. 35-47
14
ex. 15-17
15
ex. 18-19
16
ex. 20-21
17
ex. 22-23
18
ex. 24
19
=
ex. 25-29
20
20.1
ex. 27-30
Com. ex. 30.1
21
ex. 31-34
22
ex, 35-37
23
23.1
ex. 38-40
=
2nd ed.
1-3
3.1-3
Com. 1-3
4-8
Com. 4
Com. 5-9
8.1-7
Com. 10-43
9
Com. 44-45
9.1-4
10-13
Com. 46-58
14
14,1-3
15
15.1-2
16
16.1-2
17
17.1-2
18
18.1
FERRERURUN 2
19
19.1-2
20
Com. 59
20.1-4 Com. 60
21
21.1-4
22
22.1-3 23
Com. 61
23.1-3
Uddeśa II
1st ed.
24
ex. 41-42
25
25.1-4
ex. 43-44
26
ex. 45
27-28
ex. 45 (2nd) 28.1-3
29-31
ex. 46-51
ex. 51.1-2;
1-2; 1-6
32
32.1
ex. 52
ex. 52.1-2;1-2
33
33.1
ex. 53-56
Com. ex. 48-55
ex. 55.1
34
34.1
ex. 57-58
35
ex. 59-62 Com. ex. 56
36
ex. 63-65
37
ex. 66-67
Com. ex. 57
ex. 68
=T
2nd ed.
24
24.1-2
25
Com. 62-65
25.1-2
26
26.1
27-28
28.1
Com. 66-68
29-31
30.1-6
Com. 71-80
32
Com. 81
32.1
Com. 82-85
33
Com. 86
33.1-4
Com, 87-94
Com. 95
34
Com. 96 34.1-2
35
35.1-4 Com. 97
36
36.1-3 37
37.1-2 Com. 98
37.3

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कविदर्पण, ताडपत्रीय प्रति, द्वितीयोद्देश्य समाप्तिसूचक पत्रको प्रतिकृति
.tammaniacenISURALIMAGEIGpIRele
RamaalkicsIREEDICARRRREST SURDNElejstaajelsattaineDrupshdjaldNE MISERanaturEcHIT HIGERuarjaar
HetaipeikyaPRISES Ouruasirt m anALRAMuudaaint Baalbejdhoppisela
aafgDIEDECasuraliNDIDEL HEROESBHEIRCanstalbas
MEHARSIBIGavaiantabeautanRDERES LEELAMMEHILIPolatlars w atiEngOLETTE MALAGNENTERamanuEniraula RAILEELLERenu QurumanaserHCE
DParetameHLEEINGERamay Exities uTUSHREEERPRESSPiur*
TERRARIESMEPAGE GalliATELLITEREBENEL DetailFERRESTED PERMIREarprasat RAakalamausaragatsik mrible
कविदर्पण, ताड़पत्रीय प्रति, द्वितीय पत्र, प्रथम पाव
Senter ARRIERFEREARRIDERRIERE KARENDEDEEMAILERLEARNERBIRDERER HPIREDjnabysite6untyqHITAUDIHE ASI MiralarduasmirsinestumeRET
UDRIEBED h et. AMBARMERPUTREPETREENA DELEDICINEERICADDur Dulala UP Dibela
[ कविदर्पण
राजस्थान पुरातन ग्रन्थमाला ]

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राजस्थान पुरातन ग्रन्थमाला ]
क
विकाघ्रादिनारिय प्रनतनदिनामिि
काल
मंडवगड
माननिय गदर उनाहानकीकराग्यचेद्याद
दर्शणाशनियम-2
प्रादादद्यपरा नया
मन
कमलुकमा
ग्रामसतिशिविडियामा नीटी
म
रिकामपतिमनिविद्यरिक
कविदर्पण, ताड़पत्रीय प्रति, मध्यगत पृष्ठ ५२ की प्रतिकृति - दृष्टव्य मुद्रित पृष्ठ ३८-३६
[ कविदर्पण

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राजस्थान पुरातन ग्रन्थमाला ]
[ कविदर्पण
Kawोलनलगायाasaasugaryा लिEिMEntryामुERels बालगायकाव्याकरविंदरेतवा दिविनिमयम"
बलपुद्धामाटा समस्तोतलाडलमालकालिकाम Sagarmना
अवसरम्हगुरुहटीम कागदERTAL निमान्दारापमानवामधारलmaaja
anावतारमानवलाsunita
MaturdindianRHIERSPIRTISEMES SHREERKareenESUSMRLD SONSESSERDurneasRBARIL
४१७ सिanimarjasti aasthanfrarयन काhania बलयकामन यायलिEिmraana
SHASमहामिनामिविकास मीवलयस्यकपरिणयायाविरद्धयमसनमा
: विदर्पण, ताडपत्रीय प्रति, उपान्त्य पत्रकी प्रतिकृति
a saramigateGEET
Puams
HELPEPHERDEare: SIN HELHIERuraIGAREsta ANERaaeeEMERIBERStesDAINIATE
कविदर्पण, ताडपत्रीय प्रति अन्तिम पत्रकी प्रतिकृति

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सवृत्तिके कविदर्पण
प्रथमोदेशः।
N. B. Portions included within rectangular brackets are added by the editor.
[पणमिअ अरिहंतगुरुं वोच्छामि अणुग्गहात्थमबुहाणं । इह पाइअभासाए छंदं तु तिहा जहासत्थं ॥१॥
प्रणम्याईन्तं गुरुं वक्ष्येऽनुग्रहार्थमबुधानाम् ।
इह प्राकृतभाषया छन्दस्त्रिविधं यथाशास्त्रम् ॥१॥] —सीति चेन्न । यतः सर्वमेवार्हदुपझं जगति शास्त्रं यदाह
सुनिश्चितं नः परतन्त्रयुक्तिषु स्फुरन्ति याः काश्चन सूक्तसंपदः ।
तवैव ताः पूर्वमहार्णवोद्धृता जगत्प्रमाणं जिनवाक्यविग्रुषः ॥१॥ गुरुस्त्विष्टो विद्याधर्माद्याचार्योऽधिकृतस्तु जयदेवादिः । किं वक्ष्ये चन्दनाह्लादनाच्छन्दः पद्यम् । जातावेकवचनम् । तद्विधा । वैदिकं लौकिकं च । तत्र काव्यानुपयोगित्वाद्वैदिकमुपेक्ष्य लौकिकमादृतम् । तत्तु तिहत्ति त्रिधा । मात्रावर्णोभयभेदात् । मात्राच्छन्दो वर्णच्छन्द उभयच्छन्द इत्यर्थः । मात्राच्छन्दः कुङ्कमादि । वर्णच्छन्द उक्तादि । उभयच्छन्दो वैतालीयादि । यच्छूरः
शंभुं नत्वा गिरमनु ततः पिङ्गलं नागनाथं
वर्ण्य मात्राप्रभवमुभयं वैदिकं लौकिकं च । शूरो ब्यासान्नवगणगणं लक्षणाभिन्नलक्ष्यं
छन्दश्छन्दोनिपुणहृदयानन्ददायि ब्रवीति ॥१॥ किं स्वबुद्धया । नेत्याह । यथाशास्त्रं प्राच्यच्छन्दोनुसारात् । यद्येवं प्राच्यैरेव पर्याप्तं किमनेन प्रयासेनेत्याह । अनुग्रहार्थमुपकारहेतोरबुधानां स्त्रीबालबालिशानामत एव सर्वोपकारिप्राकृतभाषया प्रसिद्धोपयोगिकतिपयच्छन्दोरूपसारोद्धारोयम् । मात्राच्छन्दसि च सुखप्रतिपत्त्यर्थं गाथाच्छन्दसा सोदाहरणं लक्षणमुक्तमितरयोस्तु लाघवार्थ लक्ष्यलक्षणाभ्यामुपन्यास इति ॥१॥ तत्र मात्रागणानाह
नेया मत्ताच्छंदे दुतिचउपंचछकला गणा पंच। दुतिपंचअट्ठतेरसभेइल्ला कचटतपनामा ॥२॥ [ज्ञेया मात्राच्छन्दसि द्वित्रिचतुःपञ्चषट्कला गणाः पञ्च । द्वित्रिपश्चाष्टत्रयोदशभेदवन्तः कचटतपनामानः ॥२॥]

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- सवृत्तिके कविदर्पणे
[प्रथमोद्देशे मात्राच्छन्दसि कचटतपनामानः पञ्च गणा ज्ञेयाः । ते च यथासंख्यं द्वित्रिचतुःपञ्चषट्कलाः द्वित्रिपञ्चाष्टत्रयोदशभेदवन्तः । 'आल्विल्लोल्लालवन्तमन्तत्तेरमणामतो'रिति (हे० ८.२.१५९) वतः स्थाने इल्लः । कला तन्मात्रा । द्विकलो द्विभेदः कगणः II; S; त्रिकलस्त्रिभेदश्चगणः IS; SI; III; चतुष्कल: पञ्चभेदष्टगणः SS; IIS; ISI; SII; IIII; पञ्चकलोष्टभेदस्तगणः ISS; SIS; IIIS; SSI; IISI; ISII; SIII; IIIII; षट्कलस्त्रयोदशभेदः पगणः SSS; IISS; ISIS; SIIS; IIIIS; ISSI; SISI; IIISI; SSII; IISII; ISIII; SIIII; IIIIII ॥२॥ वर्णगणानाह
वनच्छंदे उण हुंति सचमुहमज्झअंतगुरुलहुणो। कमसो मना भया तह जरा सता नाम अट्ठ तिगे ॥३॥ [वर्णच्छन्दसि पुनर्भवन्ति सर्वमुखमध्यान्तगुरुलघवः ।
क्रमशो मनौ भयौ तथा जरौ सतौ नामाष्ट त्रिकाः ॥३॥] वर्णच्छन्दसि पुनर्भवन्ति गणाः । किंसंज्ञाः । मनौ भयौ जरौ सतौ नाम । किंकिंरूपौ । सर्वमुखमध्यान्तगुरुलघवः कमसो यथाक्रम कोर्थः । सर्वगुरुलघू मनौ । मुखगुरुलघू भयौ । मध्यगुरुलघू जरौ । अन्तगुरुलघू सतौ । लाघवेन लक्षणं निर्वक्तुं द्वौद्वावुक्तौ 'मयरसभजतन' इति मूलक्रमश्च लचितः । सर्वेपि ते कतीत्याह । अष्ट । चतुर्गुर्वादीनामपि मा भून्मादिसंज्ञा इति नियमार्थमाह-तिगत्ति । त्रिकास्त्रयः प्रमाणमेषामिति त्रिकाः । प्राकृतत्वात् यस्थाने ग उक्तः । मना इत्यादिषु द्विवचनस्य बहुवचनं जस् । तहत्ति च्छन्दःपूरणे । सर्वेषां न्यासः SSS मः । III नः। SII भः । ISS यः। ISI जः। SIS रः। IIS सः। SSI तः । उभयच्छन्दस्तु मात्रावर्णच्छन्दःसंकर इति न तत्र पृथग्गणा इति ॥३॥
गुरुलवत्राह
दीहं सबिंदु वंजणविसग्गसंजोगपरमिह दुमत्तं । वंकं गुरु इयरं लहु वा पायंते इमंपि गुरु ॥ ४ ॥ [दीर्घ सबिन्दु व्यञ्जनविसर्गसंयोगपरमिह द्विमात्रम् ।
वक्रं गुर्वितरलघु वा पादान्त इदमपि गुरु ॥ ४ ॥] दीर्घ आईऊऋएऐओऔरूपम् । सबिन्दु सानुस्वारम् । व्यञ्जनविसर्गसंयोगाः परे यस्मात्तत् व्यञ्जनपरं विसर्गपरं संयोगपरमक्षरमिह च्छन्दसि गुरुसंज्ञं ज्ञेयम् । विसर्गपदात् जिह्वामूलीयोपध्मानीयावपि । तदादेशत्वात्तयोः । तच्च गुरु द्विमात्रं प्रस्तारे तु वक्र 5 उकाराकृति स्थाप्यम् । इतरद्गुरोविपरीतं ह्रस्वमबिन्दुकमव्यञ्जनविसर्गसंयोगपरं मात्रिकं प्रस्तारे ऋजु I लघुसंज्ञम् । अत्रापवादमाह वा—पादान्ते वर्तमानमिदमपि लघ्वपि गुरु ज्ञेयम् । वेति व्यवस्थितविभाषा। तेन समानिकादौ पादान्ते यो लघुर्विहितः स न गुरुः । वंशस्थकादौ च पादान्ते लघोर्न गुरुत्वं यदाह
वंशस्थकादिचरणान्तनिवेशितस्य
गत्वं लघोर्नहि तथा श्रुतिशर्मदायि ।

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प. ३-६; टी. प. २-६]
वृत्ति कविदर्पणे
श्रोतुर्वसन्ततिलकादिपदान्तवर्ति
लो गत्वमत्र विहितं विबुधैर्यथा तत् ॥ २ ॥ ॥ ४॥
दीर्घसबिन्दुसंयोगपराणां सार्धगीत्या गुरुत्वापवादं शेषार्धेन तु पादलक्ष्म संज्ञाश्चाह -
एओईहिं पयए उहुंहिंहं लहू अवन्भंसे ।
वा पयअंते वंजणगयएओ उण पयस्स मज्झेवि ॥ ५ ॥ इल्लुण्हपमुहवण्णाण पुव्विला नो गुरू जहादिट्ठे । तुरियंसो अविसेसे पाओ; चंदाइसन्नमेगाई ॥ ६ ॥
[एभोहिं प्राकृते; उहुंहिंहं लघवोऽपभ्रंशे ।
वा पदान्ते, व्यञ्जनगत 'एओ' पुनः पदस्य मध्येपि ॥ ५ ॥ इल-ह-प्रमुखवर्णानां पूर्वस्था न गुरवो यथादृष्टम् । तुरीयांशोऽविशेषे पादश्चन्द्रादिसंज्ञमेकादि ॥ ६ ॥ ]
आद्यगीतौ ' वा पयअंते' 'लड्डु ' त्ति सर्वत्र योज्यम् । तेन एओइंहिं इत्येते पाययशब्दस्य 'वाग्ययोत्खातादावदात' (हे ० ८.१.६७) इति ह्रस्वत्वे पयए प्राकृतभाषायां पदान्ते वर्तमाना लघवो वा स्युर्यथा
तक्कालं णिक्किव तीइ तुज्झ विरहाउ जाई जायाइं । तीरंति ताइं न दुहाई दियहकोडीहिं वि कहेउं ॥ ३ ॥
[ तत्कालं निष्कृप तस्यास्तव विरहाद्यानि जातानि । तीर्यन्ते तानि न दुःखानि दिवसकोटिभिरपि कथयितुम् ॥ ३ ॥ ]
उहुंहिं इत्येते चापभ्रंशभाषायां पदान्ते लघवो वा स्युर्यथा
उग्गमु तर्हि मरुमग्गडह । तसहुं पसंसउं ताहं ॥ पहियां हियडा उत्तरहं । जम्मुवि जाहं न च्छाहं ॥ ४ ॥
व्यञ्जनेषु कादिषु गतौ स्थितौ न तु केवलौ ' एओ' इत्येतौ पुनरपभ्रंशे पदान्ते पदमध्येपि लघू वा
स्यातां यथा—
कत्थवि भुलइ सुरु (र) गुरुवि । कहीं गुआलुवि होइ पगिउ || एकंतिण कुइ सब्वगुणु । अहवा निग्गुणु लोइ न दिट्ठउ ॥ ५ ॥
३
[ कुत्रापि स्खलति सुरगुरुरपि । कदा गोपालोपि भवति प्रकृष्टः ॥ बकान्तेन कोपि सर्वगुणः । अथवा निर्गुणो लोके न दृष्टः ॥ ५ ॥ ]
तथार्था प्राकृते 'इल्ल-ह' इत्येतेषां वर्णानां पूर्वस्मिन्भवा 'डिल्लडुल्लौ भव' (हे० ८.२.१६३) इति इल्ले विद्या पूर्वस्था लघवो गुरवो न स्युर्यथा
परिल्हसियपंकतण्हादाहदुहा वीयराय सहसति । जायम्ह दंसणे तुम्ह नाह न्हायव्व अमयद्रहे ॥ ६॥

Page #73

सवृत्तिके कविदर्पणे
[प्रथमोद्देशे [परिसितपङ्कतृष्णादाहदु:खा: वीतराग सहसेति ।
जाता वयं दर्शने युष्माकं नाथ स्नाता इवामृतद्रहे ॥६॥] प्रमुखशब्दात्संस्कृते हादिसंग्रहो 'जहादिठ्ठ 'मिति पदं चानुयोज्यम् । तेन यथादृष्टं लक्ष्यानुरोधात् संस्कृते ह्रादिपूर्वगा न गुरवो यथा
___ स्पृष्टं त्वयेत्यपह्रियः खलु कीर्तयन्ति ॥७॥ तथा
तव ह्रियापह्रियो मम हीरभूच्छशिग्रहेपि द्रुतं न धृता ततः।। बहलभ्रामरमेचकतामसं मम प्रिये व समेष्यति तत्पुनः॥८॥
धनं प्रदानेन श्रुतेन विद्याम् ॥ ९॥ लीलासिताब्जमुत दर्पणमातपत्रं किं दन्तपत्रमथ किं शुकमौलिरत्नम् ।
किं चामरं तिलकबिन्दुरथेन्दुबिम्बमेतद्दिवो निद्भुतदीप्ति मुदे न कस्य ॥१०॥ इति । तुर्यश्चतुर्थो भागश्छन्दसः पादाख्यः । किं सर्वत्र । नेत्याह । आविशेषे सामान्याभिधाने । द्विपदीपञ्चपद्यादिषु तु द्वितीयाद्यंशोपि पादः । अनेन आशास्त्रसमाप्तेः पादाधिकारः सूचितः । एवं छन्दोधिकारोपि । तथा लोकाञ्चन्द्रादिसंज्ञमेकादि ज्ञेयम् । तथा ह्येकश्चन्द्रादिः, द्वौ नेत्रादी, त्रयोsग्न्याद्याश्चत्वारो वेदाद्याः पञ्च भूताद्याः षड् रसाद्याः सप्ताश्चाद्या अष्ट वस्वाद्या नव ग्रहाद्या दश दिगाद्या एकादश रुद्राद्या द्वादश सूर्याद्यास्त्रयोदश विश्वाद्याश्चतुर्दश मन्वाद्याः पञ्चदश तिथ्याद्याः षोडश नृपाद्याः एवं शब्दा अपि ॥५॥६॥ यति युग्मेनाह
सुइसुहविरई अ जई सा पायंतंमि होइ सव्वत्त । नियमेण सिलोयद्धे तिपमुहछिन्नप्पयंते य ॥ ७ ॥ पयमज्झेवि हु पुव्वापरभाया.एगवन्नया जइ नो। नवर इमा कायव्वा पयमज्झजई न पायंते ॥ ८॥ [श्रुतिसुखविरतिश्च यतिः सा पादान्ते भवति सर्वत्र । नियमेन श्लोकार्धे त्रिप्रमुखच्छिन्नपदान्ते च ॥७॥ पदमध्येपि खलु पूर्वापरभागौ एकवर्णको यदि न ।
केवलमियं कर्तव्या पदमध्ययतिर्न पादान्ते ॥८॥] श्रुति]सुखहेतुत्वात्सुखा शर्मकृत् । सा च सा विरतिश्च विश्रान्तिः श्रुतिसुखविरतिर्यतिसंज्ञा ज्ञेया। सा केल्याह । पादान्ते भवति । कीदृशे । सर्वत्र लुप्तविभक्तिके चालुप्तविभक्तिके च । यथा
नमः कलिमलस्तोमबध्नसब्रह्मचारिणे ॥११॥ परदोषपुरीषाणि विचिन्वन्तः पदे पदे ।
भ्रमन्त्युच्चैर्भषन्तश्च पिशुनाः शुनका इव ॥१२॥ न त्वेवं यथा

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प. ७-८; टी. प. ७-२३] सवृत्तिके कविदर्पणे
कुलीनाः सरसाः सौरभ्यदन्तुरितदिङ्मुखाः।
नानन्दयन्ति कं चन्दनद्रुमा इव सजनाः ॥१३॥ सेति सर्वत्रानुवृत्तं तेन सा नियमेन विशेषेण पादद्वयान्ते स्यात् । अत्र च संधिकार्याभावः स्पष्टविभक्तित्वं च नियमो यथा
नोत्साहं कुर्वते छेकाः प्रशंसाभिरतद्विदाम् ।
अन्धैः स्तुतेषु चित्रेषु प्रकर्षः को हि शिल्पिनः ॥१४॥ अत्रान्धैरित्यस्य पूर्वमकारेण संधिर्न कार्यः । स्पष्टविभक्तित्वं चात्रैव । न त्वेवं यथा
अमन्दवेदनोत्पादिरागादिगदमण्डली
मूलोच्छेदमहावैद्यमाद्यं जिनमुपास्महे ॥१५॥ न केवलं पादान्तश्लोकार्धयोस्त्रिप्रमुखच्छिन्नपदान्ते च । त्रयः प्रमुखाः एषां चतुरादीनां तैश्छिन्नस्य विभक्तस्य पदस्य विभक्त्यन्तस्य चान्ते सा स्यात् । इहापि लुप्तालुप्तविभक्तिके इति ज्ञेयम् । यथा
उत्तुङ्गस्तनकलशद्वयानताङ्गी । लोलाक्षी विपुलनितम्बशालिनी च ॥१६॥ त्रयाणां मध्ये न क्वापि छन्दसि विरतिरिति त्रिप्रमुखेत्युक्तम् । न च पदान्त एव किंतु 'पयमझेविहु'त्ति पदमध्येपि क्वचित् त्र्यादौ सा स्यात् । 'हु'रव्ययं निश्चयपरम् । पदस्य खण्ड्यमानस्य पूर्वोऽपरश्च भागश्चेदनेकाक्षरस्तदेवायं यतिनिश्चयो यथा
रथा रम्या ऐरावणविजयिनी वारणपदा ॥१७॥
कूजत्कोयष्टिकोलाहलमुखरभुवः प्रान्तकान्तारदेशाः ॥१८॥ न त्वेवं यथा
एतासां राजति सुमनसां दाम कण्ठावलम्बि ॥ १९ ॥ पदमध्ययतिमपवदति । नवरं केवलार्थेत्यव्ययम् । पदमध्ययतिः पदान्ते नैव । नियमान्न कार्या । यथा
प्रणमत भवबन्धक्लेशनाशाय नारा
यणचरणसरोजद्वन्द्वमानन्दहेतुम् ॥२०॥ एतदर्थसंवादिश्लोकौ यथा
यतिः सर्वत्र पादान्ते श्लोकार्धे तु विशेषतः । व्यादिच्छिन्नपदान्ते च लुप्तालुप्तविभक्तिके ॥२१॥ क्वचित्तु पदमध्येपि गकारादौ यतिर्भवेत् ।
यतिपूर्वापरौ भागौ न स्यातामेकवर्णकौ ॥२२॥ इदं च श्रुतिसुखविरतिश्चेति चकाराज्ञेयम्
* पूर्वान्तवत्स्वरः संधौ क्वचिदेव परादिवत् । २३ (पू०)। योयं पूर्वापरयोरेकादेशः स्वरः संधौ क्रियते स क्वचित्पूर्ववत्स्यात् । क्वचित्परादिवत्स्यात् । उभयादेशत्वात् । यथा पित्रोः पुत्रः पितुश्च मातुश्च भवति । तत्र पूर्वान्तवद्भावो यथा

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सवृत्तिके कविदर्पणे [प्रथमोद्देशे टी. प. २४-३१
स्यादस्थानोपगतयमुनासंगमेनाभिरामा ॥२४॥ परादिद्भावो यथा
. स्कन्धे विन्ध्याद्रिबुद्धथा निकषति महिषस्याहितोसूनकार्षीत् ॥ २५॥ अत्र हि स्वरस्य परादिवद्भावे व्यञ्जनमपि तद्भक्तत्वात्तद्वत् ।
* द्रष्टव्यो यतिचिन्तायां याद्यादेशः परादिवत् ॥ २३ (उ०) ॥ यवाद्यादेशः परादिवदृष्टो यथा- .
तमोलीढानि भुवनान्यव्याद्भव्याय भास्करः।
उन्मादिवादिकुमुदेष्वास्यमुद्रां ददजिनः ॥ २६ ॥
* नित्यं प्राक्पदसंबद्धाश्चादयः प्राक्पदान्तवत् ॥ २७ (पू०)॥ चादिभ्यः प्राग् यतिर्न कार्या यथा
स्वादु स्वच्छंच सलिलमिदं प्रीतये कस्य न स्यात् ॥२८॥
* परेण नित्यसंबद्धाः प्रादयश्च परादिवत् ॥ २७ (उ०)॥ प्रादिभ्यः परा यतिन कार्या । यथा- ..
दुःखं मे प्रक्षिपति हृदये दुःसहस्त्वद्वियोगः ॥२९॥ किं चानिर्दिष्टयतिकेपि छन्दसि यतिः श्रुतिसुखैव कार्या । न त्वेवं यथा
दोषनिचयधाम्नो मुखमनोहरस्य परिणामविषमस्य ।
तस्य शशिमुखि-विषयसुखरसस्य पततु कुलिशं शीर्षे ॥३०॥ केचित्तूक्तादिषु यतिनियमं न मन्यन्ते । यत्स्वयंभूः
___ जयदेवपिंगला सक्कयंमि दुच्चिय जई समिच्छन्ति ।
मंडव्वभरहकासवसेयवपमुहा न इच्छन्ति ॥ ३१॥ [जयदेवपिङ्गलौ संस्कृते द्वावेव यति समिच्छन्ति ।
माण्डव्यभरतकाश्यपसैतवप्रमुखा नेच्छन्ति ॥३१॥] अस्यास्त्वर्थो यथा—उक्ताद्यं संस्कृतच्छन्दो रिपुच्छन्दाद्यं प्राकृतच्छन्द उत्साहाद्यमपभ्रंशं च्छन्दः उक्तम् । प्रायोमीषां तत्तद्भाषासु निबन्धात् । तत्र प्राकृतापभ्रंशच्छन्दसोः सर्वसंमतैव यतिः । संस्कृत-. च्छन्दसि तु जयदेवपिङ्गलावेवेच्छतो यतिं माण्डव्यभरतकाश्यपसैतवादयस्तु नेच्छन्ति । ततो यद्भग्नयति संस्कृतच्छन्दो दृश्यते तन्मतेन तत्प्रमाणमिह तु शास्त्रे न संस्कृतादिपद्धत्या छन्दःसंदर्भः। किंतु लाघवार्थं विशृङ्खल इति ॥ ७॥८॥
इति श्रीकविदर्पणच्छन्दोवृत्तौ प्रथमोद्देशः।

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द्वितीयोदेशः। मात्राच्छन्दोऽधुना प्राप्तं छन्दोजातिभिः संगृह्णन्नाह
एकारसजाईओ मत्ताच्छंदे हुवंति एयाओ। बिचउसरछमुणिवसुनवदशहररविसोलसपइत्ति ॥ १ ॥ [एकादशजातयो मात्राच्छन्दसि भवन्त्येताः ।
द्विचतुःशरषण्मुनिवसुनवदशहररविषोडशपद्य इति ॥१॥] एकादश जातयो मात्राच्छन्दसि भवन्त्येताः इत्यनन्तरोक्ताः द्विचतुःशरषण्मुनिवसुनवदशहररविषोडशपद्याख्याः । पदीपदं प्रत्येकं ज्ञेयम् । द्विपदी चतुष्पदी पञ्चपदी षट्पदी सप्तपदी अष्टपदी नवपदी दशपदी एकादशपदी द्वादशपदी षोडशपदीत्यर्थः । इति विविक्तार्थो मात्राच्छन्दःसंग्रहार्थः । जातीनामित्थं विवक्ते(?)यं कल्पनेत्यर्थः । नत्वेवं कविडं फो(?)रस्ति । नवेदमशास्त्रीयम् । पञ्चपदीषट्पद्यष्टपदीनां शास्त्रे व्यक्तोक्तत्वात् । सप्तपदीनवपदीदशपद्येकादशपदीद्वादशपदीनां द्विभङ्गीत्रिभङ्गीत्वात् । षोडशपद्याः कडवकत्वात् । तथा प्रायः सानुप्रासा एता इति ॥ १॥ तासु द्विपदी युग्मेनाह
कदुगं टो कदुगलहू कदुगं टो कदुगदुलहुणो दोसु । पाएसु कुंकुमो; तह कप्पूरो एगलघुबुढो ॥२॥ पन्नरसकलाहिं जई, एए उल्लालयत्ति बंदीण । तं मुत्तियदामं जत्थ अटुटा; बारसट्ठ जई ॥३॥ [कद्विकं टः कद्विकं लघुः कद्विकं टः कद्विक द्वौ लघू द्वयोः । पादयोः कुकमः; तथा कर्पूर एकलघुवृद्धः ॥२॥ पञ्चदशकलाभिर्यतिरेतावुल्लालकाविति बन्दीनाम् ।
तन्मौक्तिकदाम यत्राष्ट टा द्वादशोष्टमश्च यतिः ॥ ३ ॥] द्वौ द्विमात्रावेकश्चतुर्मात्रो द्वौ द्विमात्रावेको लघुर्ती द्विमात्रावेकश्चतुर्मात्रो द्वौ द्विमात्रौ द्वौ लघू द्वयोः पादयोः कुङ्कमो द्विपदी। 'ट' इति सिद्धे 'क'द्विकनिर्देशो जगणनिरासार्थः । तहत्ति । तथा कुङ्कमवदेव कर्पूरो द्विपदी । किंत्वेकलघुवृद्धः अन्ते लघुनाधिक इत्यर्थः । पञ्चदशकलाभिरनयोः प्रत्येक पादद्वये यतिरेतावुल्लालकाविति बन्दीनां भाषासु प्रसिद्धावित्यर्थाज्ञेयम् । कर्पूरकश्च कैश्चिल्लघुष्टकादारभ्य द्विद्विलघुवृद्धया पञ्चविंशतिधा प्रोक्तो यथा
वाहो बोहो वग्गो बंधू बाणो गओ वरो वेसो। वेणू वणो वरिठ्ठो विबुहो बलिओ बलो विहओ ॥१॥ कामो बुहो विसालो विंदो विहुरो विहू वसू विरहो । विलओ तहा य विसओ उल्लाला पंचविंसत्ति ॥ २॥

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सवृत्तिके कविदर्पणे
[द्वितीयोद्देशे अहलहुविरइयाओ पढमा उल्लालयंमि छंदमि । लहुएहिं दोहिं दोहिं हुंति इमे वढमाणेहिं ॥ ३ ॥ [अष्टलघुविरचितात्प्रथमादुल्लालके छन्दसि ।
लघुभ्यां द्वाभ्यां द्वाभ्यां भवन्तीमे वर्द्धमानाभ्याम् ॥ ३॥] मौक्तिकदाम तु गतार्थम् । अनुप्रासः पादद्वयस्यार्थादेवेति नोक्तः ॥ उदा०–सुरकुंभिकुंभसिंदूरभरु हरिदिसिकुंकुममंडणु।
पसइच्छि पिच्छि जोइक्खु जिम्व बालायवु तमखंडणु ॥३.१॥ कुंकुमो। [सुरकुम्मिकुम्भसिन्दूरभरो हरिदिक्कुङ्कुममण्डनम् । .
प्रसृताक्षि प्रेक्षस्व ज्योतिष्क इव बालातपस्तमःखण्डनः ॥ ३.१ ॥] उदा०–आयंबलोललोयणजुयल उल्लालय जीवियमयण ।
कप्पूरधवल सोहइ सलिलकेलिकालि कामिणिवयण ॥३.२॥ कप्पूरो । [आताम्रलोललोचनयुगलं आालकं जीवितमदनम् ।
कर्पूरधवलं शोभते सलिलकेलिकाले कामिनीवदनम् ॥ ३.२ ॥] उल्लालयत्ति 'उदोद्वाई' (हे० ८.१.८२) इत्याद्रादेरुति उल्लम् । अलकं प्रतीतम् । उदा०—संकलबंधसहोयर सोहिर मुत्तियदामनिवेसमणोहर ।
वम्महनिवपायडनिहिकलस कवणु न हु मोहइ तरुणिपयोहर ॥३.३॥ मुत्तियदामं । [शृङ्खलाबन्धसहोदरः शोभमान: मौक्तिकदामनिवेशमनोहरः ।
मन्मथनृपप्रकटनिधिकलशः कं न खलु मोहयति तरुणीपयोधरः ॥ ३.३ ॥] स्पष्टम् । एवं चतुःषष्टिभेदास्ते तु विस्तरभयान्नोक्ताः ॥३॥ द्विपदीप्रकरणम् । अथ चतुष्पदी कुलकेनाह
मुनिटा गुरु तत्थ न जो विसमे छट्टे उ मज्झका पढमे । बीए उ दलंमि लहू छटे सेसं समं गाथा ॥ ४ ॥
[मुनिटा गुरुः, तत्र न जो विषमे; षष्ठे मध्यकौ; प्रथमे ।
द्वितीये तु दले लघुः षष्ठे; शेषं समं गाथा ॥४॥] सप्त चतुःकला गुरुश्च प्रथमे दले अर्धे । अत्रापवादः । तत्थत्ति । तत्र तेषु सप्तटेषु विषमे स्थाने प्रथमे तृतीये पश्चमे सप्तमे न जुत्ति न जगणः । शेषाश्चत्वारः स्युः । षष्ठे पुनर्मझकत्ति मध्ये कगणो गुरुर्लघुद्वयं
च ययोस्तौ मध्यको मध्यगुरुः सर्वलघुः (ISI; III)। शूरपरिभाषेयं पूज्यप्रयुक्ता सर्वेत्यर्थाज्ञया । द्वितीये तु दले षष्ठो लघुरेकः । शेषं समं पूर्वार्धवत् यस्यां सा गाथा स्यात् । दलग्रहणादस्यां न पादव्यवस्था । तेन 'द्वीपादन्यस्मादपि' इत्यादौ गणत्रयान्ते लघोन गुरुत्वम् । केचिदिहापि पादमुद्रामाद्रियन्ते यत्रिलोचनदासः-'वृत्तानामार्यादीनां च चतुर्थो भागः पाद इह गृह्यते' इति । संस्कृते तु गाथैवार्याख्या यथा--
लावण्यसलिलसंकुलधनकुचमण्डलकमण्डलुविलासम् । सुतनोर्मदनमहामुनितपोवनं यौवनं जयति ॥४॥ ॥४॥

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प. ४-७]
सवृत्तिके कविदर्पणे दुइया छटे पढमाउ सत्तमे लाउ कुणह उवलिदले। नलहुंमि पंचमे पढमयाउ इह तलदले विरइं ॥५॥ [द्वितीयात् षष्ठे प्रथमात्सप्तमे लात्कुरुत उपरिदले ।
नलघौ पञ्चमे प्रथमादिह तलदले विरतिम् ॥ ५॥] 'इह 'त्ति गाथाच्छन्दसि उपरिदले पूर्वार्धे षष्ठे गणे 'नलडंमि' त्ति नगणश्च लघुश्च नलघुस्तस्मिन्नलघौ चतुर्लघौ सति द्वितीयात् 'लाउ' लघोरारभ्य विरतिं कुरुत। षष्ठनलघोराद्यलघौ यतिरित्यर्थः । 'लाउ'त्ति 'नलहुंमि' त्ति च सर्वत्र योज्यम् । तत्र सप्तमे नलघौ प्रथमाल्लघोरारभ्य कुरुत । षष्ठगणान्ते यतिरित्यर्थः । तथा तलदले द्वितीयार्धे पश्चमे नलघौ सति प्रथमकाल्लघोरारभ्य विरतिं कुरुत । चतुर्थगणान्ते यतिरित्यर्थः। मात्राच्छन्दस्यपि लाघवार्थ 'ज''ल'गणप्रयोगः । इयं प्राचीनगाथा लाघवार्थ लक्ष्यलक्षणयुक्ता कृता ॥ ५॥
गाहागणभेयपरुप्परगुणणे अट्रकोडि अह लक्खो।
एकूणवीस; वीस य सहस्स से भेयपरिसंखा ॥ ६ ॥ [गाथागणभेदपरस्परगुणने अष्टौ कोटयोऽथ लक्षाः ।
एकोनविंशतिः, विंशतिश्च सहस्राणि भस्या भेदपरिसंख्या ॥ ६ ॥] . गाथायां दलद्वये गणभेदानां टगणविकल्पानां परस्परगुणने अन्योन्यघाते अष्टौ कोट्य एकोनविंशतिर्लक्षा विंशतिश्च सहस्राणि 'से' अस्या गाथायाः प्रस्तारभेदपरिसंख्या स्यात् । वेदं तदेतदोडसाम्भ्यां सेसिमौ' (हे०८.३.८१) इति इदमः से आदेशः। कोडी लक्खुत्ति लुप्तविभक्तिके पदे तु 'अंतोऽथादिषु शब्देषु न पूर्वगः' इति सर्वत्र नेयमित्यक्षरार्थो भावार्थस्तु पूर्वार्धे प्रथमे टगणे भेदाश्चत्वारो यथा SS; IIS; SII; IIII; द्वितीये पञ्च SS, IIS; SII; ISI; IIII; तृतीये चत्वारः SS; IIS; SII; IIII; चतुर्थे पञ्च SS; IIS; SII; ISI; IIII; पञ्चमे चत्वारः SS; IIS; SII; IIII; षष्ठे द्वौ ISI; IIII; सप्तमे चत्वारः SS; IIS; SII; IIII; अष्टमे गुरुरेकः । एतेषामन्योन्यघाते द्वादश सहस्राणि अष्टौ शतानि । एवं तलार्धपि । नवरं षष्ठे लघुन्येको विकल्पोन्योन्यघाते षट्सहस्राणि चत्वारि शतानि । दलद्वयताडने यथोक्तसंख्येति। अतिप्रसिद्धत्वाद्गाथायाः प्रस्तारसंख्योक्ता । शेषाणामप्युक्तवक्ष्यमाणानामनया दिशा ज्ञेया ॥ ६ ॥
दलदुगमुहे तिगणजइ गाहा पत्था; तयन्नहा विउला । चवला गुरुपरिखित्तेहिं दुइयतुरिएहिं जगणेहिं ॥ ७ ॥ [दलद्विकमुखे त्रिगणयतिर्गाथा पथ्या; तदन्यथा विपुला।
चपला गुरुपरिक्षिप्तैः द्वितीयतुरीयैर्जगणैः ॥ ७ ॥] दलद्विके मुखे आदौ त्रिषु गणेषु यतिर्यस्याः सा गाथैव पथ्याख्या । 'तयन्नह'त्ति तस्याः पथ्याया अन्यथा गणत्रयमुल्लङ्घ्य यतिर्यस्याः [सा] विपुलाख्या । उभयोर्गुरुणा परिक्षिप्ताभ्यां वेष्टिताभ्यां द्वितीयचतुर्थाभ्यां जगणाभ्यां विशिष्टा विपुलाख्या ॥७॥
विउला चवला य तिहा सव्वमुहनियंबभेयओ नेया। अन्नेवि बहू भेया केहिवि गाहाइ भन्नन्ति ॥ ८॥

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सवृत्तिके कविदर्पणे
[द्वितीयोद्देशे [विपुला चपला च त्रिधा सर्वमुखनितम्बभेदतो ज्ञेया।।
अन्येपि बहवो भेदाः कैश्चिदपि गाथाया भण्यन्ते ॥ ८॥] . ___ तासु तिसृषु पथ्यादिषु विपुलाचपले त्रिधा ज्ञेया (ये)। सर्वमुखनितम्बभेदात् । सर्वविपुला मुखविपुला नितम्बविपुला । सर्वचपला मुखचपला नितम्बचपलेत्यर्थः। द्वयोरर्धयोर्विपुला सर्वविपुला । पूर्वार्धे विपुला मुखविपुला । परार्धे विपुला नितम्बविपुला । एवं चपलापि । पथ्यात्रिविपुलायोगे चेदं चपलात्रयं द्वादशधा । तथाहि । पथ्यासर्वचपला १ सर्वविपुलासर्वचपला २ मुखविपुलासर्वचपला ३. नितम्बविपुलासर्वचपला ४ पथ्यामुखचपला ५ सर्वविपुलामुखचपला ६ मुखविपुलामुखचपला ७ नितम्बविपुलामुखचपला ८ पथ्यानितम्बचपला ९ सर्वविपुलानितम्बचपला १० मुखविपुलानितम्बचपला ११ नितम्बविपुलानितम्बचपला १२ एवं पथ्याभेदेनैकेन विपुलाभेदस्त्रिभिश्चपलाभेदैौदशभिः षोडश भेदाः। तथान्येपि बहवो भेदाः कमलाब्राह्मण्याद्या गाढाद्याश्च कैश्चिदाचार्यैर्गाथाया भण्यन्ते तद्यथा
कमला ललिया लीला जुण्हा रंभा य मागही लच्छी। विज्जूमाला हंसी ससिलेहा जन्हवी सुद्धी ॥५॥ काली कुमरी मेहा सिद्धी रिद्धी य कुमुइणी धरणी । जक्खी वीणा वाणी गंधन्वी मंजरी गोरी ॥६॥ कमला तिहि लहुएहिं ललिया पंचेहि एवमाईओ। बिहिं बिहिं वढुंतेहिं कमेण सेसाउ जायंति ॥ ७॥ [कमला त्रिभिलघुभिललिता पञ्चभिरेवमाद्यः ।
द्वाभ्यां द्वाभ्यां वर्धमानाभ्यां क्रमेण शेषा जायन्ते ॥ ७॥1 तथा
सव्वगुरू बंभणिया पढमद्धगुरूहिं खत्तिणी होई । वइसी पच्छद्धगुरूहिं सुद्दिया सव्वलहुएहिं ॥ ८॥ [सर्वगुरुर्ब्राह्मणी प्रथमागुरुभिः क्षत्रिया भवति ।
वैश्या पश्चार्धगुरुभिः शूद्री सर्वलघुभिः ॥ ८ ॥] तथा
गाढा अगाढगाढा दरगाढा सरलगाढिया तह य । कज-सज-भज-फज-मइया गाहाओ हुंति जहसंखं ॥ ९॥ [गाढा अगाढगाढा दरगाढा सरलगाढा तथा च ।
कज-सज-भज-फज-मय्यो गाथा भवन्ति यथासंख्यम् ॥ ९॥ आसामर्थः । त्रिलघुर्गाथा कमला । तत एकैकं गुरुभेदेन द्विद्विलघुवृद्धया शेषाः पञ्चविंशतिः सर्वाश्च षड्विंशतिरिति । ब्राह्मण्याद्याः प्रतीतार्थाः । क्रमात् कजमयी गाढा । सजमयी अगाढगाढा । भजमयी दरगाढा । फजमयी सरलगाढा । तन्मतेन कः सर्वगुरुः टः । सः अन्त्यगुरुः टः । भः आदिगुरुः टः । फः सर्वलघुः टः । जस्तु मध्यगुरुः टः सर्वत्र योज्यः ॥ ८॥

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प. ८.१-६. टी. प. ५-९] सवृत्तिके कविदर्पणे उदा०-कलमलयदाहमुच्छा विंछुयडंकुब्व देइ पढमंपि।
पच्छावि जण हणंतो अच्छइ सुचिरंपि पिअविरहो ॥ ८.१ ॥ पच्छा ।।
[चित्तक्षोभदाहमूर्छा वृश्चिकदंश इव ददाति प्रथममपि ।।
पश्चादपि जनं मन् भवति सुचिरमपि प्रियविरहः ॥ ८.१ ॥] " 'कलमलय'त्ति चित्तक्षोभम् । 'विच्छुय' त्ति वृश्चिके 'श्चेञ्चुर्वा' इति (हे० ८.२.१६) इति ञ्चुरादेशः ॥ ८.१॥ उदा०-गुजरविलयाण सहावविमलविउलाणणाण सकलंको ।
वंको य कुणइ भवणंमि कुंभदासत्तणं चंदो ॥ ८.२॥ विउला । _ [गुर्जरवनितानां स्वभावविमलविपुलाननानां सकलङ्कः ।।
वक्रश्च करोति भवने कुम्भदासत्वं चन्द्रः ॥ ८.२ ॥ 'वनितायाः विलया' (हे० ८.२.१२८) इति विलयादेशः । संस्कृतो वायं शब्द इति केचित् ॥८.२॥ उदा०-कटुरवअसंखहयधंखपमुहविउलाउलंमि मरुदेसे।
हो कीस हंस मानसनिवासदुल्ललिय पत्तोसि ॥ ८.३॥ मुहविउला । [कटुरवासंख्यहतध्वाङ्गप्रमुखविकुलाकुले मरुदेशे ।
हो कस्माद्धंस मानसनिवासदुर्ललित प्राप्तोसि ॥ ८.३ ॥ 'विउलाउलंमि'त्ति वीनां पक्षिणां कुलैराकुले ॥ ८.३ ॥ उदा०-गिरिमालियव्व बाला वरोरुपाया नियंबविउला य ।
उत्तुंगपयोहरपिहियपिहुलवच्छा य हरइ मणं ॥ ८.४॥ नियंबविउला ।
[गिरिमालिकेव बाला वरोरुपादा नितम्बविपुला च ।
__ उत्तुङ्गपयोधरपिहितपृथुलवक्षाः(वृक्षा] च हरति मनः ॥ ८.४ ॥ एकत्र वरमुरुपादं पक्षे वरा उरवो विपुलाः पादाः प्रान्ताचला यस्याः। एकत्र पयोधराभ्यां पिहितं पृथुलं 'वच्छ'त्ति वक्षः उरः । पक्षे पयोधरैः पिहिताः 'वच्छ'त्ति 'छो अक्ष्यादौ' (हे० ८.२.१७) इति वृक्षाः यस्याः॥ ८.४॥ उदा०-न छमच्छमन्ति जेसिं मणाई लीलाहिं लोलनयणाण ।
तेसिं मुणीण पाए नमामि निच्चं अचवलाण ॥ ८.५॥ चवला ।
[न व्याकुलीभवन्ति येषां मनांसि लीलाभिलालनयनानाम् ।
. तेषां मुनीनां पादान्नमामि नित्यमचपलानाम् ॥ ८.५ ॥] स्पष्टा ॥ ८.५॥ उदा०-अम्मो महाणुभावेहिं मत्तपंकयमुही भमुहचवला ।
जेहिं सयंचिय छड्डिय छलिया लच्छी नमो तेसिं ॥ ८.६॥ मुहचवला । [अम्मो महानुमावैः मत्तपङ्कजमुखी भ्रूचपला । यैः स्वयमेव त्यक्त्वा छलिता लक्ष्मीनमस्तेभ्यः ॥ ८.६ ॥].

Page #81

१२
सवृत्ति कविदर्पणे
[ द्वितीयोद्देशे
'अम्मो हर्षे' ( हे० ८.२.२०८ ) । 'भमुह 'त्ति आर्षत्वात् । प्राकृतलक्षणे तु 'भ्रुवो मया डमया ' इति (हे० ८.२.१६७) मया भुमयेत्येव स्यात् । 'दीर्घहस्वौ मिथो वृत्तौ ' ( हे० ८.१.४ ) इति भमुहाशब्दस्य ह्रस्वत्वम् ॥ ८.६ ॥
उदा० - जाण सइत्तं कत्थइ न दिठ्ठपायं नियंबचवलाण ।
ललिता यथा—
नारीण ताण कजंमि चित्त उत्तम्मसि किमेवं ॥ ८.७ ॥ ॥ नियंवचवला ॥
श्लेषे बवयोरैक्यम् [ नियं व = नितम्ब or नित्यमेव ] ॥ ८.७ ॥ व्यासभीरुत्वाच्चपलामूल भेदत्रयमेवोदाहृतं भगवता । विनेयानुग्रहार्थे कमलाद्युदाहृतीर्दर्शयेः—
कमला यथा
* लीला यथा
[ यासां सतीत्वं कुत्रापि न दृष्टप्रायं नितम्बचपलानाम् ।
नारीणां तासां कार्ये चित्त उत्ताम्यसि किमेवम् ॥ ८.७ ॥ ]
* ज्योत्स्ना यथा—
अम्वो जुत्तं जं ते ताडिज्जंते पयोहरा कंते । विग्धं दिंता उच्च निब्भिच्चालिंगणे निद्धं ॥ १० ॥
[ अम्मो युक्तं यत्ते ताड्येते पयोधरौ कान्ते । विघ्नं ददतौ उच्चं निर्भीकालिङ्गने स्निग्धम् ॥ १० ॥ ]
पत्तो वासारत्तो न सो निसंसो तहावि संपत्तो । तारे पाणा कत्तो तुम्हें जत्तो न पत्थाणे ॥ ११॥
[ प्राप्ता वर्षारात्रिः, नासी नृशंसस्तथापि संप्राप्तः । तत् रे प्राणाः कुतो युष्माकं यत्लो न प्रस्थाने ॥ ११ ॥ ]
गेयं बाला तूला तेवालं (?) चंदिमा चउस्सालं । इकिंपि अमुलं किं पुण सब्वाण समवाओ ॥ १२ ॥ [ गेयं बाला तूली ताम्बूलश्चन्द्रिका चतुःशालम् । एकैकमप्यमूल्यं किं पुनः सर्वेषां समवायः ॥ १२ ॥
अप्पाणं वन्नतो पिम्मं पिम्मुज्झिएसु बंधंतो । निक्कारणं हसंतो वयंस लोए हसिज्जेसि ॥ १३ ॥
[ आत्मानं वर्णयन् प्रेम प्रेमोज्झितेषु बध्नन् । निष्कारणं हसन्वयस्य लोके हस्यसे ॥ १३ ॥ ]
* This is a mistake; stanza 13 contains 7 short letters and is an example of लीला, while stanza 12 contains 9 short letters and is an example of ज्योत्स्ना. I have, however, retained the order of verses as it is in the Ms.

Page #82

पं. ८.७; टी. प. १०-२०] सवृत्तिके कविदर्पणे रम्भा यथा
तुह निद्दे निस्सीमा आयक्विवियढिमा इमा कावि । दूराउ वल्लहं दुल्लहपि जं अम्ह आणेसि ॥ १४ ॥ [तव निद्रे निःसीमा आकर्षणविदग्धता इयं कापि । दूराद्वल्लभं दुर्लभमपि यदस्माकमानयसि ॥ १४ ॥3
मागधी यथा
पच्चालोयणसंका मुक्का संगीयदंसणं खित्तं । गामंगणाउ गहवइसुयं जहिच्छं नियच्छति ॥ १५॥ . [प्रत्यालोचनशङ्का मुक्ता संगीतदर्शनं क्षिप्तम् । ग्रामाङ्गना गृहपतिसुतं यथेच्छं नियच्छन्ति ॥ १५ ॥]
लक्ष्मी यथा
अच्चंतनिग्धिणेणवि चिंतादुःखाण कारणं चित्तं । अवहरियं गच्छंतेण तेण इक्कं कयं सुकयं ॥ १६ ॥ [अन्यन्तनिघृणेनापि चिन्तादुःखानां कारणं चित्तम् । अपहृतं; गच्छता तेनैकं कृतं सुकृतम् ॥ १६ ॥]
विद्युत् यथा
.अप्पुब्वो नणु गिम्हो कोवि इमो मामि पिययमविओगो। वह(९)ति जंमि दवा नवरं विवसा निसाओवि ॥ १७ ॥ [अपूर्वो ननु ग्रीष्मः कोप्ययं मातुलानि प्रियतमवियोगः । वर्धन्ते यस्मिन्दग्धाः केवलं विवशा निशा अपि ॥ १७ ॥]
माला यथा
य(णो) दिठाई वियंभंति तेण दिठाई पुण निलुक्कंति । सहि अणुवइसिक्खियचोरीमग्गाई नयणाई ॥१८॥ [न दृष्टानि विजृम्भन्ति तेन दृष्टानि पुनर्निलीयन्ते । सखि अनुपदिष्टशिक्षितचौर्यमार्गाणि नयनानि ॥ १८ ॥]
हंसी यथा
.
उवरि सुजंतियदिढहाररज्जुणो सजिया जयं जेउ। जंतोवलव्व कंदप्पजंतवाहेण तुह सिहिणा ॥ १९ ॥ [उपरि सुयन्त्रितदृढहाररज्जू सज्जितौ जगज्जेतुम् । यन्त्रोत्पलाविव कन्दर्पयन्त्रवाहेन तव स्तनौ ॥ १९॥]

Page #83

द्विवीयोद्देशे
लवृत्तिके कविदर्पणे शशिलेखा यथा
चलचेलंचलअंतरदरदावियइक्कऊरुमूलाओ। परिसिकिरीउ पुरओ हरंति अहियं मयच्छीओ ॥२०॥ [चलच्चैलाञ्चलान्तस्दरदर्शितैकोरुमूलाः ।
परिष्वष्किताः पुरतो हरन्त्यधिकं मृगाक्ष्यः ॥ २० ॥ जान्हवी यथा
वम्महसहियसणाहं अणविक्खियसामिभिच्चववहारं । विविहणहंकं मिहुणस्स मोहणं जयइ जुझं व ॥२१॥ [मन्मथसहायसनाथमनपेक्षितस्वामिभृत्यव्यवहारम् ।
विविधनखाई मिथुनस्य मोहनं जयति युद्धमिव ॥ २१ ॥ शुद्धिर्यथा
जणमणमग्गेसु सुहेण वहइ कंदप्पसारहिसणाहो । थोरेहिं तुह किसोयरि सिहिणकिसोरेहिं रायरहो ॥ २२ ॥ [जनमनोमार्गेषु सुखेन उद्यते कन्दर्पसारथिसनाथः ।
स्थूलाभ्यां तव कृशोदर स्तनकिशोराभ्यां रागरथः ॥ २२ ॥ काली यथा
कलमलयदलो रणरणयपल्लवो देहदाहगुच्छिल्लो । गहिलत्तणकुसमो विरहभूरुहो फलइ मरणेण ॥ २३ ॥ [चित्तक्षोभदलो रणरणकपल्लवो देहदाहगुच्छिलः ।।
अहिलत्वकुसमो विरहभूरुहः फलति मरणेन ॥ २३ ॥] कुमारी यथा
अन्नुन्नमंगघडणाघणमुवहाणीकइक्कबाहुलयं । अवरभुया अविरलविहियकंठगहणं सुयइ मिहुणं ॥ २४ ॥ [अन्योन्यमङ्गघटनाघनमुपधानीकृतैकबाहुलतम् ।।
अपरभुजेनाविरलविहितकण्ठग्रहणं स्वपिति मिथुनम् ॥ २४ ॥ मेधा यथा
सरसेण पवरपरिमलघणेण मणहारिणा महग्घेण । मच्चइ सरए णववेसतरुणिसु(स)रएण मयणकरी ॥२५॥ [सरसेन प्रवरपरिमलधनेन मनोहारिणा महार्येण ।
माद्यति शरदि नववेषतरुणिसरकेण मदनकरी ॥२५॥ सिद्धी यथा (सिद्धिर्यथा)
दइयणहंकुससरसन्वर्णकिए कचुंओ मुहवडुब्व । तुह सुयणु मयणमयगलकुंभयडे सहइ सिहिणभरे ॥ २६ ॥

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५.८; थी. प. २१-३२] सवृत्तिके कविदर्पणे
[दयितनखाङ्कुशसरसव्रणाङ्किते कञ्चुको मुखपट इव ।
तव मुतनु मदनमदकलकुम्भतटे शोभते स्तनभरे ॥ २६ ॥ ऋद्धिर्यथा
बहलंधतमसघोरा रयणी छणतुहिणकरसणाहावि । पियसहि मणहरपियवयणविरहवियणाविहुरियाण ॥ २७ ॥ [बहलान्धतमोघोरा रजनी क्षणतुहिनकरसनाथापि ।
प्रियसखि मनोहरप्रियवदनविरहवेदनाविधुरितानाम् ॥ २७ ॥ कुमुदिनी यथा
अणुहवसरसाणं विय अणुइवपरिणामपरममहुराण । अयि हियय विसयउवसमसुहाण उय अंतरं गहणं ॥ २८ ॥ [अनुभवसरसानामिवानुभवपरिणामपरममधुराणाम् ।
अयि हृदय विषय-उपशमसुखानां पश्यान्तरं गहनम् ॥ २८॥ धरणी यथा
सुयणु तुय वयणरयणियरकिरणहठहरियविसमतमपसरे । नेहक्खयाय जइ जलइ जलउ दीवो रइहरंमि ॥२९॥ [सतनु तव वदनरजनिकरकिरणहठहृतविषमतमःप्रसरे ।
स्नेहक्षयाय यदि ज्वलति, ज्वलतु दीपो रतिगृहे ॥२९॥ यक्षी यथा
सुसिलठविंटमरगयमणिमयसिरकलसविलसिरसिरीया । मयणनिवसिबिरवरजमलगुड्डुरा सुयणु तुह सिहिणा ॥ ३० ॥ [सुश्लिष्टवृन्तमरकतमणिमयशिरःकलशविलसच्छीको ।
मदननृपशिबिरवरयमलगुण्ठको सुतनु तव स्तनौ ॥३०॥ वीणा यथा
न सुयइ न रसइ न जिमइ न हसइ न य ललइ नवि य उल्लवई। सा दियहं वरइ रुयइ नवरं तुह विरहदुहविहुरा ॥ ३१॥ [न स्वपिति न रसति न भुङ्क्ते न हसति न च ललति नापि चोलपति ।
सा दिवसं वृण्वती रोदिति केवलं तव विरहदुःखविधुरा ॥ ३१ ॥] वाणी यथा
थुइमुहलविविहबुहनिवहमसलउलविहियबहलहलवोलं । परिचरइ कोवि मुणिरयणसूरिगुरुचरणसरसिरहं ॥ ३२॥ [स्तुतिमुखरविविधबुधनिवहभ्रमरकुलविहितबहलकलकलम् । परिचरति कोपि मुनिरत्नसूरिगुरुचरणसरसिरुहम् ॥ ३२॥

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सवृत्तिके कविदर्पणे
.... [द्वितीयोद्देशे
गन्धर्वी यथा
कुणसि तुममणिसमणुवमसुहडिमहयपमुहरिउनिवइनिवहे ।
समरंमि अमरवहु रुइयरमणजणलाहरहसमुहम् ॥ ३३॥ - [करोषि त्वमनिशमनुपमसुभटत्वहतप्रमुखरिपुनृपतिनिवहे ।
समरे अमरवधूः रुचितरमणजनलाभहृष्टमुखीः ॥ ३३ ॥]
मञ्जरी यथा
जयपलयपवणहरतइयनयणघणजलणजणियउसिणगुण । विरहियणमहह हयससि धुवमसरणमविरयं दहसि ॥ ३४ ॥ [जगत्प्रलयप्रवणहरतृतीयनयनघनज्वलनजनितोष्णतागुण । विरहिजनमहह हतशशिन् ध्रुवमशरणमविरतं दहसि ॥ ३४ ॥]
गौरी यथा
अलहुदुहलहरिलहिरगहिरभवजलहिवलयतरणखमं । जिणवरपवयणपवहणमणुसर जइ महसि सुहविहवं ॥ ३५ ॥ [अलघुदुःखलहरीयुतगम्भीरभवजलधिवलयतरणक्षमम् ।
जिनवरप्रवचनप्रवहणमनुसर यदीच्छसि शुभविभवम् ॥ ३५ ॥ ] कमलैव गुरुसंख्याविवक्षया ब्राह्मणी । पादलिप्तसूरेर्यथा
गजंते खे मेहा फुल्ला नीवा पणच्चिया मोरा। नहो चंदुल्लोओ वासारत्तो हला पत्तो ॥ ३६॥ [गर्जन्ते खे मेघाः फुल्ला नीपाः प्रणतिता मयूराः । नष्टश्चन्द्रालोको वर्षारात्रिः सखि प्राप्ता ॥३६॥]
क्षत्रिया यथा
संसारासारत्तं अज्जो जाणामि कामतत्तं च । विसुमरइ रमणिमणुखणमवि हयमणमहह नहु तहवि ॥ ३७ ॥ [संसारासारत्वमज्जो जानामि कामतत्त्वं च । विस्मरति रमणीमनुक्षणमपि हतमन: अहह न खलु तथापि ॥ ३७॥]
वश्या यथा
तरुणियणमभयमयमिव अयि विरहिय जमिह मुणसि हयहियय । निःसंदेहं तं ते घोरं हालाहलं चेयं ॥ ३८॥ [तरुणिजनममृतमयामिव अयि विरहित यदिह जानासि हतहृदय । निःसंदेहं तत्ते घोरं हालाहलं चैतत् ॥ ३८॥]

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प. ९; टी. पं. ३३-४४] सवृत्तिके कविदर्पणे शूद्री यथा
अयि अबुहहियय किमु विसमविसयरसविवसमणिसमवि भमसि । मुय कुमइ ससमउवसमपरिणइसुहमणहमणुहवसु ॥ ३९॥ [अयि अबुधहृदय किमु विषमविषयरसविवशमनिशमाप भ्रमसि । मुञ्च कुमतिं सशमोपशमपरिणतिसुखमनघमनुभव ॥ ३९ ॥]
गाढा यथा
दिहे तुमंमि सव्वुत्तमंमि आणंदसिंदिरा दिही । तोयंजलीउ देइव्व देव दन्ववत्थूण ॥ ४०॥ [दृष्टे त्वयि सर्वोत्तमे आनन्दस्यन्दिनी दृष्टिः । तोयाञ्जलीददातीव देव द्रष्टव्यवस्तुभ्यः ॥ ४०॥]
अगाढगाढा यथा
जरिणो घयं व वसिणो वियद्धृतरुणा विवागअहियंति । परदारसंगमसुहं निकामसरसंपि न महंति ॥ ४१ ।। [ज्वरिणो घृतमिव वशिनो विदग्धतरुणा विपाकाहितमिति । परदारसंगममुखं निकामसरसमपि नेच्छन्ति ॥ ४१ ॥]
दरगाढा यथा
सारयससीवि सुंदरि न पावए तुह मुहोवमाणपयं । तेणवि हयस्स ता कमलयस्स का उण गई हवउ ॥ ४२ ॥ [शारदशशी अपि सुन्दरि न प्राप्नोति तव मुखोपमानपदम् । तेनापि हतस्य तत्कमलस्य का पुनर्गतिर्भवतु ॥ ४२ ॥
सरलगाढा मनोरथस्य यथा
महमहइ लच्छिमयकुडयनीवपरिमलभरेण घणसमओ। अइभरयपीयसुरसुरहियंव वरतरुणिमुहकमलं ॥ ४३ ॥ [प्रभवति लक्ष्मीमयकुटजनीपपरिमलभरेण घनसमयः ।
अतिभरपीतसुरासुरभीकृतमिव वरतरुणीमुखकमलम् ॥ ४३ ॥] गाहाइ मुहदलदुगं गीई तलदलदुगं तु उवगीई । वच्चासे उग्गीई गीइच्चिय खंधमट्ठमटे ॥९॥ [गाथाया मुखदलद्विकं गीतिः, तलदलद्विकं तूपगीतिः ।
व्यत्यासे उद्गीतिर्गीतिरेव स्कन्धमष्टमटे ॥ ९ ॥] 'गाहाइ 'त्ति सर्वत्र योज्यम् । गाथाया मुखदलद्विकं गीतिः । पश्चापि षष्ठे मध्यके इत्यर्थः । गाथायास्तलदलद्विकं पुनरुपगीतिः । पूर्वार्धपि षष्ठो लघुरित्यर्थः । गाथाया दलयोर्व्यत्यासे विपर्यये

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सवृत्तिके कविदर्पणे
[द्वितीयोद्देशे उद्गीतिः। पूर्वार्धे अपरार्धमपरार्धे पूर्वार्धमित्यर्थः । एवं तिस्रोपि गीतयः पथ्याविपुलाचपलाभेदसंयोगेषोडशषोडशभेदाः स्युस्ततः सर्वाग्रेण गाथानां चतुःषष्टिभेदाः । यदाह
एकैव भवति पथ्या तिस्रो विपुलास्ततश्चतस्रस्ताः। चपलाभेदैस्त्रिभिरपि भिन्ना इति षोडशार्याः स्युः ॥ ४४ ॥ गीतीनां त्रयमित्थं प्रत्येकं षोडशप्रकारं स्यात् ।
साकल्येनार्याणामिमे विकल्पाश्चतुःषष्टिः ॥ ४५ ॥ तथा गीतिरेवाष्टमस्य गुरोः स्थाने टगणे कृते स्कन्धम् । आर्यागीतिरिति पिङ्गलः । लघुचतुष्कात् द्विद्विलघुवृद्धया चेदं स्कन्धमेकोनत्रिंशद्विधं यथा-'पिम्मो शल्लो पाणी पहिओ पउरो परायणो परमो' इत्यादिगाथात्रयम् । तथा दलद्वयेपि षष्ठे लघावुपस्कन्धम् । प्रथमाधै षष्ठे लघावुत्स्वन्धम् । अन्त्यार्धे षष्ठे लघाववस्कन्धम् । पूर्वार्धे स्कन्धमपरार्धे गीतिस्तथा पूर्वार्धे गीतिरपरार्धे स्कन्धकमिति संकीर्णस्कन्धमपि स्कन्धोपलक्षणाज्ञेयम् ॥ ९॥
उदा०-जउगोलव्व विभिजंति इत्थिआग्गीइ संगया बहवे ।
तीइवि कणयंपिव जे उ णिम्मला ते पुणो जए विरला ॥ ९.१ ॥ [जतुगोला इव विभिद्यन्ते स्त्र्यग्निना संगता बहवः ।
तस्यामपि कनकमिव ये तु निर्मलास्ते पुनर्जगति विरलाः ।। ९.१ ॥] . 'कणयंपिव 'त्ति 'मिव पिव विव व्व व विअ इवार्थे वा' (हे० ८.२.१८२) इति विवस्थाने पिवः ॥९.१॥
उदा०-उव गीईइ कुरंगुव्व मोहिओ ससिमुहीइ जणो।
हम्मइ वम्महवाहेण निद्दयं पुंखियसरेण ॥९.२ ॥ [पश्य गीत्या कुरङ्ग इव मोहितः शशिमुख्या जनः ।
हन्यते मन्मथव्याधेन निर्दयं पुखितशरेण ॥ ९.२ ॥] 'उय' इत्यव्ययं पश्येत्यर्थे । उपगीतिपक्षे तु 'कगचजतदपयवां प्रायो लुक्' (हे०८.१. १७७) इति पलुक् । पो व इति तु प्रायिकम् । 'हम्मइ 'त्ति 'हन्खनोन्त्यस्य' (हे० ८.४.२४४) इति म्मः ॥९.२॥
उदा०—किज्जइ तीइ तुह गुणुग्गीइविणोओ विरहदुःखे।
लुप्पइ बाहुप्पीलेण नवर वरईइ भक्खणं कंठो ॥ ९.३ ॥ [क्रियते तया तव गुणोद्गीतिविनोदो विरहदुखे।।
लुम्पति बाष्पोत्पीडेन केवलं वराक्या भक्षणं कण्ठः ॥ ९.३ ॥ — 'वरईइ 'त्ति वराक्याः । 'स्वराणां स्वरा' (हे. ८.४.२३८) इति ह्रस्वः ॥ ९.३ ॥ उदा०-अथिरजि जिव्व विहया उअ पच्चखं धया इव पवणपहया।
अजरामरुव्व ववहरइ जीवलोओ तहावि हा साहसिओ॥९.४॥

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वृत्ति कविदर्पणे
[ अस्थिरा एव जीव विभवाः पश्य प्रत्यक्षं ध्वजा इव पवनप्रहताः । अजरामर इव व्यवहरति जीवलोकस्तथापि हा साहसिकः ।। ९.४ ।। स्पष्टम् । सर्वगीतिस्कन्धभेदोदाहरणानि व्यासभयान्नोक्तानि । ९.४ ॥ गीइविसेसा चउरो रिउछंदाई इहत्थि अवरेवि । गाहपमुहा य गाहाइ अट्टभेया जओ भणियम् ॥ १० ॥
१. ९-१३; टी. प. ४४-४५]
[ गीतिविशेषाश्चत्वारो रिपुच्छन्दाया इह सन्त्यपरेपि । गाहप्रमुखाश्च गाथाया अष्ट भेदा यतो भणितम् ॥ १० ॥ ]
गीतेर्विशेषाश्चत्वारो रिपुच्छन्दाधा इह प्रकरणे अपरेपि 'अस्थि 'त्ति सन्ति ' अस्थिस्त्यादिना ' (हे० ८·३·१४८) इति अत्थिः । गाथप्रमुखा गाथाया अष्टभेदाः सन्ति । चकाराज्जातीफलं नवमम् । यतो भणितं शास्त्रान्तरे ॥ १० ॥
गीइ रिउच्छंदा सत्तमंमि तगणे, तइज्जए ललिया । . दुहिं भद्दिया, विचित्ता जहिच्छतगणा विणा छठ्ठे ॥ ११ ॥
गाहा मुहदल अंतिमगुरुपच्छा दुन्न दुन्न टगणाण । बुढी कमा गाहो उग्गाह - विगाह- अवगाहा ॥ १२ ॥ संगाही उवगाहो य गाहिणी अह जहिच्छविहियाए । दुदुगणविबुढी मालागाहो महाछंदो ॥ १३ ॥
[ गीतिः रिपुच्छन्दाः सप्तमे तगणे, तृतीये ललिता । द्वाभ्यां भद्रिका, विचित्रा यथेच्छतगणा विना षष्ठम् ॥ ११ ॥ गाथा मुखदलान्तिमगुरोः पश्चाद् द्वयोर्द्वयोष्टगणयोः । वृद्ध्या क्रमात् गाथ उद्गाथविगाथावगाथाः ॥ १२ ॥
संगाथ उपगाथश्च गाथिनी अथ यथेच्छविहितया । द्विद्विगणविवृद्धया, मालागाथो महाछन्दः ॥ १३ ॥ ]
आद्यगाथाया 'गीइ 'त्ति सर्वत्र योज्यम् । गीतिरेव सप्तमे तगणे पञ्चमात्रे रिपुच्छन्दाः । गीतिरेव तृतीये तगणे ललिता । गीतिरेव द्वयोस्तृतीयसप्तमतगणयोर्भद्रिका । गीतिरेव षष्ठगणं विना यथेच्छं तगणैर्विचित्रा । तथा गाथाया मुखदले अन्तिमस्य गुरोः पश्चादेकटगणवृद्धया जातिफलमनुक्तमपि ज्ञेयम् । द्वयोर्द्वयोष्टगणयोर्वृद्ध्या क्रमात् गाथ-उद्गाथ-विगाथ - अवगाथाः संगाथ उपगाथश्च गायनीति स्युः। अष्टभिष्टगणैर्जातिफलं नवभिर्गाथ एकादशभिरुद्वाथस्त्रयोदशभिर्विगाथः पञ्चदशभिरवगाथः सप्तदशभिः संगाथः एकोनविंशत्योपगाथ एकत्रिंशत्या गाथिनीत्यर्थः । अथ यथेच्छं विहितया न तु प्रमितया द्विद्विगणविवृद्धया मालागायो महाच्छन्दः स्यात् । अमितटगणत्वाच्चास्य महाशब्दः । सर्वेषु चैतेषु जातिफलादिषूत्तरार्धं गाथा एव ॥ ११ - १३॥

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सवृत्तिके कविदर्पणे
[द्वितीयोद्देशे
रिपुच्छन्दा यथा
पियतकरे कडिलं कळते वेविरीइ नवोढाए । रमणवलत्थेण कओ किंकिणिसत्येण कलयलो महल्लो ॥ ४६ ॥ [ प्रियतस्करे कटिवस्त्रं कर्षति वेपमानाया नवोढायाः । रमणपर्यस्तेन कृतः किङ्किणीसार्थेन कलकलो महान् ॥ ४६॥]
ललिता यथा
जह मग्गो पुलइज्जए साणंदं पाउसस्स व पियस्स । तह सरयाइ-रिऊणं व वयंसि किं इयरयाण वि जणाण ॥ ४७ ॥ [यथा मार्गः प्रलोक्यते सानन्दं प्रावृष इव प्रियस्य । तथा शरदादि-ऋतूनामिव सखि किं इतरेषामपि जनानाम् ॥ ४७ ॥]
भद्रिका यथा
लख्खइ लक्खेण दइअस्स दंसणं संगमो उण कोडीए । वयणं कोडाकोडीइ अमुल्लमालिंगणं तु हला इक्कं ॥ ४८ ॥ [लक्ष्यते लक्षण दयितस्य दर्शनं, संगमः पुनः कोट्या । वचनं कोटाकोट्या, अमूल्यमालिङ्गानं तु सखि एकम् ॥ ४८ ॥]
विचित्रा यथा
रुइओ न दीसइ जए जणो अह दीसए ता न होइ नेहिल्लो । निधोवि दुल्लहुच्चिय विहडए लद्धोवि मामि किं कुणिमो ॥ ४९ ॥ [रुचितो न दृश्यते जगति जनोऽथ दृश्यते तदा न भवति स्निग्धः । स्निग्धोपि दुर्लभ एव, विघटते लब्धोपि मातुलानि किं कुर्मः ॥ ४९ ॥]
जातिफलं यथा
जो जस्स कए घडिओ संघडइ सुदूरगोवि तस्सेव जणो । बझंति विझवणसंभवावि रायंगणे करिणो ॥५०॥ [यो यस्य कृते घटितः संघटति सुदूरगोपि तस्यैव जनः । बध्यन्ते विन्ध्यवनसंभवा अपि राजाङ्गणे करिणः ॥५०॥]
गाथो यथा
दइए दावियविप्पियसएवि सुकुलंगणाण सब्भावनिब्भरं पिम्मं । पाएहि य ताडियाउ वि रविणा वियसंति नलिणीओ ॥५१॥ [दयिते दर्शितविप्रियशतेपि सुकुलाङ्गनानां सद्भावनिर्भरं प्रेम । पादश्च ताडिता अपि रविणा विकसन्ति नलिन्यः ॥५१॥].

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प. ११-१३; टी. प. ४६-५६] सवृत्तिके कविदर्पणे उद्गाथो यथाअविरामजलिरउद्दामदइयविच्छोहहुयवहुच्छलिय
धूमरिंछोलिदूमियाइं व । अणवरयं चेव झरंति पहियघरिणीण नयणाई ॥ ५२ ॥ [अविरामज्वलितोद्दामदयितविरहहुतवहोच्छलित
___ धूमसमूहदूनानीव । अनवरतं चैव झरन्ति पथिकगृहिणीनां नयनानि ॥५२॥] विगाथो यथा
सरहसणमंतसामंतमोलिदिप्पंतमउडरयणालिकिरण
कच्छुरियचरणजुयलस्स सिद्धरायस्स । महमहइ कोवि माहप्पपरिमलो भुवणवलयंमि ॥ ५३ ॥ [सरभसनमत्सामन्तमौलिदीप्यमानमुकुटरत्नालिकिरण
कच्छुरितचरणयुगलस्य सिद्धराजस्य । प्रसरति कोपि माहात्म्यपरिमलो भुवनवलये ॥ ५३॥] अवगाथो यथातेलुक्कचंदगुज्जरनरिंदजयसिंहएवनिप्पद्धवायमाणसतलाय
गंभीरगन्भनिब्भरनिवासदुल्ललियं । सिरिधम्मसूरिमुनिरायपायपउमं नमसामि ॥ ५४ ॥ [त्रैलोक्यचन्द्रगुर्जरनरेन्द्रजयसिंहदेवनिःप्रत्यवाय (?) मानस
तडागगंभीरगर्भनिर्भरनिवासदुर्ललितम् । श्रीधर्मसूरिमुनिराजपादपमं नमामि ॥५४॥] संगायो यथा
पियमरणसोयरोयंतदीणणिप्पुत्तनारिधणचायकित्तिसंभारभरिय____ भुवणंतराल भूवालतिलय सिरिकुमरवाल किं भणिमो । नत्थि न आसि ण होही तुह तुल्लो भूवई भुवणे ॥ ५५ ॥ [प्रियमरणशोकरुदद्दीननिष्पुत्रनारीधनत्यागकीर्तिसंभारभरितभुवनान्तराल भूपालतिलक श्रीकुमारपाल किं भणामः ।
नास्ति नासीन्न भविष्यति तव तुल्यो भूपतिर्भुवने ॥५५॥] उपगाथो यथा
तुह सुमुहि मुहं ससिमण्डलं च निम्मविय दोवि रम्माइं नूण निउणेण सारकलणाय तेण कमलासणेण कोऊहलाउ तुलियाई; तेसु तुज्झ मुहं । गरुयंति महीइ गयं इयरं तु नहुंमि लहुयंति ॥ ५६ ॥

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[द्वितीयोद्देशे
[तव सुमुखि मुखं शशिमण्डलं च निर्माय टेपि रम्ये नूनं निपुणेन
सारकलनाय तेन कमलासनेन कौतूहलात्तुलिते; तयोस्तव मुखम् ।।
गुर्विति महीं गतमिरतत्तु नभसि लघुकमिति ॥५६॥] गाथिनी यथा
चलवलिरचवलकिमिकुच्छणिज्जविगरालउग्गदुग्गंधरंधबीभच्छ
याणचम्मावणद्धघणरुहिरमंससंबद्धअहिकूडाण कूडमारोवियं हयासेहिं । नारिनियंबाण कईहिं किंपि हद्धी महग्यत्तं ॥५७ ।। [चलद्वलनशीलचपल कृमिकुत्सनीयविकरालोग्रदुर्गन्धरन्ध्रबीभत्समानचौवनद्धघनरुधिरमांससंबद्धास्थिकूटानां कूटमारोपितं हताशैः।
नारीनितम्बाना कविभिः किमपि हा धिक् महार्घत्वम् ॥ ५७॥ ] मालागाथो यथा
भिडणुज्झडणि सकयग्रहाणि दहाहराणि घणधायघुम्मिघोराणि
नहरपहरुच्छलंतरुहिराणि खेयपगलंतसेयबिंदूणि पयडउद्धसियरोमकूवाणि मणियतुमुलाणि लुलियअवयंसकुसुमउव्वंतरेणुपडलाणि कणिरकंकणकलापतूरारवाणि वायालविविहकेलीविहंगबंदिण अमंदहलवोलबहुलवलियरसाणि मौलिप्फुरंतधूमोलिलोलतूलप्पईवनारयविसेससंभुकि(धुक्क)जुज्झपसराणि । रायंधमिहुणमोहणरणाणि णिविग्धमग्धंतु ॥ ५८ ॥ [ मीलने सकचग्रहाणि दष्टाधराणि घनघातपूर्णितघोराणि नखरप्रहारोच्छलद्रुधिराणि खेदप्रगलत्स्वेदबिन्दूनि प्रकटोद्ध्वस्तरोमकूपाणि मणिततुमुलानि लुलितावतंसकुसुमोद्वान्तरेणुपटलानि कणकङ्कणकलापतूर्यारवाणि वाचालविविधकेलीविहंगबन्दीनाममन्दकोलाहलबहुलवर्धितरसानि मौलिस्फुरद्धमालिलोलचूलप्रदीपनारदविशेषसंधुक्षितयुद्धप्रसराणि ॥
रागान्धमिथुनमोहनरणानि निर्विघ्नं राजन्ताम् ॥ ५८ ॥] एवं जातिफलमुखदलान्त्यगुरोः पूर्वे द्विद्विटगणवृद्धया क्रमेण दामोद्दामविदामावदामसंदामोपदामदामिनीमालादामा अष्टौ ज्ञेयाः ॥११-१३॥
पंचाणणललिया रविदिसाहिं नवदसहिं मलयमारुययं । रासो उ सत्ततेरसहिं विसमसमपयकलाहिं कमा ॥ १४ ॥ [पञ्चाननललिता रविदिशाभिर्नवदशमिर्मलयमारुतम् ।
रासस्तु सप्तत्रयोदशभिर्विषमसमपादकलाभिः क्रमात् ॥ १४॥] विषमयोः प्रथमतृतीययोः समयोर्द्वितीयचतुर्थयोः पादयोः कलाभिः क्रमात द्वादशदशसंख्याभिः पश्चाननललिता, नवदशसंख्याभिर्मलयमारुतकं, रासस्तु पुनः सप्तत्रयोदशसंख्याभिः ॥१४॥

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सवृत्ति कविदर्पणे
उदा० - पंचाणणललियाई । भयभिभललोयणु ॥
प. १४-१६; टी. प. ५६-५८]
सुमरिवि अजवि रन्ने । तर्हि त्रासइ मृगगणु ॥ १४१ ॥ पंचाननललिया | पञ्चाननललितानि । भयविह्वललोचनः ॥
स्मृत्वाद्याप्यरण्ये । तत्र त्रस्यति मृगगणः ॥ १४·१ ॥
उदा० - तत्ती सीयली । मेलावा केहा ॥
धण उतावली । प्रिय मंदसिणेहा ॥ १४२ ॥ मलयमारुययं कस्सवि । [ तप्तशतिलयोः । मेलनं कीदृशम् ॥
गृहिण्युत्सुका । प्रियो मन्दस्नेहः ॥ १४:२ || मलयमारुतं कस्यापि ]
उदा० - नहि निहालिवि । समुन्नयघणु धणनिरासु ।
पहिउ पाउसि । करइ सासिहि जिङ्कुमासु ॥ १४-३ ॥ रासो । [ नभसि निभालय । समुन्नतधनं गृहिणीनिराशः ॥ पथिकः प्रावृषि । करोति श्वासैर्ज्येष्ठमासम् ॥ १४.३ ॥]
स्पष्टानि । नवरं 'धण 'त्ति प्रिया ॥ १४.३ ॥
तेरसएक्कारसहिं नु दोहओ एय समपए अंते । गुरुलहुणो कुण, अह विणिमएण अवदोहओ एसो ॥ १५ ॥ [ त्रयोदशैकादशभिस्तु दोहक एतस्य समपादयोरन्ते ।
गुरुलघु कुरु; अथ विनिमयेनावदोहक एषः ॥ १५ ॥ ]
विषमसमपदकलाभिः क्रमात् त्रयोदशैकादशसंख्याभिः पुनर्दोहकः । अत्राम्नायः । एतस्य दोहकस्य समपादे द्वितीये तुर्ये चान्ते गुरुलघु कुरु । एकादशकलासु अष्टकोर्ध्वं गुरुलघुभ्यामेव मात्रात्रयं पूरयेत्यर्थः । अथ विनिमयेन विषमसमाङ्घ्रिव्यत्ययेनैष दोहक एवावदोहकः ॥ १५ ॥
उदा० - जि नर निरग्गल गलगलह । मुग्गल जंगलु खंति ॥
प्राणिह दोह अहह । बहु दुह इहि बुडुंति ॥ १५१ ॥ दोहभो । [ ये नरा निरर्गला XXX। मूर्खा जाङ्गलं खादन्ति ।
ते प्राणिनां द्रोहका अहह । बहुदुःखे इह मज्जन्ति ॥ १५.१ ॥ ]
'मुग्गल 'त्ति मूर्खाः ॥ १५.१ ॥
उदा० - फुलंधुय धावंति । सहि सहरिस सहयारवणी ॥
कोइलरवि मग्गति । पाअव दोहय महुसमई ॥ १५.२ ॥ अवदोहो | [ भ्रमरा धावन्ति । सखि सहर्ष सहकारवने ॥
कोकिलरवेण मार्गयन्ते । पादपा दोहदान्मधुसमये ॥ १५.२ ॥ ]
फुल्लंघुया भ्रमराः । पादपा दोहदान्मार्गन्ति ।। १५.२ ॥
उवदोहयमेगकलाऊणेहिं कलादुगाहिएहिं तु । संदोहयमसमेहिं दोहयपाएहिं पभणन्ति ॥ १६ ॥

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[द्वितीयोद्देशे [उपदोहकमेककलाहीनाभ्यां कलाद्विकाधिकाभ्यां तु ।
संदोहकमसमाभ्यां दोहकपादाभ्यां प्रभणन्ति ॥ १६ ॥] दोहकविषमानिभ्यामेककलाहीनाभ्यामुपदोहकं कलाद्विकाधिकाभ्यां पुनः संदोहकं प्राहुर्वृद्धाः ॥१६॥ उदा०-जुज्झिय भाउ य दो हय । गयरहभडसंजुत्त ।
भरहबाहुबलि सुव्वई । अवरह कित्तिय मत्त ॥ १६.१॥ उवदोहो।
[योधितौ भ्रातरौ च द्वौ हय- । गजरथभटसंयुक्तौ ।
भरतबाहुबली श्रूयते । अपरेषां कियती मात्रा ॥ १६.१ ॥] भ्रातरो द्वौ । हयगजेत्यादि ॥ १६.१॥ उदा०-न कलई दुहसंदोह अविरल । परतियलालसमुद्ध । मंजर दंडु कि दिक्खइ उवरि । दद्धढ दुद्धह लुद्ध ॥ १६.२॥ संदोहओ।
[न कलयति दुःखसंदोहमावरलं । परस्त्रीलालसो मुग्धः ।
मार्जारो दण्डं किं पश्यत्युपरि । दग्धो दुग्धस्य लुब्धः ॥ १६.२ ॥] 'मंजर 'त्ति 'मार्जारस्य मंजरवंजरौ' (हे० ८.२.१३२) इति मार्जारः ॥ १६.२॥
तेरसकलेहिं पाएहिं होइ उद्दोहओ असेसेहिं । चूडालदोहओ समपायंतकरण तगणेण ॥ १७ ॥ [अयोदशकलैः पादैर्भवत्युद्दोहकोऽशेषैः। ।
चूडालदोहकः समपादान्तकृतेन तगणेन ॥ १७॥] पूर्वार्धे कंव्यं (!) । समपादयोरन्ते एकादशकलोवं कृतेन पञ्चमात्रेण चूडालदोहकः स्यात् । चूडा तगणलक्षणास्यास्तीत्यर्थः ॥ १७ ॥ उदा०—कुमइ जि मइरइ करई रइ । नरइं ति वेयरणिहि नइहिं । रुंदरउद्दोहयतडिहिं । लुलहि पूयलोहियमइहि ॥ १७.१ ॥ उदोहभो।
[कुमतियों मदिरायां करोति रतिं । नरकेसौ वैतरण्यां नद्याम् ।
विस्तीर्णरौद्रोभयतट्याम् । पतति पूयलोहितमय्याम् ॥ १७.१ ॥] रुन्दरोद्रौभयतट्याम् ‘लुलहिं 'ति पतति ॥ १७.१॥ उदा०-सुहि अच्छंतह माणुसह । विहिवसि कुइ कुग्गाहु चहुदृइ । जिणि जसु नासइ जणु हसइ । मणि अवणइ तणि दाहु पयदृइ ॥१७.२॥
चूडालदोहओ जिणसिंहसूरिस्स। [शुभे सतां मनुष्याणाम् । विधिवशात्कोपि कुग्रह आपतति ।
येन यशो नश्यति जनो हसति । मनस्यवनतिस्तनौ दाह: प्रवर्तते ॥ १७.२ ॥] विसमेसु दुन्नि टगणा समेसु पो टो तओ दुसुवि जत्थ । लहुओ कगणो लहुओ कगणो तं मुणह मागहियं ॥ १८ ॥

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प० १६-२०]
सवृत्तिके कविदर्पणे [विषमयोद्वौं टगणौ समयोः पष्टस्ततो द्वयोरपि यत्र।
लघुः कगणो लघुः कगणस्तां जानीत मागधिकाम् ॥ १८ ॥] विषमयोझै चतुर्मात्रौ समयोः पादयोरेकः षण्मात्रः एकश्चतुर्मात्रस्ततो द्वयोरपि पादयोर्लघुकः कगणो लघुकः कगणो यत्र तां मागधिकां 'मुणह 'त्ति 'ज्ञो जाणमुणौ' (हे० ८.४.७) इति जानीत । लकलकत्ति सिद्धे लहुओ इत्यादि सूत्रवैचित्र्यार्थम् ॥ १८ ॥ उदा०—किमिच्छह जुवइसंगमं । जाणतावि जणा जिणागमं ॥
समणो किल कूलवालओ। मागहियाइ कओ दुहालओ ॥१८.१॥ मागहिया। [किमिच्छथ युवतिसंगम । जानन्तोपि जना जिनागमम् ।।
श्रमणः किल कुलवालक: । मागधिकया कृतो दुःखालयः ॥१८.१।।] किलेल्याप्तोक्तौ । कुलवालको व्रती । मागधिकाख्या वेश्या । तत्कथा चाम्नायगम्या॥१८.१॥
टा चउरो जो ण मुहे गुरुच्चियंतिल्लओ लहू नवमो। मत्तासमयं; पंचमअट्ठमलहुणो उ विसिलोओ ॥ १९ ॥
[टाश्चत्वारो जो न मुखे गुरुरेवान्तिमो लघुर्नवमः।
मात्रासमकं; पञ्चमाष्टमौ लघू तु विश्लोकः ॥ १९ ॥] चत्वारश्चतुर्मात्रास्तेष्वादौ न जगणः । अन्ते भव इति डिल्ले (हे०८.२.१६३) अंतिल्लो अन्त्यो गुरुरेव नवमो लघुर्मात्रासमकम् । पञ्चमाष्टमौ लघू पुनर्विश्लोकः । शेषमुपचित्रां यावन्मात्रासमकवत् ॥ १९॥ उदा०—निगमिज्जंतं विसउम्मत्ता-। समयं मन्नहि [अबुहा सत्ता।
न उणो कालिण निगमिजंतं । अप्पाणं चिंतहि निभंतं ॥ १०॥ मत्तासमयं ।
[निगम्यमानं विषयोन्मत्ता: समयं मन्यन्ते अबुधाः सक्ताः ॥ ]
न पुनः कालेन निगम्यमानम् । आत्मानं चिन्तयन्ति निभ्रान्तम् ॥ १९.१॥ उन्मत्ता पहिलाः । समयं कालम् । निभंतं भ्रान्तिहीनम् ॥ १९.१ ॥ उदा०—निच्चुवि नवं करेवि सिलोयं । आवज्जिवि नवनवपहुलोयं ॥
जहि किज्जइ उयरह पूरणयं । तं पंडियत्तमिह आयुखयं ॥१९.२॥ विसिलोऊ ।
[नित्यमपि नवं कृत्वा श्लोकम् । आवर्ण्य नवनवप्रभुलोकम् ।।
यदि क्रियते उदरस्य पूरणम् । तत्पण्डितत्वमिहायुःक्षयम् ॥ १९.२ ।।] चित्ता नवमोवि हु, वाणवासिया नवमबारसा लहुणो ॥ नवमगुरू उवचित्ता; पायाउलयं इमाण पाएहिं ॥ २० ॥ [चित्रा नवमोपि खलु वानवासिका नवमद्वादशौ लघू ।
नवमगुरुरुपचित्रा; पादाकुलकमेतेषां पादैः ॥ २०॥] नवमो लघुः । अपिशब्दात्पञ्चमाष्टमौ लघू चित्रा। हुर्निश्चये। नवमद्वादशौ लघू वानवासिका ।

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सवृत्तिके कविदर्पणे
[द्वितीयोद्देशे नवमो गुरुरुपचित्रा । एषां मात्रासमकादीनां पादैर्बद्धं पादाकुलकम् । तच्च द्विकत्रिकचतुष्कसंयोगभेदात्पञ्चषष्टिविधं यदाह
द्विजातिजा विकल्पाः स्युस्त्रिंशत्त्रिंशत्त्रिजातिजाः ।
चतुर्जातिभवाः पञ्च पञ्चषष्टिरितीरिताः ॥ ५९ ॥ प्रन्थगौरवभयान्न विवृताः ॥ २० ॥ उदा०–जे जम्मह अमुणियपिम्मरसा । जे मूलह अकलियविरहदसा ॥
पहरिसविसायविमुक्कचित्ता। धन्न ति मुणिवर विमलचरित्ता ॥२०.१॥ चित्ता। [ये जन्मनोऽशातप्रेमरसाः । ये मूलादकलितविरहदशाः ।।
प्रहर्षविषादविमुक्तचित्ताः । धन्यास्ते मुनिवरा विमलचरित्राः ।। २०.१ ॥ ] स्पष्टा ॥ २०१॥ उदा०—पई पियठाणाउ भंसियाओ । देव नियकिवाणवासियाओ ॥
तग्गयसलिलंसुएहि अणिसं। रिउनिवसिरीउ रुयंतिव भिसं ॥२०.२॥
[त्वया प्रियस्थानाद्भशिताः देव निजकृपाणवासिताः ॥
तद्गतसलिलाश्रुभिनित्यं रिपुनृपश्रियो रुदन्तीव भृशम् ।। २०.२ ॥] 'पई 'त्ति त्वया प्रियस्थानात्सहवासाद्भशिता देव स्वखड्ने पराश्रये वासिताः । असिगतजलाश्रुभिनित्यं रिपुनृपश्रियो रुदन्तीव भृशम् ॥ २००२ ॥ उदा०-उय चित्तालिहियावि हु बाला । संमोहइ पीयाविव हाला ॥
पच्चक्खं पुण दिट्ठा किर सा। हालाहलमिव मारइ सहसा ॥२०.३॥ उवचित्ता ।
[पश्य चित्रालिखितापि खलु बाला । संमोहयति पीतेव हाला ॥
. प्रत्यक्षं पुनदृष्टा किल सा । हालाहलमिव मारयती सहसा ॥२०.३॥] स्पष्टा ॥२०.३॥ उदा०-चंदुजोओ चंदणलेवो । कुवलयसिज्जा कमलुक्खेवो ॥ दाहिणमारुयउ य कप्पूरं । अहियं विरहे डहइ सरीरं ॥२०.४॥
पायाकुलयं कस्सवि।
[चन्द्रोद्योतश्चन्दनलेपः । कुवलयशय्या कमलोत्क्षेपः ॥
दक्षिणमारुतश्च कर्पूरः । अधिकं विरहे दहति शरीरम् ॥ २०.४ ॥] कमलोक्षेपः पद्मदलोपवीजनम् । कर्पूरं वीर्ये शीतलम् । यदाह
कटुतिक्तोष्णमगुरु स्निग्धं वातकफापहम् ।
तिक्तं सुरभि शीतं च कर्पूरं लघु लेखनमिति ॥ ६० ॥ ॥२०.४॥ चउ चा टगणो मुत्तावलिया पोटदुगका पुणो वयणं ॥ तं चउसु अंतजमियं मडिला पाएसु दुसु दुसु अ अडिला ॥ २१ ॥

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पं० २०-२२; टी० ५९-६०] सवृत्तिके कविदर्पणे
२७ [चत्वारः चाः टगणो मुक्तावलिका; पटद्विककाः पुनर्वदनम् ।
___ तच्चतुव॑न्तयमितं मडिला पादयोर्द्वयोर्द्वयोश्वाडिला ॥ २१ ॥] चत्वारस्त्रिमात्रा एकश्चतुत्रिी मुक्तावलिका । एकः षण्मात्री द्वौ चतुर्मात्रावेको द्विमात्रः पुनर्वदनम् । तदेव चतुर्वपि पादेष्वन्ते यमकितं मडिला । द्वयोर्द्वयोः पादयोः पुनरडिला ॥ २१ ॥ उदा०-न सुयइ न हसइ न हु सा जंपइ । सुहय तरुणि तुह विरहे संपइ ।
केलिण्हाणभोयणविहिविसए। केवलमुत्ता वलियंससए ॥२१.१॥ मुत्तावलिया। [न स्वपिति न हसति न खलु सा जल्पति । सुभग तरुणी तव विरहे संप्रति ।
केलिस्नानभोजनविधिविषये । केवलमुक्ता वलितं श्वसिति ॥ २१.१ ॥] केवलमुक्ता सती वलियं अत्यर्थं श्वसिति ॥ २१.१॥ उदा०–जउ तुह तिहुयणनाह निहालिउ । तउ मई हेलह(इ) दुहु अवहेलिउ। जउ तुह पवयणु पाविउ सामिय । तउ मह पूरिय सयलवि कामिय ॥२१.२॥
वयणं । [यदा त्वं त्रिभुवननाथ निभालितः । तदा मया हेलया दु:खमवहेलितम् ।
यदा तव प्रवचनं प्राप्तं स्वामिन् । तदा मम पूरितं सकलमपि कामितम् ।। २१.२॥] उदा०-चिरमडिलहं भवरन्नि असत्थ[हं] । जे आसासय धम्मियसत्थहं । पणमह मुणियजिणागमसत्थहं । ताहँ गुरुहँ तिहुयणवि पसत्थहं ॥२१.३॥
[मडिला । [चिरमटनशीलानां भवारण्येऽस्वस्थानां । ये आश्वासका धार्मिकसार्थानाम् ।।
प्रणमत ज्ञातजिनागमशास्त्रेभ्यः । तेभ्यो गुरुभ्यस्त्रिवभुनेपि प्रशस्तेभ्यः ।। २१.३ ।।] चिरमटनशीलानां भवारण्ये अश्व(स्वोस्थानां ये आश्वासका धार्मिकसार्थानां प्रणमत ज्ञातजिनागमशास्त्रेभ्यस्तेभ्यो गुरुभ्यस्त्रिभुवनेपि प्रशस्तेभ्यः । 'अडिलह 'त्ति अटितुं शीलमेषामिति । 'तच्छीलाद्यर्थस्येर' (हे० ८.२.१४५) इति अडिर इति सिद्धे 'रस्य लो वा' (हे० ८.२.३२६) इति लत्वम् ॥ २१.३॥ उदा०-निअडि लयहं परिअडहिं सिलीमुह । मयणि निसिय ससिसिलह सिलीमुह ॥ तुह विरहानलि सुसियवसंतह । पहिय पवेसुवि विसमु वसंतह ॥२१.४॥
अडिला। [निकटे लतानां पर्यटन्ति शिलीमुखाः । मदनेन निशाताः शशिशिलायां शिलीमुखाः ॥
तव विरहानले शुष्कवसान्त्रस्य । पथिक प्रवेशोपि विषमो वसन्तस्य ।। २४.४ ।।] निकटे लतानां कुसुमसौरभात्पर्यटन्ति भ्रमराः । मदनेन निशाताः शशिशिलायां शराः । तव विरहानलशुष्कवसान्त्रस्य हे पथिक प्रवेशोपि विषमो वसन्तस्य दूरे प्रकर्षः ॥ २१.४ ॥
पद्धडिया टचउक्कं चरमे टे मज्झका, न विसमे जो। टदुगं तगणो खण्डं; चउ ता मयणावयारुत्ति ॥ २२ ॥

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सवृत्तिके कविदर्पणे
. [द्वितीयोद्देशे [पद्धटिका टचतुष्कं चरमे टे मध्यको, न विषमे जः ।
टदुगं तगणः खण्डं, चत्वारस्ता मदनावतार इति ॥ २२ ॥] चतुर्मात्रचतुष्कं पद्धटिका । तत्रान्त्ये चतुर्मात्रे मध्यकावेव । न च विषमे जगणः। तथा द्वौ चतुर्मात्रावेकः पञ्चमात्रः खण्डम् । तथा चत्वारः पञ्चमात्रा मदनावतारः । इति शब्दः प्रकारार्थः एतत्प्रकाराणि छन्दांसि सूचयति । एकः षण्मात्रश्चत्वारः समा मध्यकाश्चतुर्मात्रा हेला। अजाः समाः पञ्च चतुर्मात्राः एकः पञ्चमात्रोधिकाक्षरा। द्वौ त्रिमात्रौ त्रयश्चतुर्मात्रा एकस्त्रिमात्रो मञ्जिरी । षट्पञ्चचतुस्त्रिद्विमात्रा अरविन्दमिति पद्धटिकाप्रकाराणि । एकः षण्मात्र एकश्चतुर्मात्र एकस्त्रिमात्र उपखण्डम् । एकः षण्मात्रो द्वौ चतुर्मात्रौ खण्डितेति खण्डप्रकाराणि । एतत् त्रयमवलम्बकाख्यं ज्ञेयम् । पञ्चषट्सप्ताष्टनवपञ्चमात्राणि क्रमात् मधुकरी-नवकोकिला-कामलीला-सुतारा-वसन्तोत्सवाख्यानि मदनावतारप्रकाराणि ॥२२॥ उदा०-धन्नह उद्दामप्रणामरंगि । भालथलि पडिसंकेत चंगि।
गुरुसमुद्रसूरि पयनक्खु कंति । कप्पंद्धडिआइ तुलं वहंति ॥२२.१॥ पद्धडिया। [धन्यानामुद्दामप्रणामरङ्गे । भालस्थले प्रतिसंक्रान्ता सुन्दरी ।
गुरोः समुद्रसूरेः पदनखकान्तिः । कल्पवृक्षस्य तुलां वहति ॥ २२.१॥1 'नक्खु'त्ति द्वितीयतुर्ययोरुपरि पूर्वः (हे० ८.२.९०) इति द्वितीयोपरि प्रथमः ॥ २२.१ ॥ उदा०—वेरि य केसरिसरहओ । साहिय ठ खंड भरहओ।
कयसंजमो महारहो । सुब्वइ चक्कीवि भरहो ॥ २२.२ ॥ खंडं । [वैरिणौ केसरिशरभौ । कथितो हि खण्डो भरतः ।
कृतसंयमो महारथः । श्रूयते चयपि भरतः ॥२२.२॥] स्पष्टम् ॥ २२.२ ॥ उदा०—रोसगुरुगिरिसविसमच्छिमुच्छंतए
पलयजलणंमि गयणंमि गच्छंतए । तमि तम्मंतरइवयणनलिणे खणे
को खमो हुज मयणावयारक्खणे ॥ २२.३ ॥ [मयणावयारो।] [रोषगुरुगिरिशविषमाक्षिणि मूर्च्छति प्रलयज्वलने गगनं गच्छति ।
तस्मिस्ताम्यद्रतिवदननालिने क्षणे कः क्षमो भवेन्मदनापदारक्षणे ॥ २२.३ ॥ ] ताम्यद्रतिवदननलिने क्षणे कः क्षमो भवेन्मदनापदारक्षणे अपि तु न कोपि । हेलाधिकाक्षरादीनि स्वयमुदाहार्याणि ॥ २२.३ ॥
१ Is it कप्पज्झडिआइ ? झडिआ (cf. Marathi झाड) is rendered by me as वृक्ष. But this would mean that the name of the metre is your car and not qafeail as the ms. reads. Jain prosodists give the name as पद्धतिका. The Prakrita Paingala, however, gives it as पज्झटिका. See Bib. liotheca Indica edition, p. 217.

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सवृत्ति के कविदर्पणे
तदुगं दुगं चगणो गलिययमह चदुगटतिगचगणगुरू । खंजयमह टगणपंचगलहगुरू रासयं होई ॥ २३ ॥
०२२-२३.२; टी० प० ६१]
[ तद्विकं द्विकं चगणो गलितकमथ चद्विकटत्रिकच गणगुरवः । खञ्जकमथ टगणपञ्चकलघुगुरवो रासकं भवति ॥ २३ ॥ ]
इह हि गाथादण्डकादिवर्जं सर्वच्छन्दांसि यमकितांहीणि सामान्येन गलितकानि । सर्वगलितकानि सानुप्रासाणि यमकितांहीणि सामान्येन खञ्जकानि । सर्वखञ्जकानि एकेन द्वाभ्यां त्रिभिर्वा छन्दोभिर्दीर्घीकृतानि सामान्येन शीर्षकाणि । सर्वा अपि जातयः सामान्येन रासकम् ।
यदाह —
सव्वा वि जाईओ पत्त्थाववसेण इत्थ बज्झति । रासाबंधो नूणं रसायणं बुढ्ढगुट्ठीसु ॥ ६१ ॥
विशेषात्तु द्वौ पञ्चमात्रौ द्वौ चतुर्मात्रावेकस्त्रिमात्रो गलितकम् । यमकितांहि त्वाम्नानाद्भूरिभेदं चेदम् । अथ द्वौ त्रिमात्रौ त्रयश्चतुर्मात्रा एकस्त्रिमात्रो गुरुरिति खञ्जकम् । इदमपि बहुविधम् । अथ पञ्च चतुर्मात्रा लघुर्गुरुश्च रासकम् । एतदप्यनेकधा । शीर्षकाणि त्वग्रे द्विभङ्गीत्रिभङ्गीभ्यां वक्ष्यति ॥ २३ ॥
उदा० - घणपयट्ट पियसंकह मुहि सासिहि सहिय गंडफलगि सहुं पाणिहं धवलिम आरुहिय । गलिय अंजलि सहुं नयणह विब्भ्रम ललिय
तुहुं पियसहि विरहानलि बहुविह लंघलिय ॥ २३.१ ॥ गलिययं ।
[ घनप्रवृत्ता प्रियसंकथा मुखे श्वासैः सह
auses सह पाणिना धवलिमा आरूढः ।
गलित: अश्रुजलेन सह नयनयोर्विभ्रमो ललित:
त्वं प्रियसखि विरहानलेन बहुविधं त्रासिता ॥ २३.१]
स्पष्टम् ॥ २३·१ ॥
उदा० – उग्गसेणतणयाइ मिलायंतवयणाए
पबलबहलबाहपवाहझरंतनयणाए । चइवि जंतु उज्जंति रूवजियनलकूबरो
सच्चविओ सविलक्खं जयइ जिणवरो ॥ २३.२ ॥ खंजयं ।
[ उग्रसेनतनयया म्लायमानवदनया
प्रबल बहलबाष्पप्रवाहझरन्नयनया |
त्यक्त्वा गच्छन्नुज्जयन्तं रूपजितनलकूबर :
२९
प्रत्यक्षीकृतः सविलक्षं जयति नेभिजिनवरः ॥ २३२ ॥ ]
'सच्च विउ 'त्ति दृष्टः ॥ २३.२ ॥

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३०
सवृत्तिके कविदर्पणे
द्वितीयोद्देशे उदा०–पणयजणकप्परुक्खसरिसं पयतामरसं
जाण नमंति सुरा सययं कयमणुक्करिसं। केवलणाणपईवपयासियसयलविसया।
ते जिणणाहा तुम्हं कुणंतु भई सया ॥ २३.३ ॥ [प्रणतजनकल्पवृक्षसदृशं पदतामरसं
येषां नमन्ति सुराः सततं कृतमनउत्कर्षम् । केवलज्ञानप्रदीपप्रकाशितसकलविषया
स्ते जिननाथा युष्माकं कुर्वन्तु भद्रं सदा ॥ २३.३ ] ॥२३॥ सा चंदलेहिया पो टचउक्कं को य जत्थ; अह दुवई । पो पंच टा गुरू तत्थ मज्झका पढमपंचमटा ॥२४॥ [सा चन्द्रलेखा पः टचतुष्कं कश्च यत्र; अथ द्विपदी ।
पः पञ्चटाः गुरुस्तत्र मध्यको प्रथमपञ्चमटौ ॥ २४ ॥] यत्रैकः षण्मात्रश्चत्वारश्चतुर्मात्रा एको द्विमात्रश्च सा चन्द्रलेखिका । अथ सा द्विपदी यत्रैकः षण्मात्रः पञ्च चतुर्मात्रा एको गुरुः । 'तत्थ 'त्ति तेषु पञ्चसु चतुर्मात्रेषु मध्यकौ प्रथमपञ्चमौ ॥ २४ ॥ - उदा०-बहलंधारपडलमयमयमयपंकचच्चिए
नहदेवंभि पउरतरतारयकुसुमअच्चिए । जामिणिधम्मिणीइ ओ अंकदुरेहदुरेहिया
केयइदोणियव्व आरोविय चंदलेहिया ॥ २४.१॥ [चंदलेहिया]। [ बहलान्धारपटलमृगमदमयपङ्कचर्चिते
नभोदेवे प्रचुरतरतारकाकुसुमार्चिते । यामिनीधर्मिण्या ओ अङ्कद्विरफराजिता
केतकिद्रोणिकेवारोपिता चन्द्रलेखिका ।। २४.१ ।।] ओ इत्यव्ययं सूचनायाम् । यदाह-ओ सूचनापश्चात्तापे (हे० ८.२.२०३)। केतकीद्रोणिकेति केतकीदलं हि द्रोणाकृति स्यात् ॥ २४.१॥ उदा०-घोरअणोरपारअंधारयपंकुच्छंगबुडयं
कविवि कठिणअंककिणकलिओ हढिण विलोयगड्यं । चंदुवइल्लु जेम्व ओ सद्दलि नहकच्छंमि निब्भरं
तारयनियरकिरणउक्केरतिणंकुर चरइ अइचिरं ॥ २४.२॥ दुवई। [घोरानायनन्तान्धारपङ्कोत्सङ्गनिमग्नं
कृष्ट्वा कठिणाङ्ककिणकलितो हठेन विलोकरथम् । चन्द्रवृषभो ननु शाद्वले नभःकच्छे निर्भर
तारकानिकरकिरणोत्करतृणाङ्कुरांश्चरत्यतिचिरम् ।। २४.२ ।।

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५० २३.३-२५.१; टी० ५० ६२-६५] सवृत्तिके कविदर्पणे
___ 'उक्केर 'त्ति उत्करः । 'वल्युत्करपर्यन्ताश्चर्ये वा' (हे० ८.१.५८)। तथा द्विपद्येव गुरुणैकेनाधिका आरनालम् । उपान्त्यलघुना पुनरूना कामलेखा । ते अप्येवमुदाहार्ये ॥ २४.२ ॥
रासावलयं पो अजटगणो पो तो य; वत्थुवयणे तु । पगणो अजटो मज्झकटगणो अजटो य पगणो य ॥२५॥ [रासावलयं पः अजटगणः पः तश्च; वस्तुवदने तु ।
पगणो अजटो मज्झकटगणो अजटश्च पगणश्च ॥ २५॥] ___ एकः षण्मात्र एको जगणरहितश्चतुर्मात्रः एकः षण्मात्र एकः पञ्चमात्रश्च रासावलयम् । वस्तुवदने त्वेकः षण्मात्र एको जगणरहितश्चतुर्मात्र एको मध्यकश्चतुर्मात्र एको जगणरहितश्चतुर्मात्र एकः षण्मात्रश्च । वस्तुकमित्यन्ये । लघुषोडशकाद् द्विद्विलघुवृद्धया चेदमेकचत्वारिंशद्विधम् । यदाह
वंसो वित्तो बालो बाहो वामो बलाहओ विंदो । विद्धो विसो विसालो विसारओ वासरो वेसो ॥ ६२ ॥ तुंगो रिंगो भिंगो भिंगारो भीसणो भवो भालो । भद्दो भग्गो भट्टो भीरू तत्तो भडो भसलो ॥६३ ॥ अलओ वलओ मलओ मंजीरो मयमयो मओ माणी। महणो मसिणो मउलो महो मुहो मइहवो मुहलो ॥ ६४ ॥ एए नामनिबद्धा चउवीसकला हवंति वत्थुवया । सोलहलहुआउ लहूहिं वढमाणेहिं दोदोहिं ॥ ६५ ॥ [एते नामनिबद्धाः चतुविंशतिकला भवन्ति वस्तुवदनाः ।
षोडशलघुकालघुभ्यां वर्धमानाभ्यां द्वाभ्यां द्वाभ्याम् ॥६५॥] रासावलयपूर्वार्धं वस्तुवदनकोत्तरार्धं यद्वा वस्तुवदनपूर्वार्ध रासावलयोत्तरार्धमिति द्विधापि संकीर्णाख्यं छन्दः ॥२५॥ उदा०-ढक्कपडहपडुपडिरवमुहरासावलउ
बहुबलबहलियहलवोलाउलसुरनिलउ । तुह आगमणु नियवि निव भयभिंभलनयणु
निय वि नियंबिणि चइवि पलाइउ वेरियणु ॥२५.१॥ [रासावलओ] । [ढक्कापटहपटुप्रतिरवमुखराशावलयं
बहुबलबहलितकलकलाकुलसुरनिलयम् । तवागमनं दृष्ट्वा नृप भयविह्वललोचन:
निजामपि नितम्बिनीं त्यक्त्वा पलायितो वैरिजनः ।। २५.१ ॥] 'मुहरासावलउ'त्ति मुखरितदिक्चक्रम् । 'हलवोलु 'त्ति कलकलः । 'नियवि 'त्ति दृष्ट्वा । 'नियवि 'त्ति निजा अपि ॥ २५.१॥

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३२ सवृत्तिके कविदर्पणे
[द्वितीयोद्देशे उदा०- कय वयंसि दुहुदाहु देहि जक्कंगुच्चोडणु
___उण्हु सासु मुहि महुरअहररसअमयविलूडणु। अंसुसित्थु थणवत्थु वयणु विच्छाउ निहालह
दुल्लहवल्लहविप्पलंभु किम्व वहलिउ वालह ॥ २५.२ ॥ वत्थुवयणं । [ कृता वयस्ये दु:खदाहा देहे चन्दनचर्चा
उष्णः श्वासो मुखे मधुराधररसामृतविलोडनः । अश्रसिक्तं स्तनवस्त्रं वदनं विच्छायं निभालयत
__ दुर्लभवल्लभविप्रलम्भः किमिव बहलीकृतो बालायाः ।। २५.२ ॥ ] 'चक्कंगि 'त्ति चन्दनम् ॥ २५.२ ॥
रसटा उच्छाहो तइयपंचमा मज्झका अजा सेसा। इह चउपईसु पायं विसमसमपयाण अणुपासो ॥ २६ ॥ [रसटाः उत्साहस्तृतीयपञ्चमौ मध्यको अजा शेषाः ।
इह चतुष्पदीषु प्रायो विषमसमपादयोरनुप्रासः ॥ २६ ॥] षट् चतुर्मात्रा उत्साहः । अत्रापवादः । तृतीयपञ्चमौ मध्यकौ । जगणरहिताः शेषाः । इहैतासु गाथावर्ज चतुष्पदीषु विषमसमयोः पादयोरनुप्रासः । प्रायोग्रहणात्पञ्चाननललितादौ समपादयोरिति ॥ २६ ॥ उदा०-नो वीरह मंडलग्गि लग्गइ न वसइ सायरि
नो खिल्लइ महुमहउरि न य वियरइ कमलायरि । वेसायणसिहिणि नवि लसइ करिदसणि न पसरइ
लच्छि थिरत्तणु पुरिसह उच्छाहि परि जइ करइ ॥२६.१ ॥उच्छाहो । [न वीराणां मण्डलाये लगति न वसति सागरे
न खेलति मधुमथनोरसि न च विचरति कमलाकरे । वेश्याजनस्तने नापि लसति करिदशने न प्रसरति
लक्ष्मीः स्थिरत्वं पुरुषस्योत्साहे तु जगति करोति ॥ २६.१ ॥] स्पष्टः ॥ २६.१ ॥ (इति) चतुष्पदीप्रकरणम् ॥
अथ पञ्चपदी।
तगणदुगटगणलहुणो पढमतइयपंचमेसु चरणेसु । टा णवरि तइयपंचमपाएसुं मज्झकच्चेय ॥ २७ ॥ दुइयतुरिएसु टदुगं चो य इमा तिपयरइयपुव्वद्धा। तइयप्पंचमपयअणुपासा मत्ता पउरभेया ॥ २८ ॥ [तगणद्विकटगणलघवः प्रथमतृतीयपञ्चमेषु चरणेषु । टौ केवलं तृतीयपञ्चमपादयोर्मध्यकावेव ॥ २७ ॥

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प. २५.२-३१; टी० ५० ६६-६८] सवृत्तिकः कविदर्पणः
द्वितीयतुर्ययोष्टद्विकं चश्वेयं त्रिपादरचितपूर्वार्धा ।
तृतीयपञ्चमपदानुप्रासा मात्रा प्रचुरभेदा ॥ २८ ॥] प्रथमतृतीयपञ्चमेष्वंहिषु द्वौ पञ्चमात्रावेकश्चतुर्मात्र एको लघुः केवलं तृतीयपश्चमपादयो? चतुर्मात्रौ तौ मध्यकावेव । द्वितीयचतुर्थपादयोौ चतुर्मात्रावेकस्त्रिमात्र एवं पञ्चपादा यस्यामियं पादत्रयकृतपूर्वार्धा अर्थात्पादद्वयकृतोत्तरार्धा तृतीयपञ्चमपादयोः सानुप्रासा प्रचुरभेदा मात्रा नाम पञ्चपदी ॥ २७ ॥ २८ ॥ ___ उदा०-महमहूसवमुहि वित्तु मत्त । फुलंधुयभंगुरिहि । गुंदिभरिहि मायंद झंपिय ।
पियमाहवि मुणिमुणिवि । मुणिवि किंपि झाणाउ कंपिय ॥ २८.१ ॥ [मत्ता] । [मधुमधूत्सवमुखे वृत्तो मत्त- । भृङ्गभङ्गुरै- । मअरीभरैर्माकन्द आच्छादितः ॥
प्रियमाधव्या मुणमुणाय्य । मुनयः किमपि ध्यानात्कम्पिताः ।। २८.१ ॥] . 'गुदि 'त्ति मञ्जरी । 'पियमाहवि 'त्ति कोकिला ॥ 'पउरभेय'त्ति भणनान्मत्तवालिका १ मधुकरिका २ मत्तविलासिनी ३ मत्तकरिणी ४ बहुरूपेति ५ संज्ञा अस्या भेदा ज्ञेयाः । यदवोचच्छन्दःकन्दल्याम
मत्तच्चिय उच्चइ मत्तवालिया दुइयतुरियचरणेसु । पढमटगणंमि तगणे कयंमि जुगवं अजुगवं वा ॥ ६६ ॥ समचरणणिहणटगणे ते युज्य कमेण मत्तमहुअरिया । [इय] मत्तविलासिनिया सिहिसरपयमुहदुतेसु दुटा ॥ ६७ ॥ मत्तकरिणीवि एवं सिहिसरपाएसु टंमि जइ तगणो । एयासिं मत्ताईण संकरो होइ बहुरूवा ॥ ६८ ॥
[मात्रैवोच्यते मत्तबालिका द्वितीयतुरीयचरणयोः । प्रथमटगणे तगणे कृते युगपदयुगपद्वा ॥६६॥ समचरणनिधनटगणे तौ योजयित्वा क्रमेण मत्तमधुकरिका । इति मत्तविलासिनी शिखिशरपदमुखद्वितयोः विटौ ॥ ६७ ॥ मत्तकरिण्यप्येवं शिखिशरपादयोः टे यदि तगणो ।
एतासां मात्राणां संकरो भवति बहुरूपा ।। ६८ ॥] आसामुदाहरणानि ग्रन्थान्तराज्ज्ञेयानि । पञ्चपदीप्रकरणम् ॥ २८.१॥ अथ षट्पदी
दसअट्टतेरसहिं वा इह बारसअट्टतेरसहिं अहवा। अट्ठेगारसहिं व दसटएकारसहिं वावि ॥ २९ ॥ बारसअढेगारसहिं वा रविवसुरवि(वी)हिं य कलाहिं । तिसु तिसु पएसु कमसो दलजुयले बहुविहा पत्ता ॥ ३० ॥

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३४
सवृत्तिकः कविदर्पणः
एसा कडवयनिह छडुणिया इत्थ पढमबिहुयाण । तयछट्टआण [य] चउत्थपंचमाणं च अणुपासो ॥ ३१ ॥ [दशाष्टत्रयोदशभिर्वा इह द्वादशाष्टत्रयोदशभिरथवा । अष्टाष्टकादशभिर्वा दशाष्टैकादशभिर्वापि ॥ २९ ॥
द्वादशाष्टैकादशभिर्वा रविवसुरविभिर्वा कलाभिः । त्रिषु त्रिषु पादेषु क्रमशो दलयुगले बहुविधा घत्ता ॥ ३० ॥
एषा कडवक निधने छड्डुणिकात्र प्रथमद्वितीययोः । तृतीयषष्ठयोश्च चतुर्थपञ्चमयोश्चानुप्रासः ॥ ३१ ॥ ]
[ द्वितीयोद्देशे
' इह 'त्ति अस्मिंश्छन्दसि दशाष्टत्रयोदशादिकला यथासंख्यं क्लृप्तत्रित्रिपाद घटितार्धद्वया बहुविधा धत्ता नाम षट्पदी | वक्ष्यमाणस्य संधेर्मुखे कडवकस्य त्वन्ते ध्रुवमियं कार्यैव । ध्रुवा ध्रुव संज्ञाद्वयेपि एषा कडवकान्ते प्रक्रान्तार्थस्य भङ्ग्यन्तरेणाभिधाने छडणिकेति तुर्यनामापि । ' इत्थ 'त्ति अस्यां घत्तायां प्रथमद्वितीययोस्तृतीयषष्ठयोश्चतुर्थ पञ्चमयोः पादयोरनुप्रासः ॥ २९-३१॥
उदा० – मणि माणसमुद्धय । बप्पुड महय (मुद्धय) । जे जिणिंद तुह नहु णमिय । दुहसंघत्ताविय । कुसमय भाविय । ते नर निरु भवि चिरु भमिय ॥ ३०.१ ॥ [घत्ता ] ।
[ मनसि मानसमुद्धताः । मूर्खा वराकाः । ये जिनेन्द्र त्वां न प्रणताः ॥ दुःखसंघतापिताः । कुसमयभाविताः । ते नराः खलु भवे चिरं भ्रान्ताः ॥ ३०.१ ॥ ]
‘संघत्ताविय’त्ति ‘समासे वा' (हे ८.२.९७) इति द्वित्वम् । 'बप्पुडु 'ति शीघ्रादित्वाद्वराकस्य बप्पुडैः । 'निरु 'त्ति निश्चयार्थे अव्ययम् ॥ ३०.१ ॥
उदा० - जय जिणसासणणंदन (ण) । वणहरियंदण । निम्मलजसचंदणमलय । गुरुकुलगणदिवायर । गुणमणिसायर । तिलयसूरि गणहरतिलय ॥३०.२॥ महिभरसेसह । भीमनरेसह । जउ वज्जिय जयढक्क ।
तउ रिउवग्गह । भयभरभग्गह । हियडइ पडिय धसक्क ॥ ३०.३ ॥ भग्न अइयारिहिं । इक्कपहारिहिं । समरि सयंभरिराउ । घणरणकुड्डालह | कुमरप्पालह । तिणि मणि भइउ विसाउ ॥ ३०.४ ॥
[ जयजिनशासननन्दन - | वनहरिचन्दन । निर्मलयशश्चन्दनमलय | गुरुकुलगगनदिवाकर | गुणमणिसागर । तिलकसूरे गणधरतिलक ॥ ३०.२ ॥
महीभरशेषस्य । भीमनरेशस्य । यदा वाद्यते जयढक्का ॥
. तदा रिपुवर्गस्य । भयभरभग्नस्य । हृदये पतिता भीतिः ॥ ३०.३ ॥
भम्नोतिचारिभि- | रेकप्रहारेण । समरे शाकंभरीराजः ।
घणरणकौतुकवतः । कुमारपालस्य । तेन मनसि भक्तो विषादः (१) ॥ ३०.४ ॥ ]
१ The reference is to ० ८. ४, ४२२; but the actual word कवुड occurs under ८. ४. ३८७.

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१. ३०.१-६; टी. प. ७१-७४] सवृत्तिकः कविदर्पणः
'कुड्डालह'त्ति । शीघ्रादित्वात् । कौतुकस्य कुटुं तत आलश्च ॥ ३०.४ ॥ उदा०-दलि महियलु रिलंतह । तुह चल्लंतह । दीसहि जय जयवीर।
कट्ठ अमित्तह चित्तिहिं । तिण पुण दंतिहिं । गहिणिनयणिहिं नीर ॥३०.५॥ [दलेन महीतलमलंकुर्वाणस्य । तव चलतः । दृश्यते जय जगद्वीर ॥
कष्टा अमित्राणां चित्ते । तृणं पुनर्दन्ते । गृहिणीनयनेषु नीरम् ॥ ३०.५ ॥] 'कट्ठति काष्ठानि कष्टानि च ॥ ३०.५॥ उदा०-दीसहि सुंड गयाणणि । कव्वइ कइयणि । जूयचडण सिरि निब्भर ।
मारण जइपरिपा(वा)रइ । रज्जि तहारइ । कुमरनरिंद किवायर ॥ ३०.६ ॥* [दृश्यते शुण्डा गजानने । काव्यानि कविजने । यूकापतनं शिरसि निर्भरम् ॥
मारणं यतिपरिवारे (?) । राज्ये तव । कुमारनरेन्द्र कृपाकर ॥ ३०.६ ॥] 'सुंड'त्ति मदिराः करिकराश्च । 'कव 'त्ति कव्यानि काव्यानि च। द्यूतपतनानि यूकापतनानि च । दिङ्मात्रमिदं घत्ताषट्कम् । एवं सप्तकलाद्यैः सप्तदशकलान्तैः पादैस्तुल्यैरतुल्यैस्तुल्यातुल्यैर्वा त्रिभिस्त्रिभिर्बद्धार्धद्वयानेकधा विदग्धगोष्टीगरिष्ठा घत्ता । किंच तृतीयषष्ठपादयोर्दशादयो मात्रा एकैकवृद्धया यावत्सप्तदश; शेषानिचतुष्के तु सप्तैव यत्र सा षट्पदजाति म षट्पदी । दशादीनां सप्तदशान्तानामष्टविधत्वादष्टधा । सप्तस्थाने अष्टमात्राश्चेत्तदा सैवोपजाति म षट्पदी पूर्ववदष्टधा । अष्टस्थाने नव चेत् तदावजाति म षट्पदी प्राग्वदष्टधा । एवं षट्पदजात्युपजात्यवजातीनां प्रत्येकमष्टविधत्वाच्चतुर्विंशतिधा षट्पदी । यदवोचच्छन्दःकन्दल्याम्
जीइ कलाउ दसाई सत्तरसंता य सिहिरसपएसु । सेसेसु सत्त छपई सा छपई नाम अहविहा ॥ ७१ ॥ इय अहहि उवजाई सत्तहाणे कलाहि अट्टविहा । नवहि पुणो अवजाई एवं चउवीसहा छपई ॥ ७२ ॥ [यस्याः कलाः दशादयः सप्तदशान्ताश्च शिखिरसपदयोः ।
शेषेसु सप्त षट्पदी सा षट्पदी नामाष्टविधा ॥ ७१ ।। इति अष्टभिरुपजाति: सप्तस्थाने कलाभिरष्टविधा ।
नवभिः पुनरवजातिः एवं चतुर्विंशतिविधा षट्पदी ।। ७२ ॥ ] चतुष्पदीद्विपद्यावपि ध्रुवाध्रुवकघत्तासंज्ञे ज्ञेये । ते अपि संधिमुखे कडवकान्ते ध्रुवं कार्ये । केवलं कडवकान्ते चतुष्पद्येव छडणिकाख्या न द्विपदी । यच्छन्दःकन्दली
कडवयनिवहो संधी पद्धडियाईहिं चउहिं पुण कडवं । संधिमुहे कडवंते धुवा च धुवयं च घत्ता वा ॥ ७३ ॥ सा तिविहा छपई चउपई य दुपई य तासु पुण दुन्नि ।
छचउप्पईओ कडवयनिहणे छड्डुणियनामावि ॥ ७४ ।। * Both 30.5 and 30.6 are fine examples of श्लिष्टपरिसंख्या .

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३६
सवृत्तिकः कविदर्पणः
[ कडवकनिवहः संधि: पद्धतिकादिभिश्चतुर्भिः पुनः कडवम् । संधिमुखे कडवान्ते ध्रुवा च ध्रुवकं च घत्ता वा ॥ ७३ ॥
सा त्रिविधा षट्पदी चतुष्पदी च द्विपदी च तासु पुनर्दे । षट्चतुष्पद्यो कडवक निधने छड्डणिकानाम्न्यावपि ॥ ७४ ॥ ]
तथान्तरसमार्धसमा संकीर्णा सर्वसमा चेति चतुर्धा चतुःपदी । यच्छन्दः कन्दली -
अह चउपईओ चउहा हवंति अन्तरसमा तहद्धसमा । संकिन्ना सव्वसमा य तासु तावंतरसमाओ || ७५ ॥ विसमे सेगा सेगा सत्ताई सोल जाव पत्तेयं । अट्ठाई जा सतरस सेगा सेगा समे मत्ता ॥ ७६ ॥ चंपयकुसुमाइणामियाओ जाईओ हुंति पणवन्ना । दिसिगहव सुहयर ससरसायर सिहिणयणचंद भेएहिं ॥ ७७ ॥ एआओच्चिय सुमणोरमाइनामाओ वच्चए मुणह | एवं दहुत्तरसयं चउपई अंतरसमाओ || ७८ ॥ अंतरसमयच्चिय दुइयतइयपायाण विणिमयंमि कए । अद्धसमा य दहुत्तरसयसंखा तेहिं णामेहिं ॥ ७९ ॥ दुहि तिहि चउहिवि विसरिसपाएहि विमिस्सियाओ संकिन्ना । सव्वसमाओं पुण सरीसएहिं सव्वेहिं पाएहिं ॥ ८० ॥ [ अथ चतुष्पद्यश्चतुर्धा भवन्ति अन्तरसमाः तथार्धसमाः । संकीर्णाः सर्वसमाश्च; तासु तावदन्तरसमाः ॥ ७५ ॥ विषमे सैका : सैकाः सप्तादयः षोडश यावत्प्रत्येकम् । भष्टादयो यावत्सप्तदश सैकाः सैकाः समे मात्राः ॥ ७६ ॥
चम्पककुसुमादिनाम्न्यो जातयो भवन्ति पञ्चपञ्चाशत् । दिग्ग्रहवसुहयरसशरसागरशिखिनयनचन्द्रभेदैः ॥ ७७ ॥ एता एव सुमनोरमादिनाम्नीः व्यत्यये जानीत | एवं दशोत्तरशतं चतुष्पद्यः अन्तरसमाः ॥ ७८ ॥ अर्धसमानामेव द्वितीयतृतीयपादयोः विनिमये कृते । अर्धसमाश्च दशोत्तरशतसंख्याः तैः [एव] नामभिः ॥ ७९ ॥
[ द्वितीयोद्देशे
द्वाभ्यां त्रिभिश्चतुर्भिरपि विसदृशपादैः विमिश्रिताः संकीर्णाः । सर्वसमाः पुनः सदृशैः सर्वैः पादैः ॥ ८० ॥ ]
कुङ्कुमाद्यास्तुः चतुःषष्टिधा द्विपदी । तयोः पञ्चाननललितामलयमारुतकदोहकापदोहकाचाः कतिचिदन्तरसमाचतुष्पदीभेदाः कुङ्कमाद्याश्च कतिचिदद्विपदीभेदाः पञ्चाननललिता च बहुशः संधिमुखेषु प्रयुक्ता दृश्यते ॥ २९ ॥ ३० ॥ ३१ ॥

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५.३२; टी. प. ७५–८४]
सवृत्तिकः कविदर्पणः
पपका टदुगं पपटा कमेण मुहणिहणदलपयतिगेसु । कित्तिधवलं दलजुगे पढमतइज्जाण अणुपासो ॥ ३२ ॥
यदाह
[ पपकाष्टदुगं पपटाः क्रमेण मुखनिधनदलपदत्रिकेषु । कीर्तिधवलं दलयुगे प्रथमतृतीययोरनुप्रासः ॥ ३२ ॥ ]
धवलव्याजाद्येन च्छन्दसा पुमान् वर्ण्यते तद्धवलम् । तच्च त्रिधा । अष्टपात् षट्पाच्चतुष्पात् ।
धवलमिहेण सुपुरिसा वन्निज्जइ जेण तेण सो धवलो ।
वलोव होइ तिविहो अट्ठपउ च्छप्पड च्चउप्पाओ ॥ ८१ ॥
[ धवलमिषेण सुपुरुषो वर्ण्यते येन तेन स धवलः ।
धवलोपि भवति त्रिविधः अष्टपाद् षट्पाद् चतुष्पाद् ॥ ८१ ॥ ]
तत्राष्टपदश्रीधवलमष्टपद्यां वक्ष्यति । षट्पदस्तु अयं यथा । क्रमान्मुखदले प्रथमेंहौ द्वौ षण्मात्रावेको द्विमात्रो द्वितीयांहौ तु द्वौ चतुर्मात्रौ तृतीये तु द्वौ षण्मात्रावेकश्चतुर्मात्रः । एवं द्वितीयदलांह्रित्रयेपि यस्य तत्कीर्तिधवलं छन्दः । दलद्वयेप्यस्य प्रत्येकं आद्यतृतीयपादयोरनुप्रासः ॥ उदा० – देसणगुणगव्विहिं गज्जउ । मञ्चउ नाणिहिं । पवलवायभडवाइहिं भज्जउ ।
परिकित्तिधवलियसयलधर । जसघोससूरि ।
तुह समवड ण लहहि किंचि गणधर ॥ ३२.१ ॥ [ देशनागुणगर्वेण गर्जित: । मत्तो ज्ञानेन ।
प्रबलवाग्भटवादिभिर्भक्तः ॥
परिकीर्तिधवलितसकलधरो । यशोघोषसूरे ।
३७
त्वत्समो न लभ्यते कोपि गणधरः || ३२.१ ॥]
' समवड 'त्ति समतुलांवडशब्दाः संमितार्थाः । चतुष्पदश्च गुणधवलादिः । स च महाप्रन्थेभ्यो ज्ञेयः । धवलोपलक्षणान्मङ्गलार्थ संबद्धं छन्दो मङ्गलम् । यदाहु:--
उत्साहहेलावदनाडिलाद्यैर्यद्गीयते मङ्गलवाचि किंचित् ।
तद्रूपकाणामभिधानपूर्व छन्दोविदो मङ्गलमानमन्ति ॥ ८२ ॥ तथा - तैरेव धवलव्याजात्पुरुषः स्तूयते यदा ।
तद्वदेव तदानेको धवलोप्यभिधीयते ॥ ८३ ॥
1
कोर्थः । येनैवोत्साहादिना मङ्गलधवलभाषागाने कृते तन्नामाद्ये मङ्गलधवले । तथाहि । उत्साहमङ्गलम् । हेलामङ्गलम् । वदनमङ्गलम् । अडिलामङ्गलम् || आदिशब्दात् रासावलयमङ्गलं दोहकमङ्गलादि च ज्ञेयम् । एवं उत्साहधत्रलाद्यपि वाच्यम् । किंच येनैवोत्साहादिना देवो गीयते तत्फुल्लडकम् । तथा चतुर्मात्रात्रिमेको द्विमात्रो यत्रांहिचतुष्टये यस्य कस्यचिद्गाने झम्टकम् । यच्छन्दः कन्दली
उच्छाइवयण हेलादोहयपमुहे हिं गिज्जए पुरिसो । जेहिंचिय धवलमिसेण तन्नाममुच्चए भवलं ॥ ८४ ॥

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सवृत्तिकः कबिदर्पणः
यन्मंगलावि तन्नाममुच्चए मंगलत्थसंबद्धं । फुलडयं सुरगाणे झंबटयं टतिगका गाणे ॥ ८५ ॥
[ उत्साहवदनहेलादो हकप्रमुखैर्गीयते पुरुषः । यैरेव धवलमिषेण तन्नामोच्यते धवलम् ॥ ८४ ॥
यन्मङ्गलादपि तन्नामोच्यते मङ्गलार्थसंबद्धम् ।
फुलडकं सुरगाने झम्बटकं टत्रिककाः गाने ॥ ८५ ॥ ] इति ॥ ३२ ॥
वत्थुवयणाइ उल्लालसंजुयं छप्पयं दविढछंदं ।
कव्वं वा; अह मत्ता उल्लालयसंगया फुलं ॥ ३३ ॥
[ वस्तुवदनादि उल्लालसंयुतं षट्पदं सार्धच्छन्दः । काव्यं वा; अथ मात्रा उल्लालकसंगता फुलम् ॥ ३३ ॥]
वस्तुवदनमादिर्यस्य रासावलय संकीर्ण कवदनादिछन्दः समूहस्य तत् उछालकेन कुङ्कुमेन कर्पूरण च संपृक्तं छन्दः षट्पदाख्यं सार्धच्छन्दः संज्ञं काव्यसंज्ञं वा ज्ञेयम् । यदाह—
इ वत्थुआ हिट्ठे उल्लाला छंदयंमि किज्जति । दिवडच्छंद यछप्पयकव्वाइं ताइं वुच्चति ॥ ८६ ॥ [ यदि वस्तुकानामधः उल्लाला छन्दसि क्रियन्ते । सार्थच्छन्दः षट्पदकाव्यानि तान्युच्यन्ते ॥ ८६ ॥ ] उदा० - पिच्छ प्पओसि समग्गपिहियगय गंगणमग्गह गहिर मज्ज्ञमुज्झंतलोयलोय णऊसवग्गह । तलदिप्पंतपईवपंति निम्मलमणिविंदह
[ द्वितीयोद्देशे
उड्डामपतमतिमिरनियरउद्दाम समुद्दह ॥
ससिखंडु लहरिहेलुलसिर वियडसिप्प संपुडसमु ।
पसयच्छ तरलतारयनिवहु नज्झइ घणु फेणुग्गमु ॥ ३३.१ ॥ [ छप्पओ ] |
सूरिलच्छिमणिहारफुरियकिरणुक्करसुंदरु
मुहमणहरहरिणंकर्बिबजुण्हाभरसोयरु ।
वयणकुहरविहरंतवाणिदेहच्छविविब्भमु
सच्छप्पयनहनिवहबहल उम्मुहमोहोवमु ॥
समखीरजलहिलहरीलडहु कित्तिकणइकुसुमप्पवरु ।
मह गुरु तुहु दीes कटरि देसणखणि दसणंसुभरु ॥ ३३२ ॥
[प्रेक्षस्व प्रदोषे पिहितसमग्रगगनाङ्गणमार्गस्य
गम्भीरमध्य मुह्यलोकलोचनोस्त्रवर्गस्य । तलदीप्यमानप्रदीपपङ्क्तिनिर्मलमणिवृन्दस्य उद्दामप्रतमतिमिरनिकरोद्दामसमुद्रस्य ॥
शशिखण्डं लहरिहेलोलसनशील विकटशुक्ति संपुटसमम् ।
प्रसृताक्षि तरलतारकानिवहो शायते घनः फेनोद्गमः ॥ ३३.१ ॥

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प: ३३.१-२; टी. प. ८५-८८] सवृत्तिका कषिदर्पणः
सूरिलक्ष्मीमणिहारस्फुरितकिरणोत्करसुन्दरी
मुखमनोहरहरिणाङ्कबिम्बज्योत्स्नाभरसोदरः । बदनकुहरविहरद्वाणीदेहच्छविविभ्रमः
स्वच्छपदनखनिवहबहलोन्मुखमयूखोपमः ॥ शमक्षीरजलधिलहरीलटभः कीर्तिलताकुसुमं प्रवरम् ।
मम गुरोस्तव दृश्यते भो देशनासमये दशनांशुभरः ॥३३.२ ॥] सच्छप्पयेत्यादि । स्वच्छपदनखनिवहबहलोन्मुखमयूखोपमम् । 'न वा मयूखलवणचतुर्गुणचतुर्थचतुर्दशचतुर्वारसुकुमारकुतुहलोदूखलोलूखले' (हे० ८.१.१७१) इति आदिस्वरस्य सस्वरव्यञ्जनेन सह ओकारः । 'कणइ 'त्ति लता । 'तुहु 'त्ति तुहुश्च प्राग्वत् । 'कटरि'त्ति विस्मये ॥ ३३.२ ॥ रासावलयस्य कुङ्कमेन यथा
जयरि(इ अ) झलक्कहिं [नयण] दीहनयणिअहि त खणु
केअइकुसुमदलग्गि भसलु विलसइ त जणु । जइ य तीइ मुहहावि मंदहासउ चडइ __ता जणु हीरइ पोम्मरायसंचउ झडइ ॥ जइ तीइ महुरमियभासणिहि वयणगुंफु निसुणिज्जइ । ता धुउ करिप्पि जणु अमयरसु कन्नपन्नपुडि पिज्जइ ।। ८७ ॥ [ यदि च चकास्ति नयनं दीर्घनयनायाः तत् क्षणं
केतकीकुसुमदलाये भ्रमरो विलसति तदा जाने। यदि च तस्या मुखहावे मन्दहास आरोहति
तदा जाने हीरके पद्मरागसंचयः पतति ।। यदि तस्या मधुरमितभाषिण्या वचनगुम्फो निश्रूयते ।
तदा ध्रुवं कृत्वा जाने अमृतरसः कर्णपर्णपुटेन पीयते ॥ ८७ ॥1 रासावलयस्य कपूरेण यथा
परहुयपंचमसवणसभय मन्नउ स किर
तिंभणि भणइ न किंपि मुद्धि कलयंठि गिर । चंदु न दिक्खण सका जं सा ससिवयणि
दप्पणि मुह न पलोअइ तिंभणि मयनयणि ।। वहरिउ मणि मन्नवि कुसुमसरु खणिखणि सा बहु उत्तसइ । अच्छरिउ रूवनिहि कुसुमसरु तुह दंसणु ज अहिलसइ ॥ ८८॥ [परभृतपञ्चमश्रवणसभया मन्ये सा किल
तस्माद् भणति न किमपि मुग्धा कलकण्ठी गिरम् । चन्द्रं न द्रष्टुं शक्नोति यत्सा शशिवदना
दर्पणे मुखं न प्रलोकयति तस्मान्मृगनयना ॥ वैरिणं मनसि मत्वा कुसुमशरं क्षणेक्षणे सा बहूत्रसति । आश्रय सपमित्र कुमार सब दर्शनं यदभिलपति ॥ ८ ॥

Page #109

४०
सवृत्तिकः कविदर्पणः
वस्तुत्रदनकरासावलयसंकीर्णस्य कुङ्कुमेन यथा—
पंडिगंडयलपुलयपयरपयडणबद्धायरु कंचिबालबाला विलासबइलिमगुणनायरु ।
द्रविडिदिव्वचंपयचयपरिमलल्हसडउ कुंतलिकुंतलदप्पकडप्पणलंपडउ ॥ [मरहडिमाणनिद्वाहवयविहवविहंसणसक्कउ ।]
कसु करइ न मणि हलोहलउ मलयानिलहु झुलक्कउ ॥ ८९ ॥
[ पाण्ड्य [स्त्री] गण्डतलपुलकप्रकर प्रकटनबद्धादरः
काञ्चीपालबालाविलासबहलिमगुणनागरः | द्रविडदिव्यचम्पकचयपरिमलोल्लासितः
कुन्तलीकुन्तलदर्पवर्धनलम्पट: ।
महाराष्ट्रीमान... विभवविध्वंसन शक्तः ।
कस्य करोति न मनसि क्षोभं मलयानिलस्य पातः ॥ ८९ ॥
कर्पूरेण यथा
अविहडअवरुप्परुप्परूढगुणगंठिनित्रद्धउ
एयारिण हलि गलइ पिम्मु सरलिमवसलद्धउ । माणमडप्फरु तुह न जुत्तु उत्तमरमणि
तिंभणि वारउं वारवार वारणगमणि ॥
अह करहि कलहु वल्लहिण सहुं इच्छि म इच्छिउ पणयसुहु । माणिक्क मणसिणि करिठवलु हिल्लि खिल्लिताजूड तुहुं ॥ ९० ॥
[ अविघट... परस्परोढगुणग्रन्थिनिबद्धं
एतादृशेन सखि गलति प्रेम सरलिमवशलब्धम् ! मानगर्वस्तव न युक्त उत्तमरमणि
ततो वारयामि वारंवारं वारणगमनि ।
अथ करोषि कलहं वल्लभेन सह, इच्छ मेष्टं प्रणयसुखम् । कोई * * मनस्विनि * * * * * त्वम् ॥ ९० ॥ ]
रासावलयवस्तुवदनकसंकीर्णस्य कुङ्कुमेन यथा
सवणनि हियही र यहसंतकुंडलजुयल थूलामलमुत्तावलिमंडिअथणकमल ।
से अंसुयपंगुरण बहलसिरिइंडर सुज्जल बहुपहुल्लविअइल्लफुल्लफुल्ला वियकुंतल ।
तो पडत्थयदंसणजणियखलयणडर भरभारिय
अहिसरह चंदसुंदरनिसिहि पदं पिययम अहिसारिय ॥ ९९ ॥ -
[द्वितीयोद्देशे

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टी० ५० ८९-९३]
सवृत्तिकः कविदर्पणः
[श्रवणनिहितहीरकहसत्कुण्डलयुगला
स्थूलामलमुक्तावलिमण्डितस्तनकमला । श्वेतांशुकप्रावरणा बहल श्रीखण्डरसोज्ज्वला
बहुप्रफुल्लविकचिलपुष्पपुष्पायितकुन्तला ॥ तत: प्रकटार्थदर्शनजनितखलजनभयभरभारिणी । अभिसरति चन्द्रसुन्दरनिशायां त्वां प्रियतम अभिसारिका ॥ ९१ ॥]
कपूरेण यथा
तरुणिहूणिगंडप्पहपुंछिअतिमिरमसि
उक्कचुलुक्कावडणु दुसहु मा करउ ससि। . मलयानिलु मयनयणि घुणियकप्पूरकयणि(लि)वणु
संभुक्कियमयणग्गिहु सहि मा दहउ तुज्झ तणु ॥ तणुअंगि म खडहडि पडहि तुहुं मयणबाणवेयणकलह । चय माणु माणिवल्लहिण सहुं चडि म जीयसंसयतुलह ॥ ९२ ॥ [तरुणीहूणीगण्डप्रभाप्रोन्छिततिमिरमसिः
उल्काचुलुकपातनं दुःसहं मा करोतु शशी । मलयानिलो मृगनयने घूर्णितकर्पूरकदलीवनः
संधुक्षितमदनाग्निः सखि मा दहतु तव तनुम् ॥ तन्वङ्गि मा कष्टे पत त्वं मदनबाणवेदनाकलया। त्यज मानं मानिवल्लभेन सह आरोह मा जीवसंशयतुलाम् ॥ ९२ ॥]
..
.
वदनकस्य कुङ्कुमेन यथा
जइ तुहुं महु करयलु उम्मोडिवि
चल्लिय चीरंचलु अच्छोडिवि । माणिणि तुवि पसाउ करि सुम्मउ
पह पिइ उत्तावलिय म गम्मउ॥ जइ किंवइ विसंवह पयजुयलु इह विहिवसिण विहट्टइ । ता तुज्झ मज्झु खीणउ खरउ किं म खामोअरि तुट्ठइ ॥ ९३ ॥
[यदि त्वं मम करतलमुन्मुच्यापि
चलिता चीराञ्चलमाच्छिद्यापि । मानिनि ततोपि प्रसादं कृत्वा श्रूयतां .
त्वया प्रिये उत्सुके मा गम्यताम् ॥ यदि किमपि • • • • पदयुगलमिह विधिवशेन विघटते । .. तदा तव मध्यः क्षीणः खरः किं न क्षामोदरि त्रुट्यति ॥ ९३ ॥]

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सवृत्तिकः कविदर्पणः
[द्वितीयोद्देशे कर्पूरण यथा
कि न फुल्लइ पाडल परपरिमल
महमहेइ कि न माहवि अविरल । नवमालिय कि न दलइ पहिल्लिय
कि न उत्थरइ कुसुमभरि मल्लिय। दीहियतलायसरितल्लडिहिं कि न पसाहि पउमिणि फुडइ । तुवि जाइजायगुणसंभरणुझाणुवि भसल हु मणि खुडइ ॥ ९४ ॥ [किं न विकसति पाटलं परपरिमलं
गन्धं प्रसारयति किं न माधवी अविरलम् । नवमालिका किं न दलति प्रघूर्णिता
किं न अवक्रामति कुसुमभरेण मल्लिका ।। दीर्घिकातडागसरित्तलेषु किं न प्रसादेन पद्मिनी स्फुटति ।
ततोपि जातजातिगुणसंस्मरणध्यानोपि भ्रमरः खलु मनसि त्रुट्यति ॥ ९४ ॥] षट्पदीप्रकरणम् ॥ ३३.२॥ अथ सप्तपदी। अथ मात्राजातिरुल्लालकाभ्यां कुङ्कमकर्पूराभ्यां संगता फुल्लसंज्ञा । यन्मनोरथः
जइ मत्ताजाईणं उल्लाला हेहयमि दीसंति। ता ताई सव्वाई फुल्लयनामेण कहियाई ॥ ९५ ॥ [यदि मात्राजातीनामुल्लाला अधस्ताद् दृश्यन्ते ।
तदा तानि सर्वाणि फुल्लकनाम्ना कथितानि ॥ ९५ ॥] उदा०-विहियभर वइसवइघरदास । रसु साहिउ दुद्धरिसु।
हणिउ असुर बद्धरु भयंकरु॥ छद्दरिसणदिटुसम । खत्ति रज्झ पालिउ निरंवरु। पूइयकइंदबंदिणविबुहवरसुरकित्तण कारिय ।
जयसिंहदेवराइहिं भुवंणि कित्तिरिद्धि वद्धारिय ॥ ३३.३॥ रामपंडवभरहहरियंद। णलपमुहिहिं जणजणह। पुत्तभावु पडिवज्झि कूरिहि । विलवंतह तियजणह । ज किर हरिउ पत्थिविहिं भूरिहि ॥ मुग्गदु त मुक्कु पई पाउ भणि तिणु जिंव तिहुणप्पालसुय । उप्फुलवयण कि ण जण मुणहि, तिणि कुमरेस चरित्त तुय ॥३३.४॥[फुल्लो]। [विहितभरो वैश्यपतिः गृहदासः । रसः साधितो दुर्धर्षः ।
हतः असुरः . . . भयंकरः ॥ षड्दर्शनदृष्टश्रमः । . . . पालितं . . . . | पूजितकवीन्द्रबन्दिविबुधवरसुरकीर्तनं कारयित्वा । जयसिंहदेवराजेन भुवने कीर्ति-ऋद्धिर्वर्धिता ॥ ३३.३ ॥

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५० ३३.३–३४-२; टी. प. ९४ - ९६ ] सवृत्तिकः कविदर्पणः
रामपाण्डवभरतहरिश्चन्द्र- । नलप्रमुखैर्जनस्य जनस्य । पुत्रभावं प्रतिपद्ये क्रूरैः ॥ विलपत: स्त्रीजनस्य । यत्किल हृतं पार्थिवैर्भूरिभिः ॥
मृतस्वं तन्मुक्तं त्वया पापं भणित्वा तृणमिव त्रिभुवनपालसुत । उत्फुल्लवदनः किं न जानाति जनस्तेन कुमरेश चरित्रं तव ॥ ३३.४ ॥ ]
'पडिवज्जि 'त्ति प्रतिपद्य । 'मुग्गदु 'त्ति मृतस्वम् । 'भणि 'त्ति भणित्वा । 'क्वा-ह- इउ - इ अवय' (हे० ८·४·४३९) इति त्यास्थाने इ: । एवं शेष भेदेषूदाहार्यम् । सप्तपदीप्रकरणम् ॥३३.४॥
अथाष्टपदी
विसमे टतिगहिं समेसु टदुगेण चउसु सिरिधवलं । विसमसमपयणुपासं, अह तरलं दोहसंदोहा ॥ ३४ ॥ [विषमेषु टत्रिककैः समेषु टद्विकेन चतुर्षु श्रीधवलम् । विषमसमपादानुप्रासं; अथ तरलं दोहसंदोहौ ॥ ३४ ॥ ]
विषमेषु चतुर्षु पादेषु त्रिभिश्चतुर्मात्रैरकेन द्विमात्रेण, समेषु चतुर्षु पादेषु द्वाभ्यां चतुर्मात्राभ्यां श्रीधवलं छन्दो विषमसमपादानुप्रासं प्रथमस्यांहेर्द्वितीयेनांहिणा तृतीयस्य तुर्येण पञ्चमस्य षष्ठेन सप्तमस्याष्टमेनानुप्रास इत्यर्थः । अथ दोहसंदोहौ तरलं छन्दः । दोहशब्देनेह दोहकजातिगृह्यते ततो दोहका दोहको पदोहकोदोहकादीनां संग्रहः । यन्मनोरथ: :―
जइ दोहयाण हिट्ठे दीसह संदोहओ हहं (९) रइओ । ता ते सव्वे छंदमि तरलनामेण नायव्वा ॥ ९६ ॥
[ यदि दोहकानामधस्ताद् दृश्यते संदोहको रचितः । तदा ते सर्वे छन्दसि तरलनाम्ना ज्ञातव्याः ॥ ९६ ॥ ]
उदा० - खीरसमुद्दिण लवणजलहि । कुंवलय कुमुहहिं । कालिंदी सुरसिंधुजलिण | महुमहुणु हरिण ॥ कइलासिण सरिसउ हू किरि । सो अंजणगिरि । इह तु जससिरिधवलिओ पहुं । किं पेडरुन हु ॥ ३४.१ ॥
४३
सिरिधवलं हेमसूरिस्स (V. 33 )
जुव्वणु जीविय संयलु । चंचलु जिम्व करिकन्नु । खणि खणि करयलि नीरु जिम्व । गलइ रूवलायन्नु ॥ अवरइ अविरलविज्जुलवलय- । विलसियतरल पयत्थ । तुइ बढ धम्मुज्जमसढिलमण । जण अच्छा वीसत्थ ॥ ३४-२ ॥
[ क्षीरसमुद्रेण लवणजलधिः । कुवलयानि कुमुदैः ॥
कालिन्दी सुरसिन्धुजलेन । मधुमथनो हरेण ॥
कैलासेन सदृशः खलु कृतः । सोऽअनगिरिः ॥
इह तव यशःश्रीधवलितं प्रभो । किं पाण्डुरं न खलु १ ॥ ३४.१ ॥

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[द्वितीयोद्देशे
सवृत्तिकः कविदर्पणः - धनं यौवनं जीवितं सकलं । चञ्चलं यथा करिकर्णः । क्षणे क्षणे करतले नीरं यथा । गलति रूपलावण्यम् ॥ अपरमपि अविरलविद्युद्वलय- | विलसिततरलाः पदार्थाः ।। ततोपि मूढो धर्मोद्यमशिथिलमनाः । जनो भवति विश्वस्तः ॥ ३४.२ ॥]
'बढ'त्ति शीघ्रादौ 'मूढस्य नालिअबढौ 'इति । (हे. ८.४.४२२) ॥ ३४.२ ॥
वत्थुय दोहा दोहय वत्थुवयण तह य दुवइगीईओ। हुंति दुहंगी नामा वत्थू दोहाइजुयमत्ता ॥ ३५॥
[वस्तु च दोहा; दोहा च वस्तुवदनं; तथा च द्विपदीगीत्यौ ।
भवन्ति द्विभङ्गी नाम; वस्तु दोहादियुतमात्रा ॥ ३५ ॥] 'वत्थु 'त्ति 'वत्थुवइ 'त्ति वस्तुवदनं तदुपरि तदादौ च दोहकस्तथा च द्विपघुपरि गीतिभिङ्गीसंज्ञाः स्युः । द्वौ भङ्गौ छन्दसी यस्यां सा द्विभङ्गी ॥ ३५॥
. उदा०–अरिरि मयण रइवयणकमलदसणु खणु वज्जह
__ अरिरि कालपरिवाससिढिलबंधणु धणु सज्जह । अरिरि वीरहरिणकचूडलूडणु सरु संधह
अरिरि हठिण उज्जति जंतु मह वल्लहु रंधह ॥ इम्व बुलंती राइमइ । सामिय बहुसोहग्ग । अंसुजलुल्लयलोयणिय । तुह किम्व चित्ति न लग्ग ॥ ३५.१ ॥
- दुहंगिया सूरष्पहरिस्स । मई मिल्लिउ म न जाह तुह । कंत वसंतपवेसि । चूउ न बाहह उत्थरिउ । विरहिणिमारणरेसि ॥ विरहिणिमारणरेसि गुंदिसन्नाहु सुदिङ करि
कि न बाहह उत्थरिउ चूउ अविरलदलडवरि । कंत वसंतपवेसि विरहदुहघंघलि घल्लिउ अहह म जाह अणाहदीणदुम्मइ मइ मिल्लिउ ॥ ३५.२ ॥
दुहंगिया।
[अरेरे मदन रतिवदनकमलदर्शनं क्षणं वर्जय ____ अरेरे कालपरिवासशिथिलबन्धनं धनुः सज्जय ।
अरेरे वीरहरिणाङ्कचडालोडनं शरं संधेहि ____ अरेरे हठेनोज्जयन्तं गच्छन्तं मम वल्लभं रुधान ।। इति वदन्ती राजीमतिः । स्वामिन् बहुसौभाग्या । अश्रुजलार्द्रलोचनी । तव किं चित्ते न लग्ना ॥ ३५.१॥

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१० ३५-३५.३; टी०प० ९७] सवृत्तिकः कविदर्पणः
मां त्यक्त्वा मा यासीस्त्वं । कान्त वसन्तप्रवेशे ।
चूतो न बाहुभिरास्तीर्णो । विरहिणीमारणार्थम् ? ॥ विरहिणीमारणार्थ मञ्जरीसन्नाह सुदृढं कृत्वा :
किं न बाहुभिरास्तीर्णश्चतोऽविरलदलभरेण?। कान्त वसन्तप्रवेशे विरहदुःखमोहे क्षिप्त्वा
अहह मा याहि अनाथदीनदुर्मतिं मां त्यक्त्वा ॥ ३५२ ॥] 'गुंदि 'त्ति मंजिरी। 'घंघलि 'त्ति शीघ्रादौ झगटकस्य घंघलः । अत्राम्नायः । दोहकपदानि प्रतिलोमं वस्तुवदनकपदेष्वावर्तनीयानि ॥ ३५.२॥ उदा०-घरि घरि घेणुदोहदहिमंथविलोडणघोसु घुम्मए
वंखणवेयपढणधुणि बंदीण जयजयसढु सुम्मए। तक्खणि मुत्तु कहवि निदालसु कामुयजणुवि वुज्झए
धारणिबंधि जित्थु नारियणि अविरलु सलिलु वुज्जए॥ सा बहलकमलपरिमलमिलंतरोलंबरोलरमणीया । मंगलनिवहावंझा दिणमुहसंझा नरिंद तुह होउ ॥ ३५.३ ॥ [गृहेगृहे धेनुदोहदधिमन्थविलोडणघोषो घूर्णते
व्याख्यानवेदपठणध्वनिर्बन्दीनां जयजयशब्दः श्रूयते । तत्क्षणे मुक्तः कथमपि निद्रालस: कामुकजनोपि बोध्यते
धारणिबन्धे यत्र नारीजनेनाविरलं सलिलमुह्यते ॥ सा बहलकमलपरिमलमिलद्रोलम्बरवरमणीया ।
मङ्गलनिवहावन्ध्या दिनमुखसंध्या नरेन्द्र तवास्तु ॥ ३५.३ ॥] 'रोलम्बरोलु'त्ति भ्रमररवः । तथा चेति चकारादन्यैरपि छन्दोभिर्द्वन्द्वितैर्द्विभनी स्यात् । यथा गाथाया भद्रिकायोगे
केलिक्खंभा ऊरू नाही वावी मुणालिया बाहा । नयणाई कुवलयाई दसणा उण कुंदकलियाओ ॥ छणससिमंडलमाणणं पाणीपाया य तुज्झ पउमाई । सिसिरोवयारमइयासि किं तहवि दिवाणिसं दहेसि दइए ॥ ९७ ॥
[कदलीस्तम्भावूरू; नाभिर्वापी; मृणालिके बाहू । नयने कुवलये; दशनाः पुनः कुन्दकलिकाः ॥ क्षणशशिमण्डलमाननं पाणी पादौ च तव पद्मानि । शिशिरोपचारमय्यसि किं तथापि दिवानिशं दहसि दयिते ॥ ९७ ॥]
अष्टपदीप्रकरणम् ॥ ३५.३ ॥
अथ नवपदी । दोहकादियुता मात्राजांतिर्वस्तुसंज्ञा । रऽत्यन्ये । आदिशब्दादवदोहकोपदोहकपरिग्रहः

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सवृत्तिका कविदर्पणः
[द्वितीयोद्देशे उदा०-पुव्वपव्वयरायसियछत्तु । तमकुंजरपंचमुहु । रयणिरमणिमाणिकदप्पणु।'
नहकमलाकरकमलु । अमयकलसु जगदाहझम्पणु ॥ संभुजटालयणीकुसुमु । कंदप्पदुमकंदु। सयलवत्थुअत्थिक्ककरु । तो उम्मिल्लइ चंदु ॥ ३५.४ ॥ वत्थु । [पूर्वपर्वतराजसितच्छत्रं । तमःकुअरपञ्चमुखो । रजनिरमणीमाणिक्यदर्पणः ॥ __ नभ:कमलाकरकमलं । अमृतकलशो जगद्दाहशामकः ।। शंभुजटालताकुसुमं । कन्दर्पद्रुमकन्दः ॥
सकलवस्त्वास्तिक्यकरः । तत उन्मीलति चन्द्रः ॥ ३५.४ ॥] 'लयणि'त्ति लता । एवमेवावदोहकोपदोहकयोरप्युदाहार्यम् । नवपदीप्रकरणम् ॥ ३५.४ ॥ अथ दशपदी।
दोहय धत्ताउ दुहंगिया; अहुल्लालसंजुया वत्थू । होइ तिहंगी; अह खंडजुयलगीई दुवइखंडं ॥ ३६ ॥ [दोहा च घत्ता द्विभङ्गी; अथोल्लालसंयुता वस्तुः ।
भवति त्रिभङ्गी; अथ खण्डयुगलं गीतिश्च द्विपदीखण्डम् ॥ ३६ ॥] दोहकजात्यन्ते घत्ताजातिरेवमपि द्विभङ्गी ॥ ३६॥ , उदा०–को नेसइ संदेसडा । सहि देसडाति दूरि ॥
बंदिमुहि पडइ संठविउ । गुरु सूरप्पहसूरि ॥ इम्व गुट्टिट्ठिय । गुरु उक्कंठिय । अविरल रहमुत्ताल । भुल्लइ रंगिहिं । नवनवभंगिहिं । माल(व)देसीवाल ॥ ३६.१ ॥
दुहंगी तिलयसूरिस्य । [को नेष्यति संदेशं । स हि देशोति दूरे ॥
... । गुरुः सूरप्रभसूरिः ।। इति गोष्ठीस्थितः । गुरुरुत्कण्ठितः । ... ... ...॥ ... ... । ... ... | ... ॥३६.१ ॥]
द्विभङ्गी तिलकसूरेः ॥ दशपदीप्रकरणम् ॥ ३६.१॥
अथैकादशपदी । अथोल्लालकाभ्यां संयुता 'वत्थु 'त्ति वस्तुजातिस्त्रिभङ्गी भवति । त्रयो भङ्गाश्छन्दस्त्रयरूपा अस्यां सा त्रिभङ्गी । उदा०-गहिरु जलहरमुरष वझंति । घणु नच्चहि विज्जुलिय ।
___ महुर मोर गायंति सुस्सर । दहररव घन्धरिय । रुणझुणंति घणघोसनिब्भर ॥ पप्पीहयबंदिणवि सर । लद्धावसर रसंति। जलधाराधोरणिमिसिण । वायण पयउ पडंति ॥

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४७
प० ३५:४-३७.१]
सवृत्तिकः कविदर्पणः इम्व निभरु वट्टइ धरवलइ सयललोयरतियावणउ ॥ सहरिसअणंगनिवसच्चविउ अहिणवु पाउसपिक्खणउ ॥ ३६.२ ॥ तिहंगी। [गम्भीरा जलधरमुरजा वाद्यन्ते । बहु नृत्यति विद्युत् ।
मधुरं मयूरा गायन्ति सुस्वरम् ॥ . दर्दुररवर्धरिकाः । रुणझुणन्ति घनघोषनिर्भराः ॥ चातकबन्दीनामपि स्वराः । लब्धावसरा रसन्ति । जलधाराधोरणिमिषेण । वायनानि प्रकटं पतन्ति । इति निर्भरं वर्तते धरावलये सकललोकरतिदायकम् ।
सहर्षानङ्गनृपदृष्टमभिनवं प्रावृट्प्रेक्षणकम् ॥ ३६.२ ॥] एकादशपदीप्रकरणम् ॥ ३६.२ ॥ अथ द्वादशपदी । खण्डयुगलान्ते गीतिः सामान्येन त्रिभङ्गी, विशेषेण द्विपदीखण्डम् । उदा०-कुसुमाउहपियदूययं । मउलावितो चूययं ।
. सिढिलियमाणग्गहणओ। वायइ दाहिणपवणओ ॥ वियलियबउलामेलओ । इच्छियपिययममेलओ।
पडिवालणअसमत्थओ । तम्मइ जुवईसत्थओ॥ इय पढमं महुमासो जणस्स हिययाई कुणइ मउयाई । पच्छा विंधइ मयणो लद्धप्पसरेहिं कुसुमबाणेहिं ॥ ३६.३ ॥
___ दुवईखंड सिरिहरिसएवस्स । [कुसुमायुधप्रियदूतकं । मुकुलयंश्चूतकम् ।
शिथिलितमानग्रहणो । वाति दक्षिणपवनः ॥ विगलितबकुलामेलक: । इच्छितप्रियतममेलनः ।
प्रतिपालनासमर्थः । ताम्यति युवतिसार्थः ।। इति प्रथमं मधुमासो जनस्य हृदयानि करोति मृदूनि । पश्चाद्धिध्यति मदनो लब्धप्रसरैः कुसुमबाणैः ॥ ३६.३ ॥] द्विपदीखण्डं श्रीहर्षदेवस्य (रत्नावली I. 14-16 ) ॥ स्पष्टम् ॥ ३६.३ ॥ घत्तादुयं दुहंगी; तिहंगिया दुवइखंडगीईओ। पज्झडियाइचउक्कं कडवं; ताणं गणो संधी ॥ ३७॥ [घत्ताद्वयं द्विभङ्गी; त्रिभङ्गिका द्विपदीखण्डगीतयः ।
पज्झटिकादिचतुष्कं कडवं; तेषां गणः संधिः ॥ ३७॥] घत्ताजात्यन्ते घत्ताजातिरेषापि द्विभङ्गी ॥ ३७॥ उदा०-किणि अवरिहि बुज्झिउ । मुग्गदु उज्झिउ । वारिउ जूउवि वेयरिउ ॥
कयधम्मभंसह । महुरामंसह । नाउवि मूलह निट्ठविउ ॥ मरणब्भयभीयहं । सव्वहं जीयहं । वज्झाविउ अभयप्पडहु । रेरायह रहसिहि । सहुं कुमरसिहं । तुडिवडंत कि न सडिपडहु ॥३७.१॥
दुहंगिया ॥

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सवृत्तिकः कविदर्पणः
[द्वितीयोद्देशे [ कैरपरैर्बुध्यते । मृतस्वमुज्झितम् । वारितं द्यूतमपि वैरीभूतम् ॥ कृतधर्मभ्रंशयोः । मदिरामांसयोः । नामापि मूलतो नि शितम् ॥ मरणभयभीतानां । सर्वेषां जीवानां । वादितोऽभयपटह: ? ॥ रे राजानो रभसेन । स्वयं कुमारसिंहेन । तोद्यमानाः किं न शीर्यथ ॥ ३७.१॥
रेशब्दः संभाषणे (हे. ८.२.२०१)। 'तुडि 'त्ति संरभे । प्राग् द्विपदी ततः खण्डत्ति शूचना (?) वलम्बकस्तदन्ते गीतिरियमपि त्रिभङ्गी ॥ ३७.१ ॥
... उदा०—विरहिणिहिययघोरवज्जासणिनिवडणघोसमेरवा
पसरहि मयणरज्जपयासणपणवा कोइलारवा । वाइहिं मलयपवण घणमाणिणिमाणधणिक्कतक्करो
निद्दयसुरयसमरसम्महकिलामियमिहुणसुहयरो॥ दोला लोला चालिया। ससिरीया वणमालिया। असिसिरउण्हा वासरा । रयणी जुण्हामणहरा ॥ इय एरिसे वसंते महुयरहुंकारमुहलियवणंते । मुत्तण ममं वच्चंत कंत अच्चंतकठिणचित्तोसि ॥ ३७.२॥ तिहंगिया ।
[विरहिणीहृदयघोरवज्राशनिनिपतनघोषभैरवाः
प्रसरन्ति मदनराज्यप्रकाशनपणवा: कोकिलारवाः ॥ वाति मलयवातो धनमानिनीमानधनैकतस्करो
निर्दयसुरतसमरसंमईक्लान्तमिथुनसुखकरः । दोला लोला चालिता । सश्रीका वनमालिका ॥ अशिशिरोष्णा वासराः । रजनी ज्योत्स्नामनोहरा ॥ इतीदृशे वसन्ते मधुकरहुंकारमुखरितवनान्ते । मुक्त्वा मां व्रजन् कान्त अत्यन्तकठिनचित्तोऽसि ॥ ३७.२॥]
स्पष्टा ॥ ३७.२ ॥ अन्यैरपि छन्दोभिः श्रुतिसुखैस्त्रिभिस्त्रिभिस्त्रिभङ्गी । तत्र पूर्व मञ्जरी पश्चात्खण्डिता ततो भद्रिका यथा
उच्छलंतछप्पयकलगीतिभंगिधरे विप्फुरंतकलयंठिकंठपंचमसरे । सज्जमाणहिंदोलालवणपसाहिए
चच्चरिपडहुद्दामसद्दसंखोहिए । वियसियरत्तासोयलए । केसरकुसुमामोअमए । पप्फुल्लियमायंदवणे । घणघोलिरदक्खिणपवणे ॥ इय एरिसंमि चेत्तए जस्स ण पासंमि अत्थि पियमाणुस । सो कह जियइ वयंसिए विद्धो मयरद्धयस्स भल्लियाहिं ॥ ९८॥

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प. ३७०२-३७.३; टी. प. ९८] सवृत्तिकः कविदर्पणः
[ उच्छलत्षट्पदकलगीतिभङ्गिधरे विस्फुरत्कलकण्ठीकण्ठपञ्चमस्वरे । सज्जमानहिन्दोलालवनप्रसाधिते
चर्चरीपटहोदामशब्दसंक्षोभिते ॥ विकसितरक्ताशोकलते । केसरकुसुमामोदमये ।। प्रफुल्लितमाकन्दवने । घनघूर्णमानदक्षिणपवने ॥ इतीदृशे चैत्रे यस्य न पार्श्वेऽस्ति प्रियमनुष्यः । स कथं जीवति सखि विद्धो मकरध्वजस्य बाणैः ।। ९८ ॥
एते च द्विभङ्गीत्रिभङ्ग्यौ शीर्षकाख्ये । द्वादशपदीप्रकरणम् ॥ ३७.२ ॥
अथ षोडशपदी । पद्धडिकादिछन्दांसि चत्वारि चत्वारि कडवकम् । आदिशब्दाद्वदनादिपरिग्रहः । तेषां च कडवकानां गणः संधिसंज्ञः । . उदा०-पुरुगुजरमंडली(लि) अइसमिद्ध । अणहिल्लनयरु णामिहि पसिद्ध ।
तहि सिरिचाउक्कडवंसजाय । वणरायपमुह हुय बहुय राय ॥ अह कालकमिण रणरंगमल्लु । रिउरायचक्कहियइक्कसल्लु । चालुक्कवंसपंकयमरालु । तत्थासि नराहिवु कुमरवालु॥ . बहुदिहिण बहुपरिकरिसमग्गु । तिणि सम्मु परिक्खिउ धम्ममग्गु । जिणसासणु बहुगुणु भणि पवत्तु । न विवेयलक्खि तुल्लइ सयत्तु ॥ नहलग्गसिहरजिणहरणिवेस । मणहर असेस तिणि विहिय देस । तसु सरिसु नरेसरु मणुयलोइ । न हु हुवउ न होसइ नत्थि कोइ ॥ ३७.३॥
.
कडवं ।
[पुरुगुर्जरमण्डले अतिसमृद्धं । नगरमणहिल्लनाम्ना प्रसिद्धम् । तत्र श्रीचापोत्कटवंशजाताः । वनराजप्रमुखा जाता बहवो नृपाः ॥ . अथ कालक्रमेण रणरङ्गमलः । रिपुराजचक्रहृदयैकशल्यम् ॥ चालुक्यवंशपङ्कजमराल: । तत्रासीन्नराधिपः कुमारपाल: ॥ बहुदिवसैर्बहुपरिकरसमग्रः । तेन सम्यक्परीक्षितो धर्ममार्गः ॥ जिनशासनं बहुगुणं भणित्वा प्रवृत्तः । न विवेकलक्ष्ये तोल्यते सयत्नः ॥ नभोलग्नशिखरजिनगृहनिवेशः । मनोहरोऽशेषस्तेन विहितो देशः ॥
तस्य सदृशो नरेश्वरो मनुजलोके । न खलु भूतो न भविष्यति नास्ति कोपि ॥ ३७.३॥] स्पष्टम् । सन्ध्युदाहरणं प्रतीतम् । षोडशपदीप्रकरणम् ॥ ३७॥
[इति] कविदर्पणवृत्तौ द्वितीयोद्देशः ।

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तृतीयोद्देशः।
अथ वर्णच्छन्दः।
इत्तो वुच्छं सव्वंपि लाहवत्थं सलक्खलक्खणयम् । वनच्छंदे वित्तं आहिकिज्जइ, तं पुणो तिविहम् ॥ १॥ [इतो वक्ष्ये सर्वमपि लाघवार्थ सलक्ष्यलक्षणकम् ।
वर्णच्छन्दे वृत्तमधिक्रियते तत्पुनस्त्रिविधम् ॥ १ ॥] इतो मात्राच्छन्दसोनन्तरं सर्वमपि वर्णच्छन्द उभयच्छन्दश्च सलक्ष्यलक्षणकं वक्ष्ये । तदेवोदाहरणं तदेव सूत्रमित्यर्थः । लक्षणकमित्यल्पार्थे कः । किमर्थं रीतिभङ्ग इत्याह-लाघवार्थम् । भिन्नलक्षणत्वे हि ग्रन्थगौरवं स्यात् । मात्राच्छन्दस्तु लक्ष्यैः सुज्ञेयमिति तथोक्तम् । इदं चादौ प्रपञ्चितमेव । तथा वर्णच्छन्दसि वृत्तमधिक्रियते । इतो यद्वक्ष्यते तद्वृत्ताख्यमित्यर्थः । तच्च स्थिरगुरुलध्वक्षरविन्यासमिष्यते पाटनसंयोगयोरभावात् । मात्राछन्दस्तु जात्याख्यम् ।
यदाह‘पद्यं चतुष्पदी तच्च वृत्तं जातिरिति द्विधा' इति । तत्पुनर्वृत्तं त्रिविधम् ॥ १ ॥ तथाहि
सममद्धसमं विसमं तत्थ समं ताव तुल्लचउपायम् ॥ तुल्लद्धं अद्धसमं; अतुल्लसवप्पयं विसमम् ॥ २॥ [सममर्धसमं विषमं तत्र समं तावत्तुल्यचतुष्पादम् ।
तुल्यार्धमर्धसमं, अतुल्यसर्वपादं विषमम् ॥ २ ॥] समवृत्तमर्धसमवृत्तं विषमवृत्तम् । तत्र त्रिके तावत्तुल्यलक्षणैश्चतुर्भिः पादैः समवृत्तम् । तुल्यलक्षणाभ्यामर्धाभ्यामर्धसमवृत्तम् । विसदृशैः सर्वैः पादैर्विषमवृत्तम् ॥ २॥
तेसु समे एगक्खरमुहछब्बीसक्खरंतचउपाई। छन्वीस हुंति जाई; तो सेसं दंडया तत्तो ॥ ३ ॥ [तेषु समे एकाक्षरमुखषड्विंशत्यक्षरान्तचतुष्पाद्यः ।
षड्विंशतिर्भवन्ति जातयस्ततः शेषं, दण्डकास्तस्मात् ॥ ३ ॥] तेषु त्रिषु समवृत्ते चतुर्णां पादानां समाहारश्चतुष्पादी । एकाक्षरादिः षड्विंशत्यक्षरान्ता चतुष्पादी यासु ताः षड्विशतिर्जातयः स्युः। ' तो सेसं' ति शेष जातिस्ततो दण्डकजातिः ॥३॥
उत्त अइउत्त मज्झा पइट्ट सुपइट्ट तह य गाइत्ती । उण्हिग अणुहुभ विहई पंती तिहुउ जगइअइजगई ॥ ४ ॥

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१० १-५]
सवृत्तिकः कविदर्पणः
सक्करिअइसक्करिया अठ्ठी अइअट्ठि धिइ अ अइधिइउ । किइ पाविसमभिउप्परकिई य जाईण नामाई ॥ ५ ॥ [ उक्तात्युक्ता मध्या प्रतिष्ठासुप्रतिष्ठे तथा च गायत्री ।
foonga बृहती पङ्क्तिस्त्रिष्टुप् जगत्यतिजगती ॥ ४ ॥ शक्वतिशक्an अष्टिरत्यष्टिर्धृतिरतिष्टतिः ।
कृति: प्राविसमभ्युत्परतः कृतयश्च जातीनां नामानि ॥ ५ ॥ ]
५१
उक्ता १ अत्युक्ता २ मध्या ३ प्रतिष्ठा ४ सुप्रतिष्ठा ५ तथा च गायत्री ६ उष्णिक् ७ अनुष्टुप् ८ बृहती ९ पङ्क्तिः १० त्रिष्टुप् ११ जगती १२ अतिजगती १३ शक्ारी १४ अतिशक्री १५ अष्टिः १६ अत्यष्टिः १७ धृतिः १८ अतिधृतिः १९ कृतिः २० प्र । आ । त्रि । सम् । अभि । उत् । एभ्यः परा कृतिश्च । प्रकृतिः २१ आकृतिः २२ विकृति: २३ अभिकृति : २५ उत्कृतिः २६ जातीनां नामानि । उक्ता नाम एकैकाक्षरांहि भेद संग्रहात्मिका जातिस्ततः एकैकाक्षरवृद्धांहृयोऽत्युक्तादयस्तत्र यक्षरांहिरत्युक्ता । षड्विंशत्यक्षरांह्रिरुत्कृतिः ।
[इति ] कविदर्पणवृत्तौ तृतीयोदेशः ।

Page #121

चतुर्थोद्देशः। अथ जातीनामुपयोगिभेदानाह---
गो गी॥१॥ सर्वांहिषु एको गुरुगीश्छन्दः ॥१॥ उक्ता ॥१॥
दो गा इत्थी ॥२॥ द्वौ गुरू स्त्रीच्छन्दः अत्युक्ता॥२॥ एकेनाहिणा प्राकृते लक्ष्म वक्तुमशक्यमिति द्वाभ्यामुक्तम् । अतः परं त्वेकैकेन समानि, द्वाभ्यामर्धसमानि, चतुर्वेकपादैविषमाणि वैतालीयानि च वक्ष्यन्ते ॥२॥
मो नारी ॥३॥ रो मृगी ॥४॥ स्पष्टम् ॥ ३॥४॥ मध्या ॥३॥
मो गो कन्ना ॥५॥ यगा वीला ॥६॥ मो गः कन्या ॥५॥ यगौ व्रीडा ॥६॥ प्रतिष्ठा ॥४॥
__ नन्दा तलगा ॥७॥ जया यो लगा ॥८॥ तलगा नन्दा ॥७॥ यो लगौ जया ॥८॥ सुप्रतिष्ठा ॥५॥
तो यो तणुमज्झा ॥९॥ यया सोमराई ॥१०॥ तो यस्तनुमध्या ॥९॥ यौ सोमराजी ॥१०॥ गायत्री ॥६॥
मो सो गो मयलेहा ॥११॥ हंसमाला ररा गो ॥१२॥ मः सो गो मदलेखा ॥११॥ रौ गो हंसमाला ॥१२॥ उष्णिक् ॥७॥
दो मा दो गा विज्जूमाला ॥ १३॥ भो तलगा माणवगं ॥१४॥ चित्तवया भगुरू दो ॥१५॥ नारायओ तरा लगा ॥१६॥ वसू लगा पमाणिया ॥१७॥ उक्कमे समाणिया उ ॥१८॥
इओ य अन्नं वियाणं ॥१९॥ मौ गौ विद्युन्माला । चतुर्भिर्यतिरनुक्तापि ज्ञेया ॥१३॥ भस्तलगा माणवकम् । अत्रापि चतुर्भिर्यतिः॥१४॥ भौ गुरुश्चि (रू चि) त्रपदा ॥१५॥ तरौ लगौ नाराचकः ॥१६॥ वसवो लगाः प्रमाणिका। अष्ट निरन्तराः लगाः प्रमाणिका ॥१७॥ व्युत्क्रमे समानिका तु । प्रमाणिकाया विपर्यये समानिका पुनरष्टौ निरन्तरा गला इत्यर्थः ॥१८॥ इतोन्यद्वितानम् । एभ्यः प्रागुक्तेभ्यो ग्रन्थान्तरोक्तेभ्यश्चकाराद्वक्ष्यमाणेभ्यः अन्यसमवृत्तं वितानम् ॥ १९॥ अनुष्टुभ् ॥८॥

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१० १-४०]
सवृत्तिकः कविदर्पणः रो नसा किर हलमुखी ॥२०॥ मो नो यो मगरलयाए ॥२१॥
नसयघडिया विसाला ॥२२॥ रो नसौ हलमुखी ॥ किलेत्याप्तोक्तौ ॥२०॥ मो नो यो मकरलतायाम् ॥२१॥ नसयघटिता विशाला ॥२२॥ बृहती ॥९॥
मोरसारणी रजा रगंता ॥२३॥ मो-सो सुद्धविराडिया जगा ॥२४॥
नरजगा इमा मणोरमा ॥२५॥ चम्पकमालेयं भमसा गो ॥२६॥ रजौ रगान्तौ मयूरसारणी ॥२३॥ मः सो जगौ शुद्धविराट् ॥२४॥ नरजगद्वयं (?) इयं मनोरमा ॥२५॥ भमसा गश्चम्पकमालेयम् ॥२६॥ पङ्क्तिः ॥१०॥
रो नरा लहुगुरू रहुवया ॥२७॥ सागया उ रनभा दुगुरंता ॥२८॥ भत्तिग दोगुरु दोधयछंदं ॥२९॥ ननरलहुगुरूहि भदिया ॥३०॥ रो जरा लहु(हू )गुरू य सेणिया ॥३१॥ नजजलहू सगुरू सुमुखी ॥३२॥ नजुगसगणदुगुरू चित्ता ॥३३॥ तो जो जगगत्ति उवट्ठिया सा ॥३४॥ उवद्वियमिमं जो सो तगा गो॥३५॥ मो दो ता गा सालिणी सायरेहिं॥३६॥ वाउम्मी मो तह भो तो गुरू दो ॥३७॥ तो तो जगा गो पुण इंदवजा ॥३८॥ उविंदवजा जतजा गुरू दो ॥३९॥
रौ नरौ लघुगुरू रथोद्धता ॥२७॥ रनभा द्विगुर्वन्ता स्वागता पुनः ॥२८॥ भत्रिक द्वौ गुरू दोधकच्छन्दः ॥२९॥ ननरलघुगुरुभिर्भद्रिका ॥३०॥ रो जरौ लघुर्गुरुश्च श्येनिकायाम् ॥३१॥ नजजलघवः सगुरवः सुमुखी ॥३२॥ नयुगसगणद्विगुरवश्चित्रा ॥३३॥ तो तो जगगा इति उपस्थिता सा ॥३४॥ जः स्त(स्तो)गौ उपस्थितमिदम् ॥३५|| मो द्वौ तौ गौ शालिनी [सागरैः॥ सागरेहिं ति चतुर्भिर्यतिः ॥३६॥ सागरैरिति वर्तते । मस्तथा भ्तौ गुरू द्वौ वातोर्मी ॥३७॥ तौ जगौ गः पुनरिन्द्रवज्रा ॥३८॥ जतजा गुरू द्वौ उपेन्द्रवज्रा ॥ ३९॥
परुप्परं दुण्हमिमाण पायविमिस्सणं चुद्दसहोवजाई । जाईण इत्तोवरपच्छिमाण सव्वाण बुडेहिं पुणोवइट्ठा ॥४०॥ [ परस्परं द्वयोरनयोः पादविमिश्रणं चतुर्दशधोपजातिः ।
जातीनामितःपरपश्चिमानां सर्वासां वृद्धैः पुनरुपदिष्टा ॥४०॥] अनयोरप्रतः पृष्ठतश्च प्रत्यक्षयोरिन्द्रवज्रोपेन्द्रवज्रयोरिन्द्रवंशावंशस्थयोश्चान्योन्यं पादविमिश्रणमंहिसंकर उपजातिः । सा च प्रस्तारभेदाच्चतुर्दशधा । स्थापना चेयम् । आद्यन्तौ मुक्त्वा चतुर्दश ज्ञेयाः । समवृत्तप्रस्तावेप्युपजातीनामुपन्यासो लाघवार्थः । बहुश्रुतैस्तु इतःपरासां जगत्यादीनां पश्चिमानामुक्तादीनां प्रायो गायत्र्यादीनां कृतनामाकृतनामविसदृशप्रस्ताररूपस्वस्वपादानां स्वल्पभेदानां सर्वासां जातीनां संकर उपजातिरुपदिष्टा । यथा
1 The illustrations are dropped by the editor, as they are unimportant.

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सवृत्तिकः कबिदर्पणः
[चतुर्थोद्देशे युधिष्ठिरो धर्ममयो महाद्रुमः स्कन्धोर्जुनो भीमसेनोस्य शाखा । माद्रीसुतौ पुष्पफले समृद्धे मूलं कृष्णो ब्रह्म च ब्राह्मणाश्च ॥४०॥ तृत्रि)ष्टुप् ॥११॥ सा इंदवंसा उ तता जरा जहिं ॥४१॥ मुणेह वंसत्थमिणं जता जरा ॥४२॥ जत्थ रा हुंति चत्तारि सा सग्गिणी ॥४३॥ जहिं वेयया तं भुयंगप्पयायं ॥४४॥ चउसं मुण तोडयमित्थ पुणो ॥४५॥ दुयविलंबिय नाम नभा भरा ॥४६॥ पमियक्खरा सजससेहिं कया ॥४७॥ जभा जरा जहिमिमा पियंवया ॥४८॥ नयनयबद्धा कुसुमविचित्ता ॥४९॥ पमुइयवयणा नना रद्दुगं ॥५०॥ इह हि नजेहि जरेहि मालई ॥५१॥ निसुणह तामरसं नजजा यो ॥५२॥ रवी लगा कमा वसंतचच्चरं ॥५३॥ दो मा या नेया पंचहिं वेसएवी ॥५४॥ जलुद्धयगई छहिं जसजसा ॥५५॥ इत्थं पुण तो यो तो यो मणिमाला ॥५६॥ नदुगमिह पुडो मो यो वसूहिं ॥५७॥
यत्र ततौ जरौ सा इन्द्रवंशा पुनः ॥४१॥ जतौ जरौ वंशस्थमिदं जानीत ॥४२॥ यत्र राश्चत्वारः सा स्रग्विणी ॥४३॥ यत्र याश्चत्वारस्तद्भुजंगप्रयातम् ॥४४॥ चतुःसं तोटकमिह पुनर्जानीहि ॥४५॥ नभौ भरौ द्रुतविलम्बितं नाम ॥४६॥ सजससैः कृता प्रमिताक्षरा ॥४७॥ यत्र जभौ जरौ प्रियंवदेयम् ॥४८॥ नयनयग्रथिता कुसुमविचित्रा ॥४९॥ ननौ रद्विकं प्रमुदित. वदना ॥५०॥ नजाभ्यां जराभ्यामिह हि मालती ॥५१॥ नजजा यश्चेत्तामरसम् ॥५२॥ द्वादश लगाः क्रमाद्वसन्तचत्वरम् ॥ ५३॥ द्वौ मौ यौ ज्ञेयौ पञ्चभिर्वैश्वदेवी ॥ पञ्चभिर्यतिः ॥५४॥ जः सो जसा(सौ) जलोद्धतगतिः । षड्भिर्यतिः ॥५५॥ षड्भिरिति वर्तते । इह पुनस्तोयस्तोयो मणिमाला ॥५६॥ इह नाद्विकं मो यः पुटः । अष्टभिर्यतिः ॥ ५७॥ जगती ॥१२॥ मो नो जो पहरिसिणी रगा सिहीहिं ॥५८॥ मो तो यो सो गो चउहि मत्तमयूरं ॥५९॥ जभा सजा गुरु रुइरा भणिज्जए ॥६०॥ नदुगतरगणा गो य चंदियाए ॥६१॥
___मो नो जो रगौ प्रहर्षिणी [शिखिभिः] ॥ त्रिभिर्यतिः ॥ ५८ ॥ मस्तो यः सो गो मत्तमयूर [चतुर्भिः] ॥ चतुर्भिर्यतिः ॥५९॥ चतुभिर्यतिरिति वर्तते । जभौ सजौ गुरुः रुचिरा भण्यते।।६०॥ नद्विकतरगणा गश्च चन्द्रिकायाम् ॥६१॥ अतिजगती ॥१३॥
तो भो वसंततिलया जदुगं गुरू दो ॥६२॥ जलहिनपरगुरुदुगमुवचित्तं ॥ ६३॥ बाणेहिं मो तो नसदुगुरु असंबाहा ॥६४॥ इसिहि ननरसा लगा अक्राइया॥६५॥ पहरणकलिया ननभनलगुरू ॥६६॥
तो भो जद्विकं द्वौ गुरू वसन्ततिलका ॥६२॥ चतुर्नगणपरगुरुद्विकं उपचित्रम् ॥६३॥ [बाणैः] मस्तो नसद्विगुरुरसंबाधा ॥ पञ्चभिर्यतिः ॥६४॥ [ऋषिभिः] ननरसा लगौ अपराजिता । सप्तर्भिर्यतिः ॥६५॥ ऋषिभिरितिः वर्तते । ननभनलगुरवः प्रहरणकलिका ॥६६॥ शक्वरी ॥१४॥

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प० ४१-८४]
सवृत्तिकः कविदर्पणः
बाणा मा जस्सितं कामक्कीला नामं नायव्वं ॥ ६७ ॥ चउदसलहुयपरगुरु ससिकला ॥ ६८ ॥ रो जरा जरा गणा जहिं तमित्थ तोणयं ॥ ६९ ॥ हवइ पभद्दकं नजभजा तहेव रो ॥ ७० ॥ आसेहिं चंदलेहा छंद यो मरा मो य यो यो ॥ ७१ ॥ ननमययगणड्ढा मालिणी पन्नगेहिं ॥ ७२ ॥
एसा चित्ता वृत्ता जीए तिन्नि मा किंच दो या ॥ ७३ ॥
यस्मिन्पञ्च मास्तत्कामक्रीडा नाम ज्ञातव्यम् ॥ ६७ ॥ चतुर्दशलघुकपरगुरुः शशिकला ॥ ६८ ॥ यत्र रो जरौ जरौ गणास्तदत्र तोणकम् ॥ ६९ ॥ नजभजास्तथैव रः प्रभद्रकं भवति ॥ ७० ॥ मरौ मश्च यैौ चन्द्रलेखाच्छन्दः । सप्तभिर्यतिः ॥ ७१ ॥ ननमययगणाढ्या मालिनी [ पन्नगैः ] | अष्टभिर्यतिः ॥ ७२॥ पन्नगैरिति वर्तते । यस्यां त्रयो माः किंच द्वौ यावेषा चित्रा उक्ता ॥ ७३ ॥ अतिशक्वरी ॥ १५ ॥
स पंचचामरो जहिं लहूगुरू निवा कमा ॥ ७४ ॥ तो यस्स अंतर कण गेण चित्तमुत्तं ॥ ७५ ॥ आसगई उण पंचहि भेहिं तहा गुरुणा ॥ ७६ ॥ परिकहिया नजा भजरगा य वाणिणीए ॥ ७७ ॥ नजरभभा गुरू जहिं सा मणिकप्पलया ॥ ७८ ॥ भण दुगुणवसुलहुमचलदिहिमिह ॥ ७९ ॥
५५
यत्र लघुगुरवः क्रमात् षोडश स पञ्चचामरः ॥ ७४ ॥ पूर्वोक्तस्य तोणकस्यान्तके कृतेन गेन चित्रमुक्तम् । पञ्चचामरव्यःययः सगुरुरित्यर्थः ॥ ७५ ॥ पञ्चभिर्भैस्तथा गुरुणा अश्वगतिः पुनः ॥ ७६ ॥ नौ भजरगाश्च वाणिन्यां परिकथिताः ॥ ७७ ॥ नजरभभा गुरुर्यत्र सा मणिकल्पलता ॥७८॥ द्विगुण सत्रः षोडश लघवो यस्यां तामचलधृतिमिह भण ॥ ७९ ॥ अष्टिः ॥ १६॥
मंदता चउहिं रिउहिं मो भना तो तगा गो ॥ ८० ॥ रिउहिं चउहिं नो सोमो रो सला हरिणी गुरू ॥ ८१ ॥ रसेहिं निद्दिट्ठा यमनसभला गो सिहरिणी ॥ ८२ ॥ वसूहिं पुहवी जसा जसयला तहंते गुरू ॥ ८३ ॥ पंतिहि वंसपत्तपडियं भरनभनलगा ॥ ८४ ॥
मो भनौ तस्तगौ गो मन्दाक्रान्ता । चतुर्भिः षभिश्च यतिः ॥ ८० ॥ नः सोमो रः सलौ गुरुर्हरिणी । षड्भिश्चतुर्भिश्च यतिः ॥ ८१ ॥ यमन सभलगैः शिखरिणी निर्दिष्टा । षड्भिर्यतिः ॥ ८२ ॥ जसौ जसयलास्तथान्ते गुरुः पृथ्वी । अष्टभिर्यतिः ॥ ८३ ॥ भरनभनलगा वंशपत्रपतितम् | 'पंतिहि 'त्ति दशभिर्यतिः ॥ ८४ ॥ अत्यष्टिः ॥ १७ ॥

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सवृत्तिकः कविदर्पणः
[चतुर्थोद्देशे नजुगलरचउक्कनिप्फन्निया वनिया तारया ॥८५॥
भो रनना नसा नवहि निसुणह भमरवयं ॥८६॥ नयुगलरचतुष्कनिष्पनिका तारका वर्णिता ॥ ८५॥ भो रनना नसौ भ्रमरपदं निशृणुत । नवभिर्यतिः ॥८६॥ धृतिः ॥१८॥
तरुणीवयणिंदुमिमं कहियं सगणा छ तहा गो॥८७॥
मो सो जो सतता गुरू य रविहिं सद्दलविक्कीडियं ॥ ८८॥ षट् सगणास्तथा गस्तरुणीवदनेन्दु कथितमिदम्॥८७॥ मसौ जः सतता गुरुश्च शार्दूलविक्रीडितम् । द्वादशभिर्यतिः ॥ ८८ ॥ अतिधृतिः ॥१९॥
गा लहू निरंतरा जहिं तु वीस तं खुजाण चित्त नाम ॥ ८९॥
वुत्ता सत्तद्गेणं मरभनयभला गंता सुवयणा ॥९०॥ यत्र गा लघवो निरन्तरा विंशतिस्तन्निश्चयाज्जानीहि चित्रं नाम ॥ ८९॥ मरभनयभला गान्ता सुवदना उक्ता । सप्तभिः सप्तभिर्यतिः ॥९०॥ कृतिः ॥२०॥
बुहयणसम्मया नजभजा जदुगं रगणो य सिद्धिया ॥९१॥
आसेहिं भूधरेहिं मरभनययया सद्धरा नाम नेया ॥९२॥ नजभजा जद्विकं रश्च बुधजनसंमता सिद्धिका ॥९१॥ मरभनयययाः स्नग्धरा नाम ज्ञेया । अश्वैर्भूधरैर्यतिः ॥९२॥ प्रकृतिः ॥२१॥
सत्तभनिम्मियमंतपइट्टियएकगुरू च लयाकुसुमं ॥९३॥
भद्दयमुल्लवन्ति विउसा भरा नरनरा नगा य दसहिं ॥९४॥ सप्तभिर्निर्मितमन्तप्रतिष्ठितैकगुरु च लताकुसुमम् ॥९३॥ भरौ नरनरा नगौ च भद्रकमुल्लपन्ति विद्वांसो [दशभिः] ॥ दशभिर्यतिः ॥९४॥ आकृतिः ॥२२॥
रो नरा जरनरा लहूगुरू तहा जहिं तमिह बिंति चित्तयं ॥९५॥
मत्तकीला मो मो तो नो सिहिनपरलहुगुरु भुयगइसुहिं ॥९६॥ तथा यत्र रो नरौ जरनरा लघुर्गुरुस्तदिह ब्रुवन्ति चित्रकम् ॥९५॥ मो मस्तो नत्रिनपरलघुगुरुर्मत्तक्रीडा । भुजगैरष्टभिरिषुभिः पञ्चभिर्यतिः ॥९६॥ विकृतिः ॥२३॥
नगणदुगरछक्कयं मेहमालत्ति छंदं पयंपति छंदचया ॥९७॥
बिंति सुभद्दयनामयछंदमिहं भगणेहिं बुहा किर अट्टहिं ॥९८॥ - नविकरषट् मेघमालेति च्छन्दश्छन्दोज्ञाः प्रजल्पन्ति ॥९७॥ भगणैरष्टभिः किल सुभद्रकानामकं च्छन्द इह बुधा ब्रुवन्ति ॥९८॥ संकृतिः ॥२४॥

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प० ८५- १०६ ]
सवृत्तिकः कविदर्पणः
कुंचपया भो मो सभना नो नगणजुगलगुरु इसुइसुवसुहिं ॥ ९९ ॥ सा हंसवया जीए दसहिं तयभभजलहिनगणपरगुरुगं ॥ १०० ॥ भोमः सभना नो नयुगलं गुरुः क्रौञ्चपदा । पञ्चभिः पञ्चभिरष्टभिर्यतिः ॥ ९९ ॥ यस्याः तयभभचतुर्नगणपरगुरुकं सा हंसपदा । दशभिर्यतिः ॥ १०० ॥ अभिकृतिः ॥ २५॥
मोमो तो नो नो नो रो सो लहुगुरु वसुपसुवइहिं भुयंगवियंभियं ॥ १०१ ॥ मो ना छच्चिय जहिं नवछछहिं सगणदुगुरुणिहणमववाहं तं ॥ १०२ ॥
मो मस्तो नो नो नो रः सो लघुर्गुरुर्भुजंगविजृम्भितम् । अष्टभिरेकादशभिर्यतिः ॥ १०१ ॥ यत्र मः षडेव नाः सगणद्विगुरु निधनं तदवबाधम् । नवभिः षड्भिः षड्भिर्यतिः ॥ १०२ ॥ उत्कृतिः ॥ २७ ॥ उक्तादिप्रकरणम् ॥
अथ शेषजातिः ।
मालावित्तं सेसजाईइ मो तो तगणनगणजुगलं यत्तिगं संकरेहिं ॥ १०३ ॥
मस्तस्तयुगं नयुगं यत्रिकं मालावि ( वृत्तं शेषजातौ । एकादशभिर्यतिः ॥ १०३ ॥ एवं प्रमोद महोदयनृत्तललितललितलतापिपीलिकाद्या अप्यूह्याः । शेषजातिप्रकरणम् ॥
अथ दण्डकाः ।
५७
छव्वीसक्खर अहियं दीसइ जं किंचि रूवयं छंदे । तं दंडयंति पभणंति सेसजाई विमुत्तूण ॥ १०४॥ [ षड्विंशत्यक्षराधिकं दृश्यते यत्किंचिद्रूपकं छन्दसि । तद्दण्डकमिति प्रभणन्ति शेषजातिं विमुच्य ॥ १०४ ॥ ]
षड्विंशत्यक्षराधिकं शेषजातेरन्यद्यत् किमपि छन्दसि रूपकं दृश्यते तद्दण्डकमित्याहुर्वृद्धाः ।
यथोक्तम्
यत् किंचिद् दृश्यते छन्दः षड्विंशत्यक्षराधिकम् |
शेषजात्यादिकं मुक्त्वा तत्सर्वे दण्डकं विदुः ॥ १०४ ॥
नदुगरगणसत्तयं जत्थ सो दंडओ चंद (ड) वुट्टिप्पयाओ मए वन्निओ ॥ १०५ ॥ द्विकरगणसप्तकं चण्डवृष्टिप्रयातो दण्डको मया भणितः ॥ १०५ ॥
जहकम सर्सिरेहबुडीइ अन्नन्नवव्वालजीमूयलीलायरुद्दामसंखाइया ॥ १०६ ॥ [ यथाक्रमं शशिरेफवृद्ध्या अर्णार्णवव्यालजीमूतलीलाकरोद्दामशङ्खादिकाः ॥ १०६॥]
चण्डवृष्टिप्रयातस्योर्ध्वं 'ससिरेह' त्ति एकैकरगणवृद्धया यथाक्रममर्णाद्या दण्डकाः स्युः । तत्र नगणाभ्यां परैरष्टभी रगणैः अर्णः । नवभिरर्णवः दशभिर्व्यालः एकादशभिर्जीमूतः द्वादशभिर्लीलाकरः त्रयोदशभिरुउद्दामः चतुर्दशभिः शङ्खः । आदिशब्दात्पञ्चदशभिः समुद्रः । षोडशभिर्भुजंगः इत्येवमादयो यथेष्टकृतनामानो यावदेकोनसहस्राक्षरः पादस्तावद्भवन्ति ॥ १०६॥

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सवृत्तिकः कविदर्पणः
[चतुर्थीद्देशे पचिययमिह नजुम्माउ याईहिं सब्वेहिं निव्वत्तियं सत्तखुत्तो करहिं ॥ १०७ ॥ [प्रचितकमिह नयुग्मात् यादिभिः सर्वैः निर्वर्तितं सप्तकृत्वः कृतैः ।।]
इहानुक्रमेण] नयुग्मानगणवर्ज यगणादिसर्ववर्णगणैः सप्तकृत्वः कृतैः निर्वर्तितं प्रचितकं नाम दण्डकः। अत्रापि सप्तानां यगणादीनामुपर्येकैकयगणादिवृद्धया अर्णाद्याः स्युः पूर्ववत् ॥ १०७ ॥
जहिच्छिया लहूगुरू निरंतरा हवंति जत्थ दंडओ इमो अणंगसेहरो ॥ १०८ ॥ यत्र यथेष्टा निरन्तरा लघुगुरवः स्युरयमनङ्गशेस(ख)रो दण्डकः ॥ १०८॥ वच्चयम्मि एयमेव छेयलोयकन्नदिन्नसुक्खया असोयपुप्फमंजरित्ति ॥ १०९ ॥ [व्यत्यये एतदेव छेकलोककर्णदत्तसौख्या अशोकपुष्पमञ्जरीति । ]
एतदेव अनङ्गशेष(ख)ररूपकं व्यत्यये निरन्तरगुरुलघुत्वे छेकलोककर्णदत्तसौख्या अशोकपुष्पमञ्जरीति दण्डकजातिः ॥ १०९ ॥ समवृत्तप्रकरणम् ॥ अथार्धसमवृत्तान्याह
सतिगं लगुरू विसमे समे।
__ भत्तिग दो गुरुगा उवचित्तं ॥ ११० ॥ , विषमे प्रथमे तृतीयेह्रौ सत्रिकं लगुरू समे द्वितीये तुर्ये भात्रिकं गुरुद्विकमुपचित्रम् ॥११०॥
विसमंमि उवंतलमुक्कं ।
तं चिय वेगवई मुण छंदं ॥ १११॥ तदेवोपचित्रं विषमेंह्रौ निधनगुरुपश्चाल्लघुत्यक्तं वेगवतीच्छन्दो जानीहि ॥आपातलिकेयम् ॥ १११॥
विसमे सजा सगणगंता।
केउमती(ई) समे भरनगा गो॥११२॥ विषमे सजौ सगणगन्तौ समे भरनगा गः केतुमती ॥ ११२ ॥
रो जरा य जो य ओयपाययंमि ।
समे जरा जरा गुरू मई जवाई ॥ ११३ ॥ विषमे रो जरौ च जश्च समे जरौ जरौ गुरुर्मतिर्यवादिः । यवमतीत्यर्थः ॥ ११३ ॥
सतिगं विसमे लहुओ गुरू।
नभभरा य समे हरिणुद्धया ॥ ११४ ॥ विषमे सत्रिकं लघुको गुरुः समे नभभराश्च हरिणोद्धता ॥ ११४॥
ओयसमेसु कमा दुयमज्झा।
तिभदुगुरू अह नो जदुगं यो॥११५॥

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६.१०७-१२०
सवृत्तिका कविदर्पणः क्रमाद्विषमे त्रिभगुरुद्वयानि अथ समे नो जद्विकं यो द्रुतमध्या । उपचित्रा-आपातलिकाअपरान्तिकेयम् ।। ११५॥
इह किर विसमंमि नो नरा यो।
__ नजजरगा समयंमि पुप्फियग्गा ॥ ११६ ॥ किलेह विषमे नो नरौ यः समके नजजरगाः पुष्पिताना ॥ औपच्छन्दसकमेतत् ॥११६॥
निहणससिगुरुमि उज्झिए।
दुसुवि इमावरवत्तसन्निया ॥ ११७॥ पुष्पिताग्रेयं द्वयोरपि विषमसमपादयोरन्तैकगुरु(रौ) त्यक्तेऽपरवक्त्रसंज्ञिता ।। वैतालीयमेतत् । आख्यानकीविपरीताख्यानक्यौ तूपजात्यन्तर्गतत्वान्नोक्ते। विषमे नव नगणा लघुगुरू समे दशनगणा गुरुः शिखा । विषमे नगणदशकं गुरुः समे नगणनवकं लघुगुरू खजा। द्वयोरप्यर्धयोर्नव नव नगणाः गुरुः अतिरुचिरेत्यादि ग्रन्थान्तराज्ञेयम् ॥ ११७ ॥ अर्धसमवृत्तप्रकरणम् ॥ अथ विषमवृत्तान्याह ।
अणुट्टभे गणा सव्वे अनसा आइवन्नाउ ।
यो चउत्त्थाउ ओयंतटाउ (?) गो लो य वत्तंति ॥ ११८ ॥ अनुष्टुभ्यष्टाक्षरायां जातौ पादस्याद्यादक्षरात्परे नगणसगणवर्जं सर्वे षडपि गणाः स्युश्चतुर्थादक्षरात्परो यगणः पादस्यादावन्ते गुरुलधुर्वा स्याद्यत्र तद्वक्त्रमिति ज्ञेयम् । आद्यांहेराद्यस्थाने ग्लाविति द्वौ भेदो द्वितीये नसवर्जनाच्छेषगणैः षट् । तृतीये च एकः । तुर्ये ग्लाविति द्वौ । अन्योन्याभ्यासे चतुर्विशतिः । प्रत्यंहि चतुर्विशते वादन्योन्याभ्यासे तिस्रो लक्षा एकत्रिंशत्सहस्राः सप्तशतानि षट्सप्ततिः । एवमेषैव संख्या विपुलाभेदेष्वपि ॥ ११८॥
पत्त्थावत्तं समप्पाए यगणे जगणो जइ।
तदेव विसमंमि जो समे यो विवरीयाइ ॥ ११९ ॥ समपादयोस्तुर्याक्षराद्यगणस्थाने जगणश्चेत्तदा वक्त्रमेव पथ्यावक्त्राख्यम् । विषमयोस्तुर्याक्षराज्जगणः समयोर्यगणः शेषं तथैव वक्त्रवद्यत्र तद्विपरीतादि विपरीतपथ्यावक्त्रम् ॥ ११९ ॥
तं चेव होइ चवला नगणेण जगणंमि।
विउला सा समे जीए किज्जए सत्तमो लहू ॥ १२० ॥ तदेव विपरीतपथ्यावक्त्रं जगणस्थाने नगणेन चपलावत्राख्यम् । विषमयोस्तुर्याक्षरानगणः समयोस्तु यगणः इत्यर्थः । समयोः सप्तमो लघुर्यस्यां क्रियते सा विपुलावक्त्राख्या । न चेयं पथ्या(थ्य)[या] गतार्था । विपुलावक्त्रस्येद(दा)नीमारभ्यमाणत्वात्तां विना तस्यापनुपत्तेः समपादयोः सप्तमलघुनावश्यं भाव्यम् । विषमयोस्तु मादिभिर्यगणस्यापवादं वक्ष्यति । पथ्यायां तु यगण एवावतिष्ठते ॥ १२० ॥

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६०
सवृत्तिकः कविदर्पणः
चउसुं सेयवस्स सा ॥ १२१ ॥
सैतवाचार्यमते चतुर्षु पादेषु सप्तमो लघुश्चेद् विपुलावक्त्रम् ॥ १२१ ॥ मो मव्विला ओयंमि ॥ १२२ ॥
ओजयोस्तुर्याक्षराद्यगणं बाधित्वा मगणः समयोस्तु सप्तमो लघुः स्थित एव चेन्मविपुला । ओज इति जातिपक्षे द्वयोरपि पादयोर्ग्रहणम् । व्यक्तिपक्षे पुनरेकस्य प्रथमस्य तृतीयस्य वा । एवं वक्ष्यमाणविपुलास्वपि । तथा च महाकवीनां प्रयोगः ॥ १२२ ॥ [ जातिपक्षे यथा - ]
व्यति (क्ति) पक्षे यथा—
तथा-
सर्वातिरिक्तं लावण्यं बिभ्रती चारुविभ्रमा ।
स्त्रीलोकसृष्टिः सा नूनं न सामान्यस्य वेधसः ॥ १२२·१ ॥
गतः स कालो यत्रासीन्मुक्तानां जन्म वल्लिषु । वर्तन्ते हेतवस्तासां सांप्रतं शुक्तिसंपुटाः ॥ १२२.२ ॥
तथा
वज्रादपि कठोराणि मृदूनि कुसुमादपि । लोकोत्तराणां चेतांसि को हि निर्ज्ञातुमर्हति ॥ १२२.३ ॥
तहेव नो नविउला ॥ १२३ ॥
तथैव विषमांहितुर्याक्षरान्नगणश्चेन्नविपुला ॥ १२३ ॥
जातिपक्षे यथा—
दृशा दग्धं मनसिजं जीवयन्ति दृशैव याः । विरूपाक्षस्य जयिनीस्ताः स्तुवे वामलोचनाः || १२३·१ ॥
व्यक्तिपक्षे यथा—
दीनायां दीनवदनो रुदत्यां साश्रुलोचनः ।
पुरः सखीजनस्तस्याः प्रतिबिम्बमिवाभवत् । १२३.२ ॥
[ चतुर्थोद्देशे
अन्यदा भूषणं पुंसः शमो लज्जेव योषितः । पराक्रमः परिभवे वैयात्यं सुरतेष्विव ॥ १२३.३॥
भोजइ ता भवि (व्वि) उला ॥ १२४ ॥
तथैव भगणश्चेद्भविपुला ॥ १२४ ॥ जातिपक्षे यथा
इयं सखे चन्द्रमुखी स्मितज्योत्स्नावभासिनी । इन्दीवराक्षी हृदयं दंदहीति तथापि मे ।। १२४.१ ॥

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१० १२१-१२७]
सवृत्तिकः कविदर्पणः व्यक्तिपक्षे यथा
सुवर्णपुष्पां पृथिवीं चिन्वन्ति पुरुषास्त्रयः । शूरश्च कृतविद्यश्च यश्च जानाति सेवितुम् ॥ १२४.२ ॥
तथा
सर्वाशुचिनिधानस्य कृतघ्नस्य विनाशिनः । शरीरकस्यापि कृते मूढाः पापानि कुर्वते ॥ १२४.३ ।।
रो रविउला उ नेया ॥ १२५ ॥ तथैव रगणश्चेद्रविपुला तु ज्ञेया ॥ १२५ ॥ जातिपक्षे यथा--
वधूभिः पीनस्तनीभिस्तूलीभिः कुङ्कुमेन च ।
कालागरुधूपधूमैहेमन्ते जयति स्मरः ॥ १२५.१ ।। व्यक्तिपक्षे यथा
महाकवि कालिदासं वन्दे वाग्देवतागुरुम् ।
यज्ज्ञाने विश्वमाभाति दर्पणे प्रतिबिम्बवत् ।। १२५.२ ॥ तथा
कामिनीभिः सुखं संगः क्रियते पण्डितैरपि । यदि न स्याद्वारिवीचीचञ्चलं हतजीवितम् ॥ १२५.३ ॥
सो जत्थ सविउला सा ॥ १२६ ॥ तथैव यत्र सगणः सा सविपुला ॥ १२६ ॥ जातिपक्षे यथा
क्षणविध्वंस(सि)नि लोके का चिन्ता मरणे रणे ।
को हि मन्दः सहसैव स्वल्पेन बहु हारयेत् ॥ १२६.१ ॥ व्यक्तिपक्षे यथा
श्रोत्रे सति न शृणोति सति नेत्रे न पश्यति ।
वक्त्रे सत्यपि नो वक्ति पार्थिवस्तेन पार्थिवः ॥ १२६.२ ॥ तथा
कौटिल्यपटवः पापा मायया बकवृत्तयः । भुवनं वञ्चयमानाः वञ्चयन्ते स्वमेव हि ॥ १२६.३ ॥
तो तविउला अक्खिया ॥ १२७ ॥ तथैव तगणश्चेत्तविपुला आख्याता ॥ १२७ ॥ जातिपक्षे यथा
येन हता पादेन सा जातीलुब्धेन मल्लिका । अलेस्तस्य दैवादहो बर्वर्यपि सुदुर्लभा ॥ १२७.१ ॥

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सवृत्तिका कविदर्पणः
- [चतुर्थोद्देशे व्यक्तिपक्षे यथा
वन्दे कविं श्रीभारविं लोकसंतमसच्छिदम् ।
दिवा दीपा इवाभान्ति यस्याग्रे कवयोऽपरे ॥ १२७.२ ॥ तथा
लोकवत्प्रतिपत्तव्यो लौकिकोऽर्थः परीक्षकैः ।
लोकव्यवहारं प्रति सदृशौ बालपण्डितौ ॥ १२७.३ ॥ संकीर्णाश्च विपुलाप्रकारा दृश्यन्ते । यथा
क्वचित्काले प्रसरता क्वचिदापत्य निघ्नता । शुनेव सारंगकुलं त्वया भिन्नं द्विषों बलम् ।। १२७.४ ।। तुल्येऽपराधे स्वभाणु(नु) नुमन्तं चिरेण यत् ।
हिमांशुमाशु ग्रसते तन्मदिनः स्फुटं फलम् ॥ १२७.५ ॥ इत्यादयोऽन्ये तु स्वबुद्धयाभ्यूह्याः । सर्वासां च विपुलानां चतुर्थो वर्णः प्रायेण गुरुर्भवतीत्याम्नायः ।। १२७.५ ॥ वक्त्रजातिप्रकरणम् ॥
पढमंमि अट्ठवन्ना
दुइयमि दुवालस निबज्झंति । तइए सोलस चउत्थए वीस जत्थ पाए
तं पयचउरुद्धयनामयं पयंपंति विसमच्छंदं ॥ १२८ ॥ [प्रथमेऽष्टवर्णाः
द्वितीये द्वादश निबध्यन्ते। तृतीये षोडश चतुर्थे विंशतिर्यत्र पादे
___ तत्पदचतुरू नामकं प्रजल्पन्ति विषमं च्छन्दः ॥ १२८ ॥] स्पष्टम् ॥ पदचतुरूवं न्यासभेदाच्चतुर्विंशतिधा। स्थापना। ८,१२,१६,२० । पदचतुरून पदचतुरूर्ध्वप्रकरणमुपलक्ष्यते । यथा पदचतुरूर्ध्वमेव प्रतिपादमादौ द्विगुरुकं ततः सर्वलध्वक्षरं यद्वा प्रतिपादमादावन्ते च द्विगुरुकं शेषं सर्वलघुकं च प्रत्यापीडः । पदचतुरूर्ध्वमेव एकद्विगुरुकं शेषं सर्वलघुकं आपीडः । आपीड एवाद्यस्यांद्वेर्द्वितीयेनांहिणा व्यत्यये कलिका। तृतीयेन लवली । तुर्येणामृतधारा । पदचतुरूर्वप्रकरणम् ॥ १२८॥
सजसा लहू पढमयंमि
नसजगुरुणो दुइज्जए। हुंति भनजलगुरू तइए
_तुरिए सजा सजगुरू य उग्गया ॥ १२९ ॥ [सजसाः लघुः प्रथमे
नसजगुरवो द्वितीये। भवन्ति भनजलगुरवस्तृतीये
तुरीये सजी सजगुरवश्व उद्गता ॥ १२९ ॥

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प० १२७-१३०]
सवृत्तिकः कविदर्पणः स्पष्टा । उद्गतया उद्गताप्रकरणसंग्रहो ज्ञेयो यथा । उद्गतैव तृतीयेह्रौ रनभगाश्चेत् सौरभकम् । ननससास्तु चेल्ललितम् । उद्गताप्रकरणम् ॥ १२९ ॥
आइले मसजा भंगा गुरू अह बीए
__ सनजा रगुरु म(त)हग्गिमे नना सो। नतिगजय तुरियए
इय मुणह पचुवियमुवट्टियपुव्वं ॥ १३० ॥ [आदिमे मसजा भगौ गुरुरथ द्वितीये
सनजा रो गुरुस्तथाग्रिमे ननौ सः । नत्रिक जयौ तुर्ये
इति जानीत प्रचुपितमुपस्थितपूर्वम् ॥ १३० ॥ आवेह्रौ मसजा भगौ गुरुरथ द्वितीये सनजा रश्च गुरुश्च रगुरू । अथाग्रिमे तृतीये ननौ सः। तुर्यके नत्रिकं जया इ(वि)ति जानीत प्रचुपितमुपस्थितपूर्वमुपस्थितप्रचुपितमित्यर्थः । अनेनैतत्प्रकरणं सूचितम् । यथा इदमेव तृतीयेह्रौ ननसननसाश्चेद्वर्धमानम् । इदमेव तृतीयेह्रौ तजराश्चेत् शुद्धविराड्ऋषभम् । उपस्थितप्रचुपितप्रकरणम् ॥ पूर्वार्धे षोडश गुरवः उत्तरार्धे द्वात्रिंशल्लघवः सौम्या । पूर्वार्धे द्वात्रिंशल्लघवः उत्तरार्धे षोडश गुरवो ज्योतिः ॥ १३० ॥ विषमवृत्तप्रकरणम् ॥
[इति] कविदर्पणवृत्तौ चतुर्थोद्देशः ।

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पञ्चमोद्देशः।
अथोभयच्छन्दः।
विसमे छकला समे वसू । वेयालीयं रोलगा तओ। नट्ठसु छलहू निरन्तरा । दुसुवि कला न समा पराणुगा ॥१॥ [विषमे षट्कलाः समे वसवः । वैतालीयं रो लगौ ततः।
नाष्टसु षट् लघवो निरन्तराः । द्वयोरपि कला न समाः परानुगाः ॥ १॥] विषमयोः पादयोः षण्मात्राः समयोरष्टौ इति मात्राच्छन्दोंशः ततो द्वयोरपि रगणो लघुर्गुरुः इति वर्णच्छन्दोंशः । इदं वैतालीयम् । अत्रापवादः। समाहिकलास्वष्टसु षट् लघवः संतता न स्युनच द्वयोरपि विषयसमपादयोः समा कला परानुगा सर्वांहिषु समो लघुः परेण लघुना सह गुरुर्न कार्य इत्यर्थः । अत्रौजांहिषट्कलानां प्रस्तारे त्रयोदश भेदास्तेष्टाविहासाका ग्राह्या यथा। स्थापना। ॥ साकास्तु पञ्चामी यथा । स्थापना ॥ पराश्रितसमकलाविकल्पाः साका इतरे त्वसाका इति पूज्याम्नायः । युक्पादाष्टमात्राणां प्रस्तारे चतुस्त्रिंशद्भेदास्तेष्वसाका षोडश । षोडशभ्योपि संततषट्लघवस्त्रयोपनीयन्ते । ततो जातास्त्रयोदश । तेत्र ग्राह्याः । स्थापना। साकास्त्वष्टादश । ते त्याज्याः स्थापना ।
तं चिय रगणंतसंठिए ये । ओवच्छंदसयं वयंति बुट्टा ॥२॥
[तदेव रगणान्तसंस्थिते ये । औपच्छन्दसकं वदन्ति वृद्धाः ॥२॥] तदेव वैती(ता)लीयमोजयोः षड्भ्यो युजोरष्टभ्यः कलाभ्यः परस्य [र]गणस्यान्तसंस्थिते यगणे औपच्छन्दसकं वृद्धा वदन्ति ॥ २॥
आवायलिया भगणेणं । गुरुजुयलेण य अंतगएणं ॥ ३ ॥ [आपातलिका भगणेन । गुरुयुगलेन चान्तगतेन ॥ ३ ॥] वैतालीयमेवाहिद्वये षडष्टकलाभ्यो भगणेन गुरुभ्यां चापातलिका ॥ ३ ॥ समपा[य] कलातिगंतगो । जइ गुरू उ ता होइ पच्चिया ॥४॥
[समपादकलात्रिकान्तगो । यदि गुरुः पुनर्भवति प्राच्यिका ॥ ४ ॥] समपादाष्टमात्रासु तिसृणां कलानामन्तगतो गुरुः पुनश्चेद्विषमयोस्तु प्राग्वच्चेत्तत्स्यात् प्राच्यवृत्तिभीमादिवत् प्रायिका । सा त्रिधा वैतालीयप्रायिका औपच्छन्दसप्रायिका आपातलिकाप्रायिका॥४॥
उइच्चिया सा पवुच्चए । जहि समेसु मुहलप्परो गुरू ॥ ५॥ [उदीज्यिका सा प्रोग्यते । यत्रासमयोः मुखलपरो गुरूः ॥ ५॥]
१ I have dropped the graphical presentation. २ विसमे ?

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प० १-११]
सवृत्तिकः कविदर्पणः यत्रौजांहिषट्कलास्वाद्यालयोः परो गुरुः सा प्रोच्यते उदीच्यवृत्तिः प्राग्वदुदीज्यिका । एषा प्राग्वत् त्रिधा ॥ ५॥
तहा दुन्ह पायसंकरो। पुब्वच्छं(छ)दयाणं पवत्तयं ॥ ६ ॥
[तथा द्वयोः पादसंकरः । पूर्वच्छन्दसा प्रवृत्तकम् ॥ ६ ॥] तथा द्वयोः पूर्वच्छन्दसोः प्राच्यिकोदीयिकयोरहिसंकरः प्रवृत्तकं युजोर्मात्रात्रयाद्गुरुरयुजोस्त्वाद्यालघोर्गुरुरित्यर्थः । इदमपि प्राग्वत् त्रिधा ॥ ६॥
सवजुम्मपयजावरंतिया ॥ ७ ॥
[सर्वयुग्मपादजा अपरान्तिका ॥ ७ ॥] सर्वेषां वैतालीयौपच्छन्दसकापातलिकातत्प्रायिकाछन्दसां समपादैर्जनिता अपरान्तिका ॥७॥
अजुम्मजा चारुहासिणी ॥ ८ ॥
[अयुग्मजा चारुहासिनी ॥ ८ ॥] वैतालीयौपच्छन्दसापातलिकातदुदीच्यकानां विषमांहिजा चारुहासिनी ॥ ८ ॥
असेसपायाइलप्परो। गुरू जहिं सा दाहिणंतिया ॥९॥
[अशेषपादादिलात्परः । गुरुयंत्र सा दक्षिणान्तिका ॥ ९॥] अशेषाणां वैतालीयादीनां यथासंभवं सर्वेष्वंहिष्वाद्यालयोः परो गुरुयंत्र सा दा(द)क्षिणान्तिका । ॥९॥ उभयच्छन्दःप्रकरणम् ।
जं विसमक्खरचरणं ऊणाहियचरणयं व रूवयं ॥ तिविहे छंदमि इमंमि जयदेवाईहि न भणियं । तं सव्वंपि नेयं गाहानामं वियडेहिं ॥ १० ॥ [यद्विषमाक्षरचरणं ऊनाधिकचरणं वा रूपकम् । त्रिविधे छन्दसि अस्मिजयदेवादिमिर्न भणितम् ।
तत्सर्वमपि ज्ञेयं गाथानाम विदग्धैः ॥ १० ॥] यद्विषमाक्षरांहि न्यूनाधिकाहिकं वा रूपकं मात्रावोभयरूपे त्रिविधे च्छन्दस्यास्मन् जयदेवाचै!क्तं तत्सर्वमपि गाथाख्यं विदग्धैमिम् ॥१०॥ छन्दसां वर्णगुरुलघुसंख्यानयनकरणमाह
गुरुवज्जियाहिं अक्खरसंखा वन्नुज्झियाहिं गुरुसंखा । दुगुणियगुरुरहियाहिं लहुसंखा रूवयकलाहिं ॥ ११ ॥ [गुरुवर्जिताभिरक्षरसंख्या वर्णोज्झितामिर्गुरुसंख्या। द्विगुणितगुरुरहिताभिलघुसंख्या रूपककलाभिः ॥ ११ ॥]

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सवृत्तिकः कविदर्पणः
रूपकस्य यस्य कस्यापि च्छन्दसः कलाः संख्यायन्ते ततस्ताभ्यस्तस्यैव रूपकस्य गुरवः पात्यन्ते चेद्वर्णसंख्या । वर्णाश्चेदुज्झ्यन्ते गुरुसंख्या । द्विगुणीकृत्य गुरवोपनीयन्ते चेल्लघुसंख्या स्यात् । यथास्यामेव गाथायां सप्तपञ्चाशन्मात्राभ्यः सप्तदशगुरुव्यपगमे चत्वारिंशद्वर्णाः । वर्णात्यये सप्तदश गुरवः । द्विगुणितैर्गुरुभिश्चतुस्त्रिंशत्संख्यैः पातितैस्त्रयोविंशतिर्लघव इति ॥ ११ ॥
[इति ] कविदर्पणवृत्तौ पञ्चमोद्देशः ।
६६

Page #136

षष्ठोदेशः। अह पत्थारो नठु उठ्ठि एगमाइलगकिरिया। संखा तहद्धजोगो छंदंमि छ पच्चया एए ॥ १ ॥ [अथ प्रस्तारो नष्टमुद्दिष्टमेकादिलगक्रिया।
संख्या तथाध्वयोगो छन्दसि षट् प्रत्यया एते ॥ १ ॥] अथानन्तरं प्रस्तीर्यते (इति) प्रस्तारो जातिवृत्तयोर्विस्तरान्यासः। नष्टस्य प्रस्तारभेदेभ्योऽदृष्टस्य जातिवृत्तभेदस्यानयनं नष्टम् । उद्दिष्टस्य कतिथोयं भेदः प्रस्तारेण्विति प्रश्नेनोपन्यस्तस्य जातिवृत्तभेदस्याख्यानमुद्दिष्टम् । सर्वलघूनां सर्वगुरूणामेकादिलघूनामेकादिगुरूणां च जातिवृत्तप्रस्तारभेदानां ज्ञानाय करणमेकादिलघुगुरुक्रिया । जातिवृत्तप्रस्तारे भेदप्रमाणानयनं संख्या। जातिवृत्तप्रस्तारभूमिमानमध्वयोगः । छन्दसि षट् प्रत्ययाः प्रतीतिजननादेते स्युः ॥ १ ॥ तत्र जातिप्रस्तारमाह
विसमाओ लहुयाई समा गुरू ठवहु गुरुअहे य लहू । उवरिव पुरो पच्छा पुत्वविही जाइपत्थारो ॥२॥ [विषमा लघ्वादीः समाः गुरून् स्थापय गुरोरधश्च लघुम् ।
उपरीव पुरः पश्चात् पूर्वविधिर्जातिप्रस्तारः ॥ २ ॥ विषमाश्चेन्मात्रा लघ्वादीः स्थापयत । विष[म]मात्रासु प्रस्तार्यास्यादिभेदे प्राक् लघुः स्थाप्यस्ततः शेषमात्रा गुरुभिः पूर्या इत्यर्थः । यथा पञ्चानां मात्राणां प्राक् ल[घुः त]तो गुरुद्वयम् I S S अथ समा मात्रास्ततो गुरुनेव स्थापयत । सममात्रासु प्रस्तार्यास्यादिभेदे गुरुभिरेव मात्राः [पूर्या] इत्यर्थः । यथा षण्णां मात्राणां गुरुत्रयम् sss । ततः समासु विषमासु च प्राक्कल्पस्थासु य आद्यो गुरुस्तस्याधो लघु स्थाप[यत । ततः परमुपरीव स्थापयत । यत्रोपरि गुरुस्तत्राधस्तादपि गुरुयंत्रोपरि लघुस्तत्राधस्तादपि लघुरित्यर्थः । पश्चात् पृष्ठभागे पूर्वविधिः कार्यो विषमा अवि(ब)शिष्यमाणा लघ्वादिगुरुभिः समास्तु गुरुभिरेव पूर्या इत्यर्थः । यथा IS HIS सर्व x x यावदयं विधिरित्थं जातीनां प्रस्तारो ज्ञेयः ॥ २॥ जातीनां नष्टादींस्त्रीन् प्रक्रियागौरवादुपेक्ष्य संख्यामाह ।
एगच्चिय एगाए दुन्हं दुन्नेव तिन्ह तिन्नेव । अंतोवंतसमासो परं तु मत्ताण परिसंखा ॥ ३ ॥ [एकैवैकाया द्वयोर्दै एव तिसृणां तिस्र एव । भन्तोपान्तसमासः परतस्तु मात्राणां परिसंख्या ॥३॥]
ISS

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सवृत्तिकः कविदर्पणः एकस्या मात्रायाः प्रस्तारे एकैव संख्या । द्वयोर्ते एव संख्या । तिसृणां तिस्र एव संख्या । तिसृभ्यः परतश्चतुरादीनां मात्राणामन्त्योपान्त्यसमासः परिसंख्या । अन्त्यस्त्रिक उपान्त्यो द्विकस्तयोर्मेलनं पञ्च चतसृणां संख्या । अन्त्यः पञ्चक उपान्त्यस्त्रिकस्तन्मीलनमष्टौ पञ्चानां संख्या । अन्त्योष्टक उपान्त्यः पश्चकस्तन्मीलनं त्रयोदश षण्णां संख्या । अन्त्यस्त्रयोदशक उपान्त्योष्टकस्तन्मीलनमेकविंशतिः सप्तानां संख्या । एवमुत्तरत्रापि । जात्यध्वयोगस्तु वृत्ताध्वयोगतुल्य एवेति नोक्तः ॥३॥
[इति कविदर्पणे षष्ठोध्यायः । इति कविदर्पणं सवृत्तिकं समाप्तम् । ]

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i
1. INDEX OF VERSES AND ILLUSTRATIONS IN THE TEXT
N. B.--Figures refer to chapter and verse. The third figure (whenever it is
given) refers to the serial number of the illustration under the verse.
अजुम्मजा चारु अणुटुभे गणा सव्वे अथिरचिय जिय अम्मो महाणुभावेहिं अरिरि मयण असेसपायाइलप्परो अह पत्थारो नहं आइल्ले मसजा भगा आयंबलोललोयण आवायलिया भगणेणं आसगई उण आसेहिं चंदलेखा आसेहिं भूधरेहि इओ य अन्नं वियाणं इत्तो वुच्छं सव्वंपि इत्यं पुण तो यो इसिहि ननरसा इह किर विसमंमि इह हि नजेहि उइच्चिया सा उक्कमे समाणिया उग्गसेनतणयाइ उत्तअइउत्तमझा उय चित्तालिहिया उव गीईइ कुरंगुव्व उवडियमिमं उवदोहयमेगकला उविंदवजा एओइंहिं पयए एकारसजाईओ एगच्चिय एगाए एसा कडवयनिहणे एसा चित्ता वुत्ता ओयसमेसु कमा कटुरवअसंख कदुगं टो
5.8 4.118 2.9.4
2.8.6 2:35.1
5.9
6.1 4.130 2.3.2
5.3 4.76 4.71 4.92 4.19
3.1 4.56
4.65 4.116 4.51
5.5 4.18 2.23.2
3.4 2.20.3 2.9.2 4.35 2.16 4.39
कय वयंसि दुहु कलमलयदाह किजइ तीइ तुह किणि अवरिहि किमिच्छह जुवइ कुंचपया भो मो कुमइ जि मइरइ कुसुमाउहपिव को नेसइ संदेसडा खीरसमुद्दिण गहिरु जलहरमुरव गा लहू निरंतरा गाहाइ मुहदलदुर्ग गाहागणभेयपरु गाहामुहदलअंतिम गिरिमालियन्व गीह रिउच्छंदा गीइविसेसा चउरो गुजरविल्याण गुरुवजियाहिं अक्खर गो गी घत्तादुयं दुहंगी घणपयट्ट पिय घरि घरि घेणुदोह घोरअणोरपार चंदुज्जोओ चंदण चंपयमालेयं चउचा टगणो चउदसलहुय चउर्स मुण चउसु सेयवस्स चित्तवया भगुरू चित्ता नवमोवि चिरमडिलहं छव्वीसक्खरअहियं जं विसमक्खरचरणं
2.25.2 2.8.1
2.9.3 2.37.1 2.18.1
4.99 2.17.1 2.36-3 2-36.1 2.34.1 2:36.2 4.89
2.9
2.6 2.12 2.8.4 2.11 2.10 2.8.2 5:11
4.1 2.37 2-23.1 2.35.3 2.24.2 2.20.4
4.26 2.21 4.68
4.45 4.121
4.15
2.20 2.21.3 4.104
5.10
1.5
2.1 6.3 2.31 .4.73 4.115 2.8.3
2.2

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७०
जउगोलव्व विभि जउ तुह तिहुयण
राहु
जभा जरा जहि
जभा सजा गुरु
जय जिणसासण
जया यो लगा
जल हिनपर गुरु जलद्वयगई हम सहि
जहिं वेयया
...हिच्छिया लहूगुरू
जाण सत्त कत्थइ
जि नर निरग्गल
'जुज्झिय भाउ य
जे जम्मद अमुणिय टा चउरो जो ण
ढक्कडपडु तं चिय रगणंत
तं चैव होइ चवला
'तगणदुगटगण तत्ती सीयली
तदुगं टदुगं तरुणीवयदुि
- तहा दुण्डपाय तवं नो नविउला
तेरस एका रस हिं
तेरसकलेहिं पाहिं तेसु समे एगक्खर
तो जो जगगत्ति
तो यस्स अंतए
तो तव्बिउला
तो तो जगा गो
तो भो वसंत
तो यो त मज्झा दलदुगमुहे तिगणजइ
• दलि महियल अतेरसहि
दीसह सुंड गयाणणि दीहं सबिंदु
सवृत्तिकः कविदर्पणः
2.9.1
2.21.2
4.43
4.48
4.60
2.30.2
4.8
4.63
4.55
4.106
4.44
4.108
2.8.7
2.15.1
2.16.1
2.20.1
2.19
2.25.1
5.2
4.120
2.27
2.14.2
2.23
4.87
*5.6
4.123
2.15
2.17
3.3
4.34
4.75
4.127
4.38
4.62
4.9
2.7
2.30.5
2.29
2.30.6
1.4
दुइतुरिए
दुइया छट्ठे पढमाउ
दुयविलंबिय
गुणव
दो गा इत्थी
दो दो गा दोमाया नेया
दोहय घत्ताउ दुई
धणु जुवणु
धन्नह उद्दाम
नंदा तलगा
न कलई दुह
दुगरक
न छमच्छ मंति
'न जजलहू
नजरभभा
नजुगलर चउक्क
नजुगसगण
नदुगतरगणा
दुमिह पुडो
नदुगरगणसत्तयं
ननमययगणड्ढा
ननरलहुगुरू
नयनयबद्धा
नरजमा इमा
नसयघडिया
न सुयइ न हसइ
नहि निहालिवि नारायओ तरा लगा
नियडि लयहं
निगसिज्जंतं विस
निच्चुवि नवं
निसुह तामरसं
णि सिगुरुं मि
नेया मत्ताछंदे
नो वीर मंडलग्गि
• पंचाणणललिया
पंचाल लिया
पंतिहि वंसपत्त
पई पियठाणाउ
2.28
2.5
4.46
2.32.1
4.2
4.13
4.54
2.36
2.34.2
2.22.1
4.7
2.16.2
4.9.7
2.8.5
4.32
4.78
4.85
4.33
4.61
4.57
4.105
4.72
4.30
4.49
4:25
4.22
2.21.1
2.14.3
4.16
2.21.4
2.19.1
2.19.2
4.52
4.117
1.2
2.26.1
2.14
2.14.1
4.84
2.20.2

Page #140

संवृत्तिका कनिदर्पणः
.
4.107
4.128 ", . 1.1
2.23.3 12.22 ...4.119
2.3 . 2.32
:
4.47 4:50 . 1.8 4.77
पचिययमिह पढमंमि अठवन्ना पणमिअ अरिहंत पणयजणकप्परुक्ख पद्धडिया टचउक्क पत्थावत्तं समप्पाए पन्नरसकलाहिं पपका टदुगं पमियक्खरा पमुइयवयणा पयमझेवि हु परिकहिया नजा पहप्परं दुण्ह पहरणकलिया पिच्छ पओसि पुरुगुजरमंडली पुव्वपव्वयराय फुलंधुय धावंति बहलंधारपडल बाणा मा जस्सि बाणेहिं मो तो बारस अष्ठेगारस बिंति सुभद्दयनामय बुहयणसंमया भग्गउ अइयारिहिं भण दुगुणवसु भत्तिग दो गुरु भद्दयमुल्लवंति भो जइ ता भो तलगा भो रनना नसा मंदकंता चउहिं मई मिलिउ मन मणि माणसमुद्धय मत्तक्कीला मो मो महिभरसेसह महुमहूसवमुहि मालावित्तं सेस मुणेह वंसत्य मुनि टा गुरु तत्थ
4.40 . : 4.66 22.33.1
2.37.3 2.35.4 2.15.2 2.24.1
4.67 4.64 2.30 4.98
4.91 2:30.4
4.79 4.29 4.94 4.124 4.14 4.86
4.80 2.35.2 2.30.1
4.96 2.30-3 2.28.1 4.103 4.42 2.4
मोगो कन्ना मो तो यो सो मो दो ता गा मो ना छच्चिय जहिं मो नारी मो नो जो पहरण मो नो यो मगर मो मन्विउला मो मो तो नोनो मोरसारणी रजा मो सो गो मयलेहा मो सो जो सतता मो सो सुद्धविराट य गा वीला यया सोमराई रवी लगा कमा रसटा उच्छाहो रसेहिं निद्दिहा रासावलयं पोरो रिउहिं चउहिं रो जरा जरा रो जरा य जो य रो जरा लहू गुरू रो नरा जरनरा रो नरा लहुगुरू रो नसा किर रो मृगी रो रन्विउला रोसगुरुगिरिस वच्चयम्मि एयमेव वत्थुय दोहा दोहय वत्थुवयणाइ उल्लाल वन्नच्छंदे उण वसू लगा पमाणिया वसूहिं पुहवी वाउम्मी मो तह विउला चवला य विरहिणिहियय विसमंमि उवंत विसमाओ लहुयाई
4. 4.59 4.36 4.102
4.3 -4.58
4.21 4.122 4.101
4.23 4.11 4.88 4.24 24.6 4:10 4.53 2.26 4.82 2.25 4.81
4.69 4.113 4.31 4.95 4.27 4.20
4.4 4.125 2.22.3 4.109
2.35 2.33
1.3 4.17 4.83 4.37
2.8 2.37-2 4.111
6.2

Page #141

७२
सवृत्तिकः कविदर्पणः
5.4 3.2
5.7
विसमे छकला विसमे सजा सगण विसमेसु टतिगकेहिं विसमेसु दुन्नि टगणा विहियभर वइसवइ वुत्ता सत्तद्दगेणं वेरि य केसरि संकलबंधसहोयर संगाहो उवगाहो सक्करि अइसक्करिया सजसा लहू पढमयंमि सतिगं लगुरू सतिगं विसमे सत्तभनिम्मिय स पंचचामरो
5.1 4.112
2.34
2.18 2.33.3
4.90 2.22.2 2.3.3 2.13
3.5 4.129 4.110 4.114
4.93 4.74
समपायकलातिगं सममद्धसम सव्वजुम्मपयजा सा इंदवंसा सागया उ रनभा सा चंदलेहिया सा हंसवया जीए सुइसुहविरई सुरकुंभिकुंभ सुहि अच्छंतह सूरिलच्छिमणिहार सो जत्थ सविउला हंसमाला ररा गो हवइ पभद्दकं
4.41 4.28
2.24 4.100
1.7 2.3.1 2.17.2 2.33.2 4.126 4.12 4.70

Page #142

n. INDEX OF PRAKRIT DEFINITIONS AND ILLUSTRATIVE STANZAS
QUOTED IN THE COMMENTARY
N. B.-The first figure refers to the chapter, the second to the separate number given to these quotations in the chapter and the last to the page on which it occurs.
अंतरसमयच्चिय अञ्चंतनिग्धिणेण अहलहुविरइआओ अणुहवसरसाणं अन्नुन्नमंगघडणा अप्पाणं वनंतो अप्पुव्वो नणु गिम्हो अयि अबुह हियय अलओ वलओ मलओ अलहुदुहलहरि अविरामजलिर अविहडअवरु अव्वो जुत्तं जं ते अह चउपईओ इय अहहि उवजाई उग्गमु तहिं उच्छलंतछप्पय उच्छाहवयणहेला उवरि सुतिय एआओच्चिअ सुमणो एए नामनिबद्धा कडवयनिवहो संधी कत्थवि भुलइ कमला तिहिं लहु कमला ललिया कलमलयदलो कामो बुहो विसालो काली कुमरी मेहा किं न फुल्लइ पाडल कुणसि तुममणिस केलिक्खंभा ऊरू गज्जंते खे मेहा गाढा अगाढगाढा गेयं बाला तूली चंपयकुसुमाइ
2.79; 36 2.16%; 13
2.33; 8 2.28; 15 2.24; 14 2.13; 12 2.173 13 2.39; 17 2.64; 31 2.35%3 16 2.52; 21 2.90; 40 2.10; 12 2.75%; 36 2.72; 35
1.4; 3 2.98; 48 2.84; 37 2.19; 13 2.783; 36 2.65%; 31 2.73; 35 1.5%; 3 2.73; 10 2.5%; 10 2.23; 14 2.235. 7 2.6% 10 2.94342 2.333; 16 2.97%; 45 2.36%; 16
2.9; 10 2.12; 12 2.77; 36
चलचेलंचल चलवलिरचवल जइ तुहुं महु कर जइ दोहयाण हिहे जह मत्ताजाईणं जह वत्थुआण हिहे जणमणमग्गेसु जयदेवपिंगला जय पलयपवण जयवि झलक्कहि जरिणो घयं व जह मग्गो पुलइज्जा जीइ कलाउ दसाई जो जस्स कए घडिओ णो दिहाइं वियंभंति तक्कालं निक्किव तरुणियणममय तरुणिहूणिगंड तुंगो रिंगो भिंगो तुह निद्दे निःसीमा तुह सुमुहि मुहं तेलुक्कचंदगुजर थुइमुहलविविह दइए दावियविप्पिय दइयणहंकुस दिहे तुमंमि दुहि तिहि चउहिवि दोषनिचयधाम्नो धवलनिहेण सुपुरिसा न सुयह न रसह पंडिगंडयल पच्चालोयणसंका पत्तो वासारत्तो परहुयपंचमसवण परिल्हसियपंकतण्डा
2.20; 14 2.573 22 2.93341 2.96%; 43 2-95%; 42 2.863 38 2.2214 1.31; 6 2.34; 16 2.87339 2.41; 17 2.473 20 2.71; 35 2.50; 20 2.18; 13
1.3; 3 2.38; 16 2.92; 41 2.63; 31 2.14; 13 2.56%3; 21 2.543 21 2.32; 15 2.51; 20 2.26%; 14 2.40; 17 2.80; 36 1-30; 6 2.81; 37 2.31; 15 2.89; 40 2.15%3 13 2.11; 12 2.88; 39 1.6; 3

Page #143

७४
पियतकरे कडिल्लं पियमरणसोय बहलंधतमसघोरा भिडणुज्मडणि मत्तकरिणीवि एवं मत्तच्चिय उच्चइ महमहइ लच्छि यन्मंगलावि तन्नाम रुइओ न दीसह लक्खह लक्खेण वंसो वित्तो वालो वम्महसहियसणाई वाहो वोहो वग्गो
सवृत्तिकः कषिदर्पणः 2.46%3 20 विसमे सेगा सेगा 2.55; 21
संसारासारतं 2.273; 15
समचरणनिहण 2.58; 22
सरसेण पवरपरिमल 2.683; 33
सरहसणमंतसामंत 2.66; 33
सवणनिहिय . 2.43; 17
सव्यगुरू भणिया 2.85; 38
सव्वाउ वि जाईओ 2.49; 20 2.48; 20
सा तिविहा छपई 2.62; 31
सारयससीवि 2.21; 14
सुयणु तुय वयण 2.13 7 . सुसिलहविंटमरगय
2.76; 36 2.37% 16 2.67%3 33 2.25%3; 14 2.53; 21 2.91; 40
2.8; 10 2.61; 29 2.74; 35 2.42; 17 2.29%; 15 2.30; 15

Page #144

III. INDEX OF SANSKRIT STANZAS OR LINES QUOTED IN THE
COMMENTARY
N. B.-The first figure refers to the chapter, the second to the serial number of the quotation, except in chapter 4 where it refers to the stanza under which the quotation (whose serial number is mentioned immediately after it) occurs. The last figure refers to the page.
अन्यदा भूषणं पुंसः अमन्दवेदनोत्पादि इयं सखे चन्द्रमुखी उत्तुङ्गस्तनकलश उत्साहवदनहेला एकैव भवति पथ्या एतासां राजति कटुतिक्तोष्णमगुरु कामिनीभिः सुखं संगः कुलीनाः सरसाः कूजकोयष्टि कौटिल्यपटवः पापाः क्वनिकाले प्रसरता क्वचित्तु पदमध्येपि क्षणविध्वंसिनि गतः स कालो गीतीनां त्रयमित्थं तमोलीदानि भुवना तव हियापहियो तुल्येपराधे स्वर्भानुः तैरेव धवलव्याजात् दीनायां दीनवदनो दुःखं मे प्रक्षिपति दृशा दग्धं मनसिजं दोषनिचयधानो द्रष्टव्यो यतिचिन्तायां द्विजातिजा विकल्पाः धनं प्रदानेन नमः कलितम
4.123.33; 60
1.15%; 5 4.124.1; 60 1.16%
B5 2.82%; 37 2.44; 18 1.19; 5
2.60%; 26 4.125.3; 61
1.13; 5
1.1835 4.126.3; 61 4.127.4; 62 ___1.22; 5 4.126.1; 61 4.122-2; 60
2.45%3 18 1.26%3 6
1.18; 4 4.127.5%; 62
2.83; 37 4.123.23; 60
1.29%; 6 4.123.1; 60
1.30; 6 1.23%3 6 2.59; 26
1-9; 4 1.113 4
नित्यं प्राक्पद नोत्साहं कुर्वते पद्यं चतुष्पदी तच्च परदोषपुरीषाणि पूर्वान्तवत्स्वरः प्रणमत भवबन्ध महाकवि कालिदास यतिः सर्वत्र पादान्ते यत् किंचिदृश्यते येन हता पादेन रथा रम्या ऐरा लावण्यसलिलसंकुल लीलासिताब्जमुत लोकवत् प्रतिपत्तव्यो वंशस्थकादि वज्रादपि कठोराणि वधूमिः पीतस्तनीभिः वन्दे कविं श्रीभारविं शंभुं नत्वा श्रोत्रे सति न शृणोति सर्वातिरिक्तं सर्वाशुचिनिधानस्य सुनिश्चितं नः परतन्त्र सुवर्णपुष्पां पृथिवीं स्कन्धे विन्ध्याद्रि स्पृष्टं त्वयेत्यप स्यादस्थानोपगत स्वादु स्वच्छंच सलिल
1-27; 6 1.14; 5
3.1; 50 1.12; 4 1.23; 5
1-20; 5 4.125-25 61 . 1.21; 5
4.1; 57 4.127.1; 61 1.1735
2.4; 8
1.10; 4 4.127-33; 62
___1.2; 2 4.122.39 60 4.125.1; 61 4.127-2; 62
1.13 1 4.126.2; 61 4.122.13 60 4.124.3; 60 .. 1.1; 1 4.124.2; 61
1.25; 6
1.7; 4 1.24; 6 1.28; 6

Page #145

IV. INDEX OF THE MATRÄ VRTTAS
N. B.-The figures refer to chapter and verse; those within brackets refer to the number of Matras in each Pāda in the case of Sama Dvipadi, and Catuşpadi, while in the case of Ardhasama Catuspadi and Vişama Dvipadi they refer to the number of the Mātrās in the odd and even Pādas respectively. y. indicates the yati after a particular Matrā whose number is given after it. (s. n. = See notes. अ. च. = अर्धसमचतुष्पदी; स. च. = समचतुष्पदी; वि. च = विषमचतुष्पदी; वि. द्वि. = विषमद्विपदी; स. द्वि. = समद्विपदी; = पञ्चपदी; प= षट्पदी. )
प. =
अडिला 2.2 स च (16 with 2 yamakas, one for each half)
अधिकाक्षरा 2.22 com. स. च. ( 25 ) अरविन्दक 2.22 com. म. च. (18) rante 2.2 . द्वि (62-27) अवदाम 2.13 com.वि.द्वि. ( 66-27 ) अवदोहक 2.15 अ. च. ( 11-13 ) अवस्कन्धक 2.9 com. वि.द्वि. (32-29) आरनाल 2.24 com. स. न. ( 30 ) उत्साह 2-26 स. च. ( 24s.n ) 34 2.12 fa. f. (46-27) उद्गीति 2.9 वि.द्वि. ( 27-30 ) 3 2.13 com. fa. f. (50-27) उद्दोहक 2.17 स. च. (13)
उत्स्कन्धक 2.9 com. वि.द्वि. ( 29 - 32 ) उपखण्ड 2.22 com. स. च. ( 13 ) उपगाथ 2-13 वि. द्वि. (78-27) उपगीति 2.9 स.द्वि. (27; y. 12 ) उपचित्रा 2.20 स. च. ( 16s.n.) उपदाम 2.13 com.वि.द्वि. ( 82-27 ) उपदोहक 2.16 अ. च. (12-11 ) उपस्कन्ध 2.9 com. स. द्वि. ( 29 ) M उल्लाल s. कर्पूर and कुङ्कुम
कडवक 2.37. It is a group of 4 पद्धतिकाs. कर्पूर (उल्लाल ) 2.2 स. द्वि. ( 28; y.15 ) कामलीला 2.22 com. स. च. ( 35 ) कामलेखा 2.24 com. स. च. ( 30 ) काव्य 2.33; s. षट्पद कीर्तिधवल 2.32. ( 14, 8, 16 ) कुङ्कुम (उल्लाल ) 2.2 स.द्वि. (27; y 15 ) खञ्जक 2.23 स च ( 23s.n.) खण्ड 2-22 स. च. ( 13s.n.)
खण्डिता 2.22 com. स. च. ( 14 ) गलितक 2-23 स. च. ( 21s.n.) गाथ 2.12 वि.द्वि. (38-27) 2.4 fa. f. (30-27) fart 2.13 fa. f. (86-27) fifa 2.9 . f. (30; y.12) घत्ता 2•29-30 प. (10•8-13 or 12 8. 13
or 8.8.11; or 10.8.11; or 12.8. 11; or 12.8.12 in each of its two equal halves.)
चन्द्रलेखिका 2.24 स. च. ( 24 ) चपला (गाथा) 2.7 वि.द्वि. (30- 27s.n.) चित्रा 2.20 स.द्वि. (16s.n.) चूडालदोहक 2.17 अ च ( 13-16) छड्डुणिका 2.31. ( = घत्ता) जातीफल 2.11 com. वि.द्वि. ( 34 - 27 ) तरल 2.34 = दोह + संदोहक
त्रिभङ्गी 2.36 = वस्तु (मात्रा + दोहा) + उल्लाल 2.37 = द्विपदी + खण्ड + गीति
""
or
दाम 2.13 com. वि.द्वि. ( 42-27 ) दामिनी 2.13 com. वि.द्वि. ( 90 - 27 ) दोहक 2-15 अ. च. ( 13 - 11 ) faqat 2.24 .. (28 s. n.). द्विपदीखण्ड 2.36 = खण्ड + खण्ड + गीति द्विभङ्गी 2.35 - 37 = वस्तुवदन + दोहा दोहा + वस्तुवदन; or द्विपदी + गीति or दोहा + घत्ता or घत्ता + घत्ता नवकोकिला 2.22 com. स. च. ( 30 ) पञ्चाननललिता 2.14 अ. च. (12-10) पथ्या (गाथा) 2.7 वि.द्वि. ( 30 - 27 ) पद्धतिका 2.22 स. च. ( 16s.n.) पादाकुलक 2.20 स. च. ( 16s.n.)

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وی
सवृत्तिकः कविदर्पणः फुल्ल 2.33 = मात्रा + उल्लाल
रिपुन्छन्दस् 2-10-11 स.द्वि. (31; y.12) भद्रिका (गीति) 2.11 स. द्वि. (32; 9.13)
ललिता 2.11 स. द्वि. (31; y.13) मञ्जरी 2.22 com. स. च. (21)
वदन 2.21 स. च. (16 s. n.) मडिला 2.21 स.च.(16 with one com
वसन्तोत्सव 2.22 com. स. च. (45) mon yamaka)
वस्तु 2.35 =मात्रा+दोहा रडा मत्तकरिणी मात्रा 2.28 com. (s. n.)
वस्तुवदन 2.25 स. च. (24 s. n.) मत्तबालिका मात्रा 2.28 com. (s. n.)
वानवासिका 2.20 स. च. (16 s. n.) मत्तविलासिनी मात्रा 2.28 com. (s. n.)
विगाथ 2.12 वि. द्वि. (54-27) मदनावतार 2.22 स. च. (20)
विचित्रा गीति 2.11 स. द्वि. (s. n.) मधुकरिका मात्रा 2.28 com (s. n.)
विदाम 2.13 com.वि. द्वि. (58-27) मधुकरी 2.22 com. स. च. (25)
विपुला (गाथा) 2.7 वि. द्वि. (30.27; 9.12) मलयमारुत 2.14 अ. च. (9-10)
विश्लोक 2.19 स. च. (16 s. n.) मागधिका 2.18 अ. च. (14-16 s. n.)
श्रीधवल 2.34 अष्टपदी (14.8 repeated 4 मात्रा 2.27-28 प. (15, 11, 15, 11,
times) 15, s. n.)
षट्पद 2.33 = वस्तुवदन+ उल्लाल मात्रासमक 2.19 स. च. (16 s. n.)
संकीर्ण स्कन्धक 2.9 com. वि. द्वि. (32-30; मालागाथ 2.13 वि. द्वि. (94, 102,
___or 30-32) __110 etc. and 27)
संगाथ 2.13 वि. द्वि. (70-27) मालादाम 2.13 com. वि. द्वि. (98, 106,
सैदाम 2.13 com. वि. द्वि. (74-27) 114 etc. and 27)
संदोहक 2.16 अ. च. (15-11) मुक्तावलिका 2.21 स. च. (16 s. n.)
सन्धि 2.37%Da group of कडवकs. मौक्तिकदाम 2-2 स. द्वि. (32; y.12, 8) रड्डा 2.35s. वस्तु
सार्धच्छन्दस् s. षट्पद 2.33 रास 2.14 अ. च. (7
सुतारा 2.22 com. स. च. (40) रासक 2.23 स. च. (23 s. n.)
स्कन्धक 2.9 स. च. (32; 9.12 s. n.) रासावलय 2.25 स. च. (21 s. n.)
हेला 2.22 com. स. च. (22)

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V. INDEX OF VARNA VRTTAS
(including the Mixed ones)
N. B.-See N. B. to Index IV for the figures and letters; letters within brackets refer to the well-known Akşara Gaņas.
अचलधृति 4.79 स च (16 short ) अनङ्गशेखर ( दण्डक ) 4.108 स. च. (any number of pairs)
अपरवक्त्र 4.117 अ.च. (ननरलग; नजजर ) अपराजिता 4.65 स च . ( ननरसलग ) y. 7 अपरान्तिका 5.7 स च (s.n.) अपवाह s. अववाध
अमृतधारा 4.128 com. वि. च. ( 20, 12, 16, 8 letters)
अ ( दण्डक ) 4-106 स. च. (6ल+8 रगणs)
अर्णव (दण्डक ) 4.106 स. च. ( 6ल +9 रगणs )
अवबाध 4-102 स च (म + 6 नगणs ) = अपवाह
अशोक पुष्पमञ्जरी ( दण्डक ) 4.109 स. च. (any number of pairs) अश्वगति 4.76 स. च. (5 भगणs + ग ) असंबाधा 4.64 स. च. ( मतनसगग ) y. 5 आपातलिका 5.3 अ. च. (6+भ+गग; 8+
भ+गग)
आपीड 4.128 com. वि. च. ( 8, 12, 16, 20 s.n.)
इन्द्रवंशा 4.41 स. च. (तत जर ) इन्द्रवज्रा 4.38 स. च. (तत जगग ) उदीच्यिका 5.5 अ. च. (s.n.) उद्गता 4.129 वि. च. (सजसल; नसजग; भनजलग; सजसजग)
उद्दाम (दण्डक ) 4.106 स. च. ( 6ल +13 रगणs)
उपचित्र 4.110 अ. च. (सससलग; भभभगग) उपचित्र 4.63 स. च. ( 4 नगणs + गग)
उपजाति 4.40 स. च. (s.n.) उपस्थित 4.35 स. च. ( जसतगग ) उपस्थितप्रचुपित 4.130 वि. च. ( मसजभगग;
सनजरग; ननस; नननजय ) उपस्थिता 4.34 स. च. (ततजगग) उपेन्द्रवज्रा 4-39 स. च. ( जतजगग ) औपच्छन्दसक 5.2 अ. च. (6+र+य;
8+7+4)
कन्या 4-5 स. च. (मग)
कलिका 4.128 com. वि च ( 12, 8, 16, 20, s. n.)
कामक्रीडा 4:67 स च ( 5 मगणs ) कुसुमविचित्रा 4.49 स. च. ( नयनय ) केतुमती 4.112 अ. च. (सजसग; भरनगग) क्रौञ्चपदा 4.99 स. च. (भमसभननननग) y. 5, 5, 8
गाथा 5.10 (s.n.)
गी 4.1 स. च. (ग)
चण्डवृष्टिप्रयात ( दण्डक ) 4.105
( 6ल +7 रगणs)
चन्द्रलेखा 4-71 स. च. ( मरमयय) y. 7 चन्द्रिका 4.61 स. च. ( ननतरग) चपलावक्त्र 4.120 अ. च. (s.n.) चम्पकमाला 4.26 स. च. (भमसग ) चारुहासिनी 5.8 स. च. (s.n.) चित्रपदा 4.15 स. च. (भगग) चित्र (I) 4.89 स. च. (10 गल pairs) चित्र (II) 4-75 स. च. ( 7 गल pairs + गग) चित्रक 4-95 स. च. ( रनरजरन रलग ) चित्रा (I) 4.33 स. च. (ननसगग ) चित्रा (II) 4.73 स. च. ( मममयय) y. 8 जया 4.8 स. च. (यलग) जलोद्धतगति 4.55 स. च. ( जसजस ) y. 6 जीमूत ( दण्डक ) 4.106 स. च. ( 6ल +11 रगणs)
स. च.
ज्योतिः 4-130 com.वि.द्वि. (32 ल; 16 ग ) तनुमध्या 4.9 स. च. ( तय ) तरुणीवदनेन्दु 4.87 स. च. ( 6 सगणs + ग )

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७९
सवृत्तिका कविदर्पणः तामरस 4.52 से. च. (नजजय)
मत्तक्रीडा 4.96 स.च.(ममतननननलग)y.8,5 तारका 4.85 स. च. (ननरररर)
मत्तमयूर 4.59 स. च. (मतयसग) y. 4 तोटक 4.45 स. च. (सससस)
मदलेखा 4.11 स. च. (मसग) तोणक 4.69 स. च. (रजरजर)
मनोरमा 4.25 स. च. (नरजग) . दक्षिणान्तिका 5.9 अ. च. (s. n.)
मन्दाक्रान्ता 4.80 स. च.(मभनततगग) y. 4, 6 दोधक 4.29 स. च. (भभभगग)
मयूरसारणी 4.23 स. च. (रजरग) द्रुतमध्या 4.115 अ. च. (भभभगग; नजजय) माणवक 4.14 स. च. (भतलग) द्रुतविलम्बित 4.46 स. च. (नभभर)
मालती 4.51 स. च. (नजजर) नन्दा 4.7 स. च. (तलग)
मालावृत्त 4.103 स.च. (मतततननययय)y.11 नाराचक 4.16 स. च. (तरलग) .
मालिनी 4.72 स. च. (ननमयय) 9.8 नारी 4.3 स. च. (म)
मृगी 4.4 स. च. (२) पञ्चचामर 4.74 स. च. (8 pairs of लग) मेघमाला 4.97 स. च. (नन + 6 रगणs) पथ्यावक्त्र 4.119 अ. च. (s.n.)
यवमती 4.113 अ. स. (रजरज; जरजरग) पदचतुरूवं 4.128 वि. च. (8,12,16,20) रथोद्धता 4.27 स. च. (ग्नरलग) पुर 4.57 स. च. (ननमय) y. 8
रुचिरा 4.60 स. च. (जभसजग)y.4 पुष्पिताया 4.116 अ. च. (ननरय; नजजरग) लताकुसुम 4.93 स. च. (7 भगणs + ग) पृथ्वी 4.83 स. च. (जसजसयलग) y: 8
ललित 4.129 com. वि. च. (सजसल; नसप्रचितक (दण्डक) 4.107 स.च. (नन+7 य
जग; ननसस; सजसजग) or other गणs)
लवली 4.128 com. वि. च. (16,12,8, प्रत्यापीड 4.128 com. वि. च. (s. n.) प्रभद्रक 4.70 स. च. (नजभजर)
लीलाकर(दण्डक) 4.106 स. च. (6ल +12 प्रमाणिका 4.17 स. च.(4 pairs of लग)
रगणs) प्रमिताक्षरा 4.47 स. च. (सजसस)
वंशपत्रपतित 4.84 स. च.(भरनभनलग) y. 10 प्रमुदितवदना 4.50 स. च. (ननरर)
वंशस्थ 4.42 स. च. (जतजर) प्रवृत्तक 5.6 अ. च. (s. n.)
वक्त्र 4.118 वि. च. (s. n.) प्रहरणकलिका 4.66 स. च. (ननभनलग) y. 7 वर्धमान 4.130 com. वि.च. (मसजभगग; प्रहर्षिणी 4.58 स. च. (मनजरग) y.8
सनजरग; तजर; नननजय) प्रायिका 5.4 अ. च. (s. n.)
वसन्तचत्वर 4.53 स. च. (6 pairs of लग) प्रियंवदा 4.48 स. च. (जभजर)
वसन्ततिलका 4.62 स. च. (तभजजगग) भद्रक 4.95 स. च. (रनरजरनरलग)
वाणिनी 4.77 स. च. (नजभजरग) भद्रिका 4.30 स. च. (ननरलग)
वातोर्मी 4.37 स. च. (मभतगग) y. 4 भुजंग (दण्डक) 4.106 com. स. च. .
वितान 4.19 स. च. (s. n.) (6 ल +16 रगणs)
विद्युन्माला 4.13 स.च. (ममगग) y. 4 भुजंगप्रयात 4.44 स. च. (4 यगणs)
विपरीतपथ्यावक्त्र 4.119 वि. च. (s. n.) भुजंगविजृम्भित 4.101 स. च.
विपुलावक्त्र 4.120 वि. च. (s. n.) (ममतनननरसलग) y. 8, 11
तविपुला 4.127 (s. n.) भ्रमरपद 4.86 स. च. (भरनननस) y. 9
नविपुला 4.123 (s. n.) मकरलता 4-21 स. च. (मनय)
भविपुला 4.124 (s. n.) मणिकल्पलता 4.78 स. च. (नजरभभग)
मविपुला 4.122.(s. n.) मणिमाला 4.56 स. च. (तयतय) y. 6
रविपुला 4.125 (s. n.)
20 s.n.)

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सवृत्तिका कविदर्पणः
सविपुला 4.126 (s. n.) विशाला 4.22 स. च. (नसय) वेगवती 4.111 अ. च. (सससग; भभभगग) वैतालीय 5.1 अ. च. (6+रलग; 8+रलग) वैश्वदेवी 4.54 स. च. (ममयय) y.5 व्रीडा 4.6 स. च. (यग) व्याल (दण्डक) 4.106 स. च. (6 ल+10
रगणs) शङ्ख (दण्डक) 4.106 स. च. (6 ल+14
रगणs) शशिकला 4.68 स. च. (14 ल+ग) शार्दूलविक्रीडित 4.88 स. च. (मसजसततग) ___y. 12 शालिनी 4.36 स. च. (मततग) y. 4 शिखरिणी 4.82 स. च. (यमनसभलग) y. 6 शुद्धविराट 4.24 स. च. (मसजग) शुद्धविराड्ऋषभ 4.130 com. वि. च.
(मसजभगग; सनजरग; तजर; नननजय) श्येनिका 4.31 स. च. (रजरलग) समानिका 4.18 स. च. (4 pairs of गल)
समुद्र (दण्डक) 4.106 com. स. च.
(6 ल+15 रगणs) सिद्धिका 4.91 स. च. (नजभजजजर) सुभद्रक 4.98 स. च. (8 भगणs) सुमुखी 4.32 स. च. (नजजलग) सुवदना 4.90 स. च. (मरभनयभलग) y. 7,7 सोमराजी 4.10 स. च. (यय) सौम्या 4.130 com. वि. द्वि. (16 ग; 320) सौरभक 4.129 com. वि. च. (सजसल,
नसजग, रनभग, सजसजग) स्त्री 4.2 स. च. (गग) स्रग्धरा 4.92 स. च. (मरभनययय) y. 7, 7 स्रग्विणी 4.43 स. च. (4 रगणs) स्वागता 4.28 स. च. (रनभगग) हंसपदा 4.100 स. च. (तयभभननननग)y.10 हंसमाला 4.12 स. च. (रगग) हरिणी 4.81 स. च. (नसमरसलग) y. 6,4 हरिणोद्धता 4.114 अ. च. (सससलग,
नभमर) हलमुखी 4-20 स. च. (ग्नस)

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VI. INDEX OF STANZAS (in Appendixes I to DI)
N.B.-AS = Jinaprabha's definitions, printed in bold type in App. III; AST. = Text of Ajitaśāntistava, printed in smaller type in App. III; CK = Chandaḥkośa of Ratnasekhara in App. II; N. = Nanditadhya's Gathalaksana in App. I. The figures refer to the number of stanza.
N. 35
N. 81 AST. II AS. 26 N. 77
N. 17 CK.52
N. 14 N. 63
N.61
अंबरंतरवियार अजियजिणसुह अजियं जियसव्व अजियं जियारि अडकलरगणो लहुगुरु अडवीसमत्त निरुत्त अप्पिज्जउ जणयसुया अभयं अणहं अरइरइतिमिर असुरगरुल आइल्ले दीहा लहू आईऊएओअं आगया वरविमाण आजोयणहियाणं इक्क सलूणा सावलि इक्कक्कक्खखुड्ढी इक्खागविदेह इय पाइयछंदाणं उत्तमतिलयाहिं उन्भडभिउडिभंग उभओअंतगुरूहिं एए चेव वियप्पा एओक्कारपराई एवं तवबल एग हाऊण लहुँ । एसोवि विही जीए एसो विही य जीए कमला तिहि लहुए हिं कमला ललिया लीया कविदर्पणमुपजीव्य काली कुमरी मेहा किरियाविहिसंचय
AST. 26 कुंभारी लोहारी AST. 4. कुंभिकुंभविन्भमह AST. I कुरुजणवयहत्थिण AST. I0 खित्तयछंदं चउपय
AS. 54 गयरहतुरंग CK. 18 गाहत्ति ताव सिद्धं
N. 29 गाहाइ दले चउचउ AST. 21 गाहासुं च समाई AST. 7 गाहिणि बासहीए AST. 20 गाहो गाहविगाहो CK. 22 गाहो चउवन्नाए N. 3
गुरुमझ्जा मज्झगया AST. 22 गुरुलहुचनवग CK. I
गुरुलहुदुटगणपणगं N. 87
गुरुलहुयअक्खराणं N. 43 चउदहमत्ता दुन्नि पय AST. I3 चउपइ इक्कु जमक्कुवि CK. 74 चगणेगारसगुरुगो
N. 58 चगणो टगणचउक्कं N. 79 छंदवसा दीहपरा N. 48 छत्तचामरपडाग N. I3 छब्बीसं पत्थारय
जं सुरसंघा AST. 35 जइ वाससयं
N.53 जरमरणरोग CK. 66 जसु पइपइहिं निबंध CK. 65 जह वाणी तह पाणी N. 42 जह वेसाण न नेहो N. 40 जाई लसंति गुणेहिं AS. 35
जाणेसु सहाई N. 41 जा पढमतइयपंचम AST. 5 | जाओ हरइ कलत्तं
N. 62 N. 19 AS. I4 AS. 8
N. 2 N. 82 CK. 41 AS. 28
AS. 32
CK. 3; N.54
AST. 32 CK.55 AST. 23
N. 67 N. 22
CK.
CK. II
N.9 N. 28

Page #151

८२
जिधम्मो मोक्खफलो
जिणवण सुवगाणं
जीए पुण पढमतइज्ज
जीसे दलेसुं दोसुं जीसे दो पुरमद्धे
जीसे न एगवीसा जीसे पढमिलदले जीसे बारसमत्तो जो जस्स होइ उवरिं
गणच उक्कं लघुगुरु दुहुगुण टचउक्के नवबारस दुलहुदुगुरू पढ
टप्पणगं जलहूगुरू
टप्पणगं दोन्नि गुरू ठवि पउमावत्ती ठाणचचुयाण सुंदरि
ठामि ठामि चउपय
डुमिलाहि पयासम
तं च जिणुत्तम
तं बहुगुणा
तं महामुणिमहं
तं मोएउ य नंदि
तं संतिं संतिकरं
तगणो गणो लहूगुरु तगणो पगणो तगणो
तचपतटदुगं
तटतटदुलहुदुगुरुआ तदुतचउटोत तगं तमहं जिणचंद
तित्थवरपवत्तयं
तिहिमत्त मत्त जहि
तिहिहिं मत्तउ पढमु
तीसं वन्ना सत्तावीसं
तीसाए जं अहियं
तीसा जा पणवन्ना तु पुन्निमचंद
तुरंगम आउसमा वेण तेरसचगणा नगणो
सवृत्तिकः कविदर्पणः
N. 65
N. 25
CK. 63
CK. 64
N. 20
N. 10
CK. 68
N. 18
N.50
AS. 18
AS. 10
AS. 33
AS. 12
AS. 19
AS. 27
CK. 50
N. 39
CK. 49
CK. 16
AST. 8
AST. 36
AST. 25
AST. 37
AST 12
AS. 16
AS. 30
AS. 9
AS. 13
AS. 23
AST. 29
AST. 18
CK. 28
CK. 34
CK. 58
N. 45
N. 4+
N. 75
CK. 6
AST. 34
AS. 31
तेरहमत्ता दुन्निपय तेरहमत्ता विसमपइ
तेसिं न दुलहाई
दोहलिया बाला
थुयवंदियस्सा
थोसामि सव्वजग
दमणउ मरुवउ
दह मत्त पर किज्ज
हंसासारं दुइया छट्ठे पढमाउ
दुलहुगुरुदुलहुगुरू
दुलहुदुलहुगुरूगुरू य देवदानवंदचंद
देवसुंदरीहिं पाय दो वेया सिलिं
दोहा छंदह तिन्नि प
दोहा छंदु जि दुदलपि दोहा छंदु जि पढम पढि
दोहा छंदु जि पढम पढि कव्वह
धुयलहुअक्खर नंदउ वीरजिणेसरह
नमह भुयइंद
नमिऊण चलण
नरायपाय वीस मत्त
नायाणं ईसे
निउणं जिणवयणसुइं
विडियधारानिव हो
निसुणि चंदमुहि
नेया मत्ताछंदे
पंचमं हुयं सव्वं
पंचमं लहु सव्वत्थ
पंचावन्ना वन्ना
पइ पर अन्नु जमक्कु
पइइइ होइ तीस
पइपर लहु सयल पप होइ मत्त
पए पए सु तीस मत्त
गोदुगं गुरुगो
मगणे कलछकं
पढमतइज्जा पाया
N. 84 CK.21
N. 23
N. 27
AST. 30
N. 66
CK. 24
CK. 47
N.5
AS. 2
AS. 21
AS. 29
AST. 14
AST. 28
N. 80 CK. 33 CK. 27
CK. 26
CK. 31
N.7 1
N. 85
N. 69
N. I
CK. 14 CK. 4
N. 2 1
N. 68
N. 76 AS. I
N. 91 AS. 3
N. 34
CK. 42
CK. 37
CK8
CK. 35
CK. 15
AS. 24
N. 78
CK. 26

Page #152

AS. 25 CK.56 CK.60
__N. 83
CK.59 ___N. 70 N. 52; 53a .AS. 20
AS.7 AS. 5 CK.9 AST. 24 AST. 31
N. 64 CK.72
N.36 AST. 2
CK. 19
पढमदलमिलियनिरुवम पढमदले छटंसो पढमयतइयय पढमाई चउभेया पढमे टदुगुरु एवं पढमो बारहमत्तो पढिऊण पढम गाहा पत्थारछंदसंखा पत्थारमाणमेयं पत्थारवित्थराण पयचारि ठविहि पयडेइ छंदसंखं पय पढम समाणउ पयपयह मत्त पवाणि अठ्ठअक्खरा पीणणिरंतरथणभर पुरिसा जइ पुव्वं कहासु सुव्वइ पुव्वद्धउ पढि पो तदुगं लहुगुरुणो पोसेउ पंचमो चक्की बारह मत्ता विसमपय बालाओ हुंति कोऊ बासही मत्ताओ बिंबोहीए तीए बिबि पय सोलस बे गोरा बे सामला भदं दमीसराणं भमरु भामरु समरु भरनभनगणलहुगुरु भूचंदक्कमरुग्गणा मत्त अस्सीइ रग्गण्ण मत्त इग्यारह मिलिय मत्त हुवइ चउरासी मत्तापमाणमज्झा मत्ता भन्नइ करिसो माला बाला हंसी मुणि टा गुरु तत्थ न जो -मुहजहणसयल मेरुसिहरंमि न्हाणं
सवृत्तिकः कविदर्पणः CK. 61 रनरलगा पत्तेयं CK.53 लच्छी कित्ती कंती N. 12 लच्छी विप्पी मेहा N. 49 लद्धउ मित्तु भमंतएण AS. 23 ललिययरमिलिय
N. 16 लहुअक्खरं दुरहियं CK. 38 लहुअक्खरेहिं CK. 71 लहुचदुगटगणलहुगुरु N. 51a लहुतगणचउग
N.51 लहुदुगुरुटगण CK. 36 लहू सोलसा दीह CK. 73 वंदिऊण थुणिऊण CK. 43 वंससद्दतंति CK. 30 वटृति गमणदियहा CK. 46 वन्ना निराइ दुगुणा AST. 27 वरकरिवरवरहयवर
AST. 6 ववगयमंगुल ___N. 30 विजयकछंदो CK. 48 विणओणयसिर AS. II विप्पी खत्तिणि वइसी N. 92 विमलजसकिरण
विमलससिकला N. 56 वियसियजलरुह CK. 70 विसमंसा चउभेया
N.72 विसमे कलाण छकं CK. 20 विसमेसु दुन्नि टगणा N. 89 वीरवर सभमराणं N. 24 वेयमिए भगणे हु N. 88 सगणा इह तोटक AS. 17 सगवीसं सगवीसं CK. 2 सहि थ मत्तह CK. I0 सत्त सरा कमलंता
सत्त य सया अजियं CK. I7 सव्वगुरुएहि विप्पी
N. 46 सव्वदुक्खप्पसंतीणं N. 47 सव्वाए गाहाए सत्ता CK.57
सव्वाए गाहाए सोलस AS. Ia सव्वाणं दीहा N. 38 ससिमत्तपरिहउ N.60
सहावलहा
N.86
AST. 19
N. 32
N. 37 AST. 15
N. 90 CK.54 AS. 15 AS. 4 N. 15 CK.5 CK.7 CK. 69 CK. 40
N.8 AST. 16
N. 33 AST. 3
N.6
N.7 CK. 44
CK. 29
CK. 45
AST. 33

Page #153

सवृत्तिकः कविदर्पणः ___N. 59 सोमगुणेहि पावइ CK. 67 सोलसमत्तउ जहिं CK. 51 सो सोरहउ जाणि
हंसु वराहु गयंदु AST. 9 हा हियय किं विसूरसि CK. I3 हेलाए संनद्धो CK. 39 होइ हु छन्वीस CK. 32
सहि वड्डियावि गेहंमि सा पुण विसेसरूवा सामन्नण बारस सायारंपिव परमेसरेण सावत्थीपुवपत्थिवं सुच्चिय छप्पयबंध सो चंदायणि छंदो सो चंदायणुछंदु
AST. 17
N. 74 CK. 25 CK. 23
N. 26
N55
N.73
N.88

Page #154

VII. INDEX OF METRES (in Appendixes I to III )
N.B.—AS. = Jinaprabha's definitions in App. III; CK = Chandahkośa in App. II; N = Nanditādhya's Gathalakśana in App. I. The figures refer to the number of stanza; those within the brackets refer to the number of Mātrās as in Index IV; letters within the brackets refer to the well-known Akşara-Gaņas. अ. च. =अर्धसमचतुष्पदी; स. च = समचतुष्पदी; वि. च. = विषमचतुष्पदी; स. द्वि. = समद्विपदी; वि.द्वि. = विषमद्विपदी s = see.
अडिल दीपक AS. 26 स च (6, 4, 4, S) = क्षिप्तक I with a common rhyme अडिला CK 41 स च ( 16 ) s. मडिला
and KD. 2. 21.4
अपरान्तिका AS. 34 स. च. ( 8, र, लग )
s. KD. 5.7
अवदोहक N. 86-87 अ च (12-14 )
आभाणकCK. 17 स. च. ( 21 ) आलिंगनक AS. 6 स. च. (5 सगणs) उद्गाथ N. 61, 66-67 स.द्वि. (30) s. उपगीति KD. 2.9
उद्गाथ CK. 28 अ. च. ( 15-11 ) s. संदोहक
KD. 2.16
उद्गीति N. 27 वि.द्वि. (27-30 ) उपगीति CK. 69; N. 28; s. KD 2-9 उपचूलिक CK. 27 अ.च. (13-21) उपदोहक N. 84-85 अ. च. ( 13-12 ) एकावली CK. 47 स. च. (5,5) कामिनीमोहन CK. 10 स. च. (5x4)
s. मदनावतार KD. 2.22 किसलयमाला AS. 19 स. च. (4x5, ISI, IS ) कुण्डलिक CK. 31; cf. द्विभङ्गी KD. 2.35 =
दोहा + काव्य or वस्तुवदन
कुण्डलिनी CK. 38 = गाथा + काव्य or वस्तुवदन कुसुमलता AS. 15 अ. च. (6+ रय; 8 + रय) s. औपच्छन्दसक KD. 5.2
क्षिप्तक (I) AS. 24 स च = (6, 4, 4, S) क्षिप्तक (II) AS. 25 स च = - रथोद्धता
s. KD. 4.27
खिद्यतक AS 17 स च = वंशपत्रपतित
s. KD. 4.84
गाथ N. 28, 64; = उपगीति s. KD 2.9 गाथा AS. 2-3; CK. 51-61; N. 6-16; 30-43 and 65.
गाथिनी CK. 70; N. 68 अ. च. (30-32 ) गीत CK. 18 स. च. (28)
गीति CK. 68; N. 26 स.द्वि. ( 30 )
घत्ता Ck. 43 अ. च. (18- 13 ) ; but s. KD. 2.29-30
चतुष्पदी CK. 37 स च ( 30 ) s. लघुचतुष्पदी चन्द्रानन N. 76 = मदनावतार KD. 2.22 चन्द्रायण CK 32 = दोहा + मदनावतार चन्द्रायणी CK 39 = गाथा + मदनावतार चपला गाथा CK. 64-66; N. 19-20; 23-25 चित्ररेखा AS. 13 वि. च. ( I & II = 5,4,5,
4, 4, IIS; Illrd = 5, 4, 5,4 × 3, IIS; IVth = 5, 4, 5, 4 x 2, 3, S) चित्राक्षर AS. 27 अ. च. ( I st and IVth= 4 × 5, SS; II and III = 4 × 6, S) चूडामणि CK. 48 वि. च. ( 13, 11, 12, 15 = + गाथोत्तरार्ध cf. वेरालक)
चूलिका CK. 26 अ. च. (13-16) चूडालदोहक KD. 2.17
S.
डुमिला CK 16 स. च. (8 सगणs )
तोटक CK. 7 स. च. ( 4 सगणs ) ; s. KD. 4.45 दण्डक CK. 30 स च दोधक CK. 5 स. च. ( 4 दोहा CK. 21 अ च
(4 x 8) भगणs ) ; cf. KD. 4.29 (13 - 11 ); s. KD. 2.15 दोहा N. 82-83; 88-90 अ. च. (14-12);
s. VJS. 4.27.
faqat CK. 35; N. 78-79; . . (28)
s. KD. 2.24
नन्दितAS 29 स. च. ( ससग )

Page #155

८६
सवृत्तिकः कविदर्पणः
नाराच (I) CK. 14, 46 स.च. (8 pairs of IS);
s. पञ्चचामर KD. 4.74 ARTE (II) AS. 14; undivided into Pādas, ___but consisting of 40pairs of SI. नाराच (III) AS. 28; undivided into Pādas,
containing 41 pairs of SI and 4 pairs of IS, 3 short and 2 long letters interspersed with them. नाराच (IV) AS.31; undivided into Padas,
containing 72 pairs of SI. नाराच पञ्चचामर CK. I5 स. च.
(10 pairs of IS) नाराच सोमकान्त CK. 14; s. नाराच (I) पञ्चचामर नाराच s. नाराच पञ्चचामर पथ्या गाथा CK. 62; N. 18 वि. द्वि. (30-27) पद्धतिका CK. 36; N. 74-75; स. च. (16)
s. KD. 2.22 पद्मावती CK.50 स. च. (4x8; avoid ज) प्रमाणिका CK.46 स.च. (जरलग)s. KD. 4.17 बहुल CK. 8; स. च. (3 नगणs) बेसर CK. 20 अ. च. (Ist & IInd = 16. ____IIIrd & IVth = I5) भासुरक AS. 30; s. note; a. द्विभङ्गी . भुजंगपरिरंगित AS. 16; अ. च. (12-14) भुजंगप्रयात CK.9; स.च. (यययय)
s. KD. 4.44 मडिला CK. 41-42; स.च. (16)s. KD. 2.21 मदनाकुल CK. II स. च. (तततत) मदनावतार N.76 स.च. s. कामिनीमोहन मागधिका AS.5; अ. च. s. KD. 2.18 मालती CK. 49 स.च. (21) मेहाणी CK.44 अ. च.(I and II %D8 long%3B
III and IV = 6 long, i short, i long ___leltters) मौक्तिकदाम CK.6 स. च. (4 जगणs); but
s. KD. 2.2 and note.
रत्नमाला AS. 23 स.च. (48) राढक CK. 34; = मात्रा; s. KD. 2.27-28 रासाकुल CK. 29 (a द्विभङ्गी:आभाणक+कपूर) रासानन्दित AS. 12 वि.च.(12, 12, II, 10) रासालुब्धक AS. 10 वि.च. (II, 15, 12, 15) रोडक CK. 13; स.च. (24) s. वस्तुवदन KD. 2.25 लघुचतुष्पदी CK.40 स.च. (15) s. चतुष्पदी ललितक (I) AS. 18 वि.च. (19, 19, 19, 20) ललितक (II) As. 32 स. च. (21); s. गलितक
KD. 2.23 वस्तुक N. 80 स.च.(24)s. वस्तुवदन KD. 2.25 वस्तु CK. 34 = (राढक + दोहा); s. KD. 2.35 ___= रड्डा s. VJS. 4:31 वानवासिका AS. 33; स.च. (16) s. KD. 2.20 विगाथा CK. 67; N. 27, 64; s. उद्गीति KD. 2.9 विजयक CK. 19 स. च. (8) विद्युद्विलसित AS. 21 स. च. (IIS, IIS) विपुला गाथा CK.63; N. 18.वि. द्वि.s. KD. 2.7
वेरालक CK. 33 वि. च. (13, II, 13, 15) ___cf. चूडामणि above.
वेष्ट AS. 9, II, 22; s. notes श्लोक, AS. 43 N. 90-91 स. च. (8 अक्षरs) षट्पद CK. 12 (=रोडक+उल्लाल) s. KD.
2.33 and Historica संकीर्णा गाथा N. 29 संगतक AS. 7 वि. च. (22, 22, 22, 25) सार्धच्छन्दस् N. 80-81; s. षट्पद सुमह AS. 20 स. च. (13; s. note) सोपानक AS. 8 स. च. (5 भगणs, s) सोमकान्त नाराच CK. 14; s. नाराच सोमकान्त सोमकान्त CK. 4 स.च. (ममगग)s. विद्युन्माला
KD. 4. I3 सोरट्ठ CK. 25 अ. च. (II-13) ____s. अवदोहक KD. 2.15 स्कन्धक N. 69-73 स. द्वि. (32) s. KD. 2.9 हक्का CK. 45 स. च. (30, yati I8)

Page #156

APPENDIX I
श्रीनन्दिताव्यकृतं गाथालक्षणम् ।
ombay ms. conhmedabad meieciety's library ms, two
N.B.-I had edited this work of Nanditādhya from three mss., two from Ahmedabad (A and B) and one from the BBRA Society's library (C), in the Annals of BORI., Poona, 1933. The two Ahmedabad mss. contain a brief avacūri besides the text, while the Bombay ms. contains only the avacūri, with only the Pratīkas of the stanzas of the Text. For the present edition I have consulted three more mss., two of which contain only the text and one contains only the avacūri like the Bombay ms. Of the three which contain only the text, one (D) belongs to the Bombay University library and the other two (F & G) are from the Badā Upaśraya, Bikaner. The ms. containing only the avacūri (E) is also from the same Badā Upasraya, Bikaner. The Bikaner mss. were procured for me by my friend Upādhyāya Vinayasagar of Kota, to whom I am deeply obliged.
I am giving brief extracts from the avacūri in C supplemented occasionally by those from the Ahmedabad ms. A and Bikaner ms. E. These latter are given in brackets. In noting down the variants, I refer to the number of the stanza and its Pada, assuming that it has 4 Padas. Usually, only the word with a different spelling is reproduced and only rarely the word in whose place the variant occurs is also given.
नमिऊण चलणजुयलं नेमिजिणिदस्य भावओ पयओ। गाहालक्खणमेयं वुच्छामि गुरूवएसेणं ॥ १॥ गुरुयलहुयक्खराणं छेयत्थं माइयं च वोच्छामि । पुवायरियकयाणं पाइयकव्वोवओगीणं ॥२॥ आईऊएओ एए गुरुअक्खरा मुणेयव्वा । अइउत्ति य लहुयाइं संजोयपरो य जो वन्नो ॥ ३ ॥ एओकारपराइं अंकारपरं च पाइए नस्थि । वसयारमज्झिमाणि य कचवग्गतवग्गनिहणाइं ॥ ४ ॥ दीहं साणुस्सारं संजोयपरं च अंतिमिलं च । एयाइं जाण गुरुअक्खराई सेसाई लहुयाई ॥५॥ सव्वाए गाहाए सत्तावन्ना हवंति मत्ताओ। अग्गळूमि य तीसा सत्तावीसा य पच्छद्धे ॥ ६ ॥ सव्वाए गाहाए सोलस अंसा अवस्स कायव्वा ।
तेरस चउरोमत्ता दो य दुमत्तेगमत्तो य ॥ ७ ॥ पयओ प्रयतः॥१॥ केन पूर्वाचार्यक्रमेण ॥ (पूर्वाचार्यकृतानां E) ॥२॥ संयोगेन परः प्रकृष्टः क्षमया परः क्षमापर इतिवत् । सोपि लघुज्ञेयः । (संयोगपरो वर्णः सोपि गुरुर्ज्ञातव्यः E।) ॥३॥
१.१ जुअलं; २.१ गुरुलहुअअ. AB; गरुअलहुअ. FG; २ छेइत्थं AB; वुच्छामि FG; ३ कमेणं for कयाणं C; ३.३ लहुआई F; ४.१ एओकार AB; २ पाइयं नत्थि F; ३ वसयारु AB; मज्झयाणि G; ५.२ संजोअपरं F; अंतिमेलं AB; अंतिमलं FG; ४ लहुआई F; ७.३ तेरह G; ४ दुय D.

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सवृत्तिकः कविदर्पणः सत्त सरा कमलंता नहघणछट्ठा विमेहया विसमे । तह बीयद्धे गाहाछटुंसो एगमत्तो य ॥ ८॥ . जा पढमतइयपंचमसत्तमअंसेसु होइ गुरुमज्झा । गुम्विणिया विणु पइणा गाहा दोसं पयासेइ ॥९॥ जीसे न एगवीसा न य चउवीसा न एगवन्ना सा । मत्ता भवेइ लहुई सा जाण विणस्सए गाहा ॥ १० ॥ जह वाणी तह पाणी वियरइ छंदमि गुरुयलहएहिं । जत्थ विलंबइ वाणी पाणी वि विलंबए तत्थ ॥ ११ ॥ पढमइतइययपंचमसत्तमअंसा चउविहा हुँति । दोगुरु-निहणाइगुरू-सव्वलहू चेव अविरुद्धा ॥ १२॥ एए चेव वियप्पा बीयचउत्थेसु मज्झगुरुसहिया । छट्ठोत्थ नवरि अंसो गुरुमज्झो सव्वलहुओ वा ॥ १३ ॥ गाहासुं च समाइं खंधयकव्वेसु तह य विसमाई ।
नत्थि लहुअक्खराई छंदमि ठविजमाणाइं ॥ १४॥ गाहा-उदाहरणं जहा
वीरवर सभमराणां कमलदलाणं च तुम्ह नयणाणं । मुणिवइ मुणियविसेसा अच्छीसु तुहं रमइ लच्छी ॥ १५॥ पढमो बारहमत्तो बीओ अट्ठारसासु मत्तासु । जह पढमो तह तइओ दसपंचविभूसिया गाहा ॥ १६ ॥ गाहत्ति ताव सिद्ध होइ विरामेण सा पुणो दुविहा । पच्छा विउला अंसयवसेण चवलावि सा तिविहा ॥१७॥ जीसे बारसमत्तो पढमो तइओ य दो समा पाया। सा पच्छा विउला उण ऊणाहियपायसंजुत्ता ॥१८॥ गुरुमज्झा मझगया गुरुयाणं दुण्ह दुण्ह जत्थं सा ।
बीय चउत्थ य जुत्ता दोसुवि अद्धेसु सा चवला ॥ १९॥ (शराश्चतुर्मात्ररूपा अंशाः A । सप्त स्वरा गणा भवन्तीति क्रियाध्याहारः। स्वरशब्देनात्र गणा ज्ञातव्याः E।) कमलान्ता गुरुपर्यन्ताः। नहं सर्वलघुः। घनो मेघशब्देन जगणो वा मध्यगुरुः षष्टमे स्थाने भवति । विमेहया मेघरहिता जगणरहिता इत्यर्थः ॥ ८ ॥ यथा वाक् तथा पाणिर्हस्तचालनमपि गुरुलघुभिः कृत्वा छन्दसि विचरति प्रवर्तत इत्यर्थः। (यथा येन प्रकारेण वाणी उच्चाररूपा भाषा गुरुलघुभिरक्षरैः कृत्वा छन्दसि विचरति चलतीत्यर्थः। तथा तेन प्रकारेण पाणिरपि हस्तोपि गुरुलघुभिरक्षरविलम्बते विलम्बं करोति E | पाणिशब्दोंशवाच्येव न हस्तवाची A) ॥११॥
९.३ एयणा for पइणा F; १०.३ न होइ for भवेइ DF; ११.२ गुरुअ F; गरुय G; ३ विलंबए for विलंबइ AB; १२.१ पढमइयतइय A; १३.३ छट्ठोत्ति D; १४.४ ठविजमाणमि FG; १६.१ बारसमत्तो F; २ अट्ठारसेहि नायव्वो G; ४ पन्नरसविभूसिया A; दस dropped in F; १७.४ विही तिविहा D; १८.२ तईओ य D; ४ उणाहिय० AD; १९.२ गरुयाणं G.

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App. I-गाथालक्षणम् जीसे दो पुरिमद्धे मुहचवला नाम सा भवे गाहा ।
जहणचवला य निहणे वुच्छामि निदरिसणाई से ॥२०॥ पच्छोदाहरणं जहा
निउणं जिणवयणसुई जे वि य जाणंति जे वि य कति ।
सा तेसिं पुरिसाणं निययं पच्छा हवइ पच्छा ॥ २१ ॥ विउलोदाहरणं जहा
जरमरणरोगकलिकलुसविविहसंसारसागराहि नरं ।
तारिज नवरि जिणसत्थवाहवयणं तरी विउला ॥२२॥ सव्वचवलोदाहरणं जहा
तेसिं न दुलहाई सुहाई जे वीरसासण पवन्ना ।
दंता तवेण जुत्ता सुए य वित्तव्वए चवला ॥ २३ ॥ मुहचवला जहा
भई दमीसराणं जिइंदिया जे जिणिंदवयणन्नू ।
वयणाई कुहम्मीणं हणंति नयहेउमुहचवला ॥ २४ ॥ जहणचवला जहा
जिणवयणमुवगयाणं न हरइ हिययाई महलिया का वि ।
निच्चपि जा सुरूवा हविज सा जहणचवला वि ॥ २५॥ गीई जहा
हा हियय किं विसूरसि रूवं दट्ठण परकलत्ताण ।
पावेण नवरि लिप्पसि पावं पाविहिसि तं न पाविहिसि ॥ २६ ॥ उग्गीई जहा
थणदोहलिया बाला भरइव लावन्नसलिलोहं ।
रमणालवालनिग्गयरोमावलिवल्लरिं व सिंचेइ ॥ २७ ॥ उवगीई जहा
जाओ हरइ कलत्तं वड्ढेतो भोयणं हरइ ।
अत्यं हरइ समत्थो पुत्तसमो वेरिओ नत्थि ॥ २८॥ - सा पथ्या पथ्यरूपा भवति । हितकारणत्वात् । (तेषां पुरुषाणां नियतं पश्चात् पथ्या भवति पथ्यभोजनप्राया भवेत् E। पूर्वपथ्यापरपथ्याभेदः स्वयंभूछन्दसो ज्ञेयः A) ॥ २१ ॥ अन्यच्च ये निजहेतौ जिनवचने मुखचपला वाचाटा इत्यर्थः। जिनवचनस्थापने जेतुमशक्याः। (तत्र नया नैगमादयः सप्त हेतूनि च उदाहरणानि तैर्मुखे चपला वक्तारो ये E) ॥ २४ ॥ हा इति खेदे । किं विषीदसि ॥ २६ ॥ काचिद्वाला लावण्यसलिलौघं समूहं बिभर्ति । स्तनदोघटीसहिता । कमिव । सरः सरोवर इव । (स्तनावेव दोहनिके यस्याः सा स्तनदोहनिका बाला लावण्यसलिलौघं भरतीव E) ॥ २७ ॥
२०.४ निदरसणाई ABG; २१.१ वयणसुई F; २ करंति F; २२.२ सागराउ G; २४.२ जियंदिया DFG; जिणंदवयणेनं B; °वयणेणं D; ४ नियहेउ0C; २५.३ सरूवा FG; ४ हविज्ज जा ABG; २६.१ विझूरसि D; ४ पाविहसि-पाविहसि F; जं कजं तं न पाविहिसि A; २७.१ दोहणिया G; २ सर इव C; लावण्ण F; २८.२ वढियं for भोयणं DFG.

Page #159

सवृत्तिका कविदर्पणः संकिण्णोदाहरणं जहा
अप्पिज्जउ जणयसुया अणुणिज्जउ राहवो पयत्तेण ।
आयड्ढियचावकरा जाव न पार्विति दुज्जया रामसरा ॥ २९ ॥ गाहा जहा
पुष्वं कहासु सुव्वह लक्खं किर देइ विक्कमाइच्चो । पणयकुवियाइ सुंदरि सवायलक्खं तए दिन्नं ॥३०॥ जह वेसाण न नेहो जह सच्चं नत्थि कामुयजणस्स । तह नंदियड्ढभणिए जिह किह तिह पाइए नत्थि ॥ ३१ ॥ विप्पी खत्तिणि वइसी सुद्दी सहिया य हुंति चत्तारि । छंदं निदरिसणं चिय वुच्छामि अओपरं तासिं ॥३२॥ सम्वगुरुएहिं विप्पी आइमगुरुएहिं खत्तिगी होइ ।
अंतिमगुरूहिं वइसी सुद्दी सव्वेसु लहुएसु ॥३३ ।। विप्पी जहा
पंचावन्ना वन्ना गाहाणं नेय हुंति उड्डेणं । तीसाए हिटेणं सक्को सक्कोवि नो काऊं ॥ ३४ ॥
खत्तिणी जहा
कुंभारी लोहारी वाणीए चेव होइ बंधारी । जह किरि कलववहरियय न हु हसिरय अवरकलरहिय ॥ ३५ ॥
मन्दोदरी रावणं प्रति कथयति-हे रावण जनकसुता अर्घ्यताम् । यावत् दुर्जया रामशराः आकर्षितचापकरान्न प्राप्नुवन्ति । (हनूमान् रावणं प्रत्याह-भो रावण आकर्षितचापकराः आकर्षितं चापं कुर्वन्तीति यावद्रामशराः न प्राप्नुवन्ति नायान्ति E । एतल्लक्षणं स्वयंभूच्छन्दसो ज्ञेयम् A ) ॥ २९॥ (त्वया सालक्तकः अलक्तकेन सहितः पादो दत्तः E) ॥ ३० ॥ तथा नन्दिताढ्यशास्त्रकथिताभिप्राये यहि कर्हि तर्हि प्राकृते शब्दत्रयं नास्ति । (ननु गाथाछन्दःशास्त्रमिदं गाथा च शुद्धप्राकृत एव भवति । ततश्च जिहकिहतिहेत्यादयोपभ्रंशाः स्युर्न वा इत्याशङ्कां परिहरन्नाह--जहेति A)॥ ३१ । कुम्भारी कुम्भारिका लोहकारिका तत्समानवाण्या भाषया जल्पन् सन् पुमान् पापसंबन्धकारी भवति । यथा किल व्यवह्रियते सति अर्थे तथैव अपरकलारहिता लोकैरुपहस्यते । (शब्दमात्रेणैवासां विजातित्वं नत्वपरकलाग्रहणे । एता अपि सुजातय एव शोभन्ते । तस्मादुत्तमजातिरिति स्मयो न न्याय्यः । कलाकौशलमेव प्रमाणम् । कलाव्यवहारिक हसनशील इत्यामन्त्रणद्वयं कस्याप्यात्मबहमानिन: A | यथा किल कलाव्यवहतिर्यासामिति गम्यते । अपरकलाग्रहणे न हस्यते । अपि तु हस्यत एव E) ॥ ३५ ॥
२९ संकीर्णोदाहरणं यथा FG: संकीर्णको० D: २९.१ जणयसुआ F:३ आयट्ठिय D; चावसरा BDH; ४ पावंति D; ३० गाथोदाहरणं जहा AB; ३०.१ सुच्चइ D; २ किरि for किर F; ३ पणयकुवियाण D; ३१.२ कामुअजणस्स F; ४ पाइयं DF; ३२.१ वयसी for वइसी DF; ३ विय ABC; ३३.२ गरुएहिं F; खित्तिणी D: ३. वयसी DE; ३४.३ हिट्ठाणं F; ३५.३ किल AB; ववहारिय DF; ४ हसरिय D; हसियइ CEG; अवरकलगहणे ABEG.

Page #160

App.1-गाथालक्षणम् वइसी जहा
वरकरिवर-वरहयवर-वररहवर-विलयनिवहसुहसुहयं ।
भोत्तुं राया रज्जं पच्छा दिक्खं गहिस्सामो ॥ ३६ ॥ सुद्दी जहा
विमलजसकिरणधवलियमहियल सुरनिवहनमियकमजुयलं । तिहुयणसिरिवरकुलहर मणहरगुणनिलय जिण जयहि ॥३७ ।। महजहणसयलचवला पच्छा विउला य विप्पिखत्तिणिया।
वइसी सुद्दी मीसा दस गाहा हुंति छदंमि ॥३८॥ मीसोदाहरणं जहा
ठाणच्चुयाण सुंदरि मंडलरहियाण विहवचत्ताण ।
थणयाण सुपुरिसाण य को हत्थं देइ पडियाण ॥ ३९ ॥ अहवा छव्वीसं भेया गाहाणं जहा
कमला ललिया लीला जुण्हा रंभा य मागही लच्छी। विज्जू माला हंसी ससिलेहा जण्हवी सुद्दा ॥४०॥ काली कुमरी मेहा सिद्धी रिद्धी य कुमइणी धरणी। जक्खिणि वीणा बंभी गंधन्वी मंजरी गोरी ॥४१॥ कमला तिहि लहुएहिं ललिया पंचेहिं एवमाईओ। बिहि बिहि वड्ढतेहिं कमेण सेसाओं जायंति ॥ ४२ ॥ इक्विक्कक्खरवुड्ढी छंदा छब्वीसयं मुणेयव्वा । गाहाणं तीसाए पणवन्ना वििड्ढया जाव ॥ ४३ ॥ तीसा जा पणवन्ना वढंतेगक्खरेहिं जा गाहा । झिज्जइ गुरुयं इक्कं दो दो वड्ढंति लहुयाइं ॥ ४४ ॥ तीसाए जं अहियं दुगुणं काऊण तिन्नि दिज्जासु । जित्तियमेत्तो पिंडो तित्तियमित्ताइं लहुयाइं ॥४५॥ मत्तापमाणमज्झा हरित्त सव्वक्खराइंगाहाणं ।
अवसेसं जं चिट्ठइ तित्तियमित्ताई गुरुयाई ॥ ४६ ॥ कः पुमान् हस्तं आधारं ददाति । अपि तु न कोपीत्यर्थः ॥ ३९ ॥ इदानीं त्रिभिर्गाथाभिः शाल्मलिप्रस्तारं कथयति-कम०॥ ४२-४४॥
३६.२ नरविलयनिवहसुहयं D; नरविलयनिवहसुहसुहयं F; ३७.१ विमलजलकिरण D; २ कमजुअलं F; ३ तिहुअण F; ३८.१ जघण DF; ३ वयसी D; ३९ मिस्सोदाहरणं AB; ३९.१ ठाणचुयाणं D; ठाणच्चुआण F; २ बहव for विहव D; ४०.२ जोण्हा DF; ४ मुद्दा for सुद्दा D; ४१.१ कुमारि DFG; २ कुमुइणी E; धरिणी D; ३ रंभी for बंभी D; ४ गौरी for गोरी F; ४२.४ सेसाउ F; ४३.१ इक्कक्कक्खर AB; इक्केक्कक्खर E; एक्किकक्खर F; ४४.३ झिम्भइ D; गरुयं F; ४ लहुआई ABF; ४५.२ तिण्णि AB; ३ जित्तियमित्तो DG; जित्तियमित्तं F; ४ लहुआई F; ४६.४ गरुयाई G.

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सवृत्तिकः कविदर्पणः मत्ता भन्नइ करिसो करिसचउक्कं पलं वियाणाहि । चउदसपलाई गाहा तोलिज्जती सकरिसाइं ॥४७॥
उभओअंतगुरूहिं रहिया छट्ट्सएण बीयद्धे । सेसा तेरस अंसा विसमसमा तेसु अहिगारा ॥४८॥
पढमाई चउभेया बीओ तुरिओ य हुँति पंचविहा। छटुंसो दुविगप्पो गणणविही इत्थ कायव्वो ॥ ४९ ॥ जो जस्स होइ उवरिं सो गुम्नो हिटिमो गुणायारो । हिटिमउवरिमगणणा नेयव्वा जाव तेरसमो ॥ ५० ॥
पथारवित्थराणं गाहाणं हुंति अट्ट कोडीओ। एगूणवीस लक्खा वीस सहस्सा य सव्वग्गं ॥५१॥
लहुअक्खरेहिं रूवूणएहिं अद्धीकयंमि जं सेसं । रूवूणं तीसजुअं अक्खररासी मुणेयव्वा ॥५२॥
एग हाऊण लहुं तत्तो अद्धं हरित्तु सेसेण । अद्धेन समं भणियं नक्खत्तं सव्वगाहाण ॥ ५३॥
छंदवसा दीहपरा कत्थवि लहुया हवंति पयते । एओ इहिबिंदू विय रहवंजणजुत्तिपुच्वो य ।। ५४ ॥
मात्रा एका कर्षप्रमाणा भवति ॥ ४७ ॥ इदानी तिसृभिर्गाथाभिः प्रस्तारप्रमाणं वक्ति-उभ० । (उभओअंतिमकमलयरहिया छठेंस बीयअद्धमि । उभयस्मिन्नर्धद्वयेप्यन्तिमकमलाभ्यां षष्ठांशेन च । प्राकृतत्वादलोपः। द्वितीयपाठस्तु न्याय्यः । A) ॥ ४८ । एकं लघु हित्वा ततो शेषेणार्धेन सर्वासां गाथानां नक्षत्रं भणितं अश्विन्यादि । अयं भावार्थः। त्रिंशदक्षरायां गाथायां नियमेन त्रयो लघवः तेषामेकोऽपसार्यते । शेषौ द्वौ तयोरप्यर्धमेकस्तेन लब्धमाद्यमश्विनीनक्षत्रम् । एवं सर्वासु गाथासु ।। ५३॥ (गृहं प्रथमद्वितीयतृतीयादिसंख्यास्थानं नाम च कमला ललिया इत्यादि A । तावतिमं गृहं तथा नाम लभ्यते । किं विकल्पेन । गृहाणां नामानि वास्तुशास्त्रतो ज्ञातव्यानि E) ॥ ५३a ॥
४७.२ करसचउक्कं फलं F; ४८.१-२ उभओअंतिमकमलयरहिया छटुंस बीयअद्धमि Com. in A; ४ विसमसमो D; अहिगारो F; ४९.२ अ इंति F; ४ गणणविहि D; ५०.२ गुण्णो हिट्ठमो य गुणयारो DG; हिट्ठिमो य गुणकारो F; ४ तेरसमे AB; v. ५० is dropped in E; ५१.२ Dadds नेय before हुंति; ४ वीससहस्साई सव्वग्गं AB; between 5 I and 52, A gives the following stanza : पत्थारमाणमेयं गाहोग्गीईण खंधएट्टगुणं । दुगुणं गीईए उवगीईए अद्धयं होई ॥ ५१ a. ॥ ५३.१ एवं हाऊण ABD; ३ अद्धेण F; between 53 and 54, ACE contain the following stanza; F gives only its Pratika. लहुअक्खरोहिं रूवूणएहिं अद्धीकयंमि जं सेसं । लब्भइ गाहाण घरं तह नामं किं वियप्पेण ॥ ५३a. ॥ ५४.२ लहुआ F; पुव्वा य G.

Page #162

एयारो जहा
ओयारो जहा -
सायारं पिव परमेसरेण नाणं जुगाइदेवेण ।
भीऍ पडियं निकरेण बंभी लिवी जयइ ॥ ५५ ॥
App. I-गाथालक्षणम्
बालाओं हुंति कोऊहलेण एमेव चवलचित्ताभो । दरल्हसिअथणीओ पुण धरंति मयरद्धयरहस्सं ॥ ५६ ॥
इयारो बिंदुजुओ जहा -
जाइँ संति गुणेहिं दोसासंगं च जाइँ न सहति । ताई तामरसाइँव जयंति सुयणाण चरियाई ॥ ५७ ॥ हियारो बिंदुजुओ जहा -
उत्तिम तिलयाहि असोगसरलपुन्नागविहियसोहाहिं । जं रेहड़ बाहिं वाडिया हि अंतो कुलवहूहिं ॥ ५८ ॥
रव्वंजणसंजोए जहा —
तहा
हव्वंजणसंजोए जहा -
सह वड्ढियावि गेहंमि पइखणं लालियावि दुद्धेण । सपव्व द्रुहंति खणेण दुज्जणा अहह अकयन्नू ॥ ५९ ॥
मेरुसिहरंमि न्हाणं बत्तीसिंदेहि कणयकल सेहिं । किज्जतं वीरजिणस्स तुम्ह दुरियाइँ पम्हुसउ ॥ ६० ॥
गाहो गाहविगाहो उग्गाहो गाहिणी य खंधो य । छविहगाहाभेओ निद्दिट्ठो नंदियड्डेण ॥ ६१ ॥
गाहो चवन्नाए सत्तावन्ना य भन्नए गाहा । विवरीया य विगाहा उग्गाहो सट्टिमत्तो य ॥ ६२ ॥
९३
(रोहिणीचरितात् | A ।। ५५ ||) तामरसानीव कमलानीव । यानि कमलानि गुणैस्तन्तुभिः कृत्वा उल्लासं यान्ति । दोषाशब्देन रात्रिसंगमं न सहन्ते । अत्र इकारो बिन्दुयुक्तोपि लघुः कार्यः । ( पुष्पदन्तचरितात् A ) ॥ ५७ ॥ अशोकाः शोकरहिताः सरलाः कौटिल्यरहिताः पुरुषा एव पुरुषद्विपाः नागा एव भोगिनस्तैर्विहिता शोभा यस्याः सा तथा ताभिः सभर्तृकाभिः । अत्र छन्दोवशात् बिन्दुयुक्तोपि हकारो लघुर्विहितः । विपुला जातिः । (पुष्पदन्तचरितात् A ) ॥ ५८ ॥ ( पुष्पदन्तचरितात् A ) ॥ ५९ ॥ युष्माकं दुरितानि प्रस्फोटयतु दूरीकरोतु । अत्र ह्ना अक्षरयोगेपि पाश्चात्यो लघुर्विहितः । ( न तु तुम्ह पम्हुसउ अत्रापि लघुर्द्रष्टव्यः । यत उक्तं कत्थवि लहुया हवंति, कुत्रापि न सर्वत्र E ) ॥ ६० ॥ पुनर्गाथानां प्रकारान्तरमाह – गाहो ॥ ६१ ॥ अधुना षण्णां भेदानाह गाथायुगलेन ॥ ६२ ॥६३॥
५५.२ जुआइदेवेण DF ; ५६ ओआरो DF; ५६.३ दरउल्हसियथणीओ पुण A; सुण for पुण F; ५९.१ सहि for सह AB; ४ दुयणा for दुज्जणा D; vv. 59 and 60 interchange places in D; ६०.४ तुम्हं for तुम्ह D; पफुडउ C; पम्हुसइ DF; ६१०२ ग्राहिणी D; ४ नंदियड्ढेणं D.

Page #163

सवृत्तिका कविदर्पणः गाहिणि बासठ्ठीए चउसट्ठीए य खंधओ भणिओ।
एए छव्व विगप्पा गाहाछंदे विणिहिट्ठा ।। ६३ ॥ गाहो जहा
वहति गमणदियहा जं भणियं तं खमिज्जासु ।
अम्हं चिय नत्थि गुणा दोसा विय संभरिज्जासु ॥ ६४ ॥ गाहोदाहरणं जहा
जिणधम्मो मोक्खफलो सासयसोक्खो जिणेहिं पन्नत्तो ।
नरसुरसुहाइं अणुसंगयाइं इह किसि पलालं व ॥६५॥ उग्गाहो जहा
थोसामि सव्वजगजीवबंधवं अट्टकम्मनिम्महणं । सुरअसुरनागमहियं संतिजिणं सयललोयसंतिकरं ॥६६॥
अन्नं च
जइ वाससयं गोवालिया कुसुमाणि य बंधइ मालिया। ता किं सहावधियगंधिया कुसमेहिं होइ सुगंधिया ॥६७॥
गाहिणी जहा
निवडियधारानिवहो जस्स निरुद्धो फणिंदमउडेहिं ।
तं सुरमुइंदमुहलियनाइणिगिज्जतमंगलं पासजिणं ॥ ६८ ॥ खंधओ जहा
नमह भुयइंदभासुरवियडफडाडोयखलियविसहरसलिलं । पहयमुइंदामुहलियनागिणिगिजंतमंगलं पासजिणं ॥ ६९ ॥
गमनदिवसा वर्तन्ते ॥ ६४ ॥ अणुसंगयाइं प्रसंगागतानि । यथा इह भूतले कृषिपलालवत् । यथा कृषिरन्ननिष्पत्तिफलाय क्रियते तत्रापि पलालादिकं वस्तु चारिरूपं प्रसंगनैव भवति तथा । (इह जिनधर्मे कृषौ पलालमिव E)॥ ६५ ॥ (विगाथा यथा थणदोहलिया बालोदाहरणं ज्ञेयम् E)। विगाथा यथा--पण० जिणाण चलणे पुनः पुनः प्रणमत । किं० चलणे । प्रगतसुरेश्वरशीर्षे मुकुटकोटिमिश्रीकृते । किं० जिनानां संसारसमुद्रपोतप्राप्तानाम् ।। But none of the other five mss. seems to contain an example of Vigāthā; E merely refers to v. 27 above. तस्या मनो घृतगन्धेन युज्यते न तु कुसुमेषु । (तत्किं अपि तु न किमपीत्यर्थः। स्वभावधतगन्धिका सा कुसुमैः सुगन्धिका न भवति । अथवा तत्किं कुसुमैः कृत्वा सुगन्धिका न भवति अपि तु भवतीति काकूक्त्या व्याख्येयम् । यतः कुसुमानि दुर्गन्धमपि वासयन्ति •E) ॥६७॥ (धारा पडति निवहा इत्यत्र निष्ठातं पूर्व निपततीति प्राप्तप्राकृतत्वाद्विलोमः पदन्यासः । न्याय्यस्तु पाठो निवडियधारानिवहो इति । स चार्थात् कमठमेघवृष्टिरिति A | निपतद्धारानिवहो यस्य E) ॥ ६८ ॥
६३.३ छच्च for छन्व D; ६४.२ भणिअं F; ६५.१ मुक्खफलो AFG; २ सुक्खो for सोक्खो ABFG; ३ संगियाइ F; ४ अह for इह BCD; ६६.४ सव्वलोय DG; ६८.१ निवडिर DEFG; धारा पडंति निवहा V.L. in Com. of A; ३ मुयंद DFG; ४ नागिणि AB; ६९.१ णमह C; भुयंदाभासुर F; २ फडाडोब G; ३ मुयंदा० DFG, ४ नाइणि DF.

Page #164

App. I-गाथालक्षणम्
खंधे अक्खरपमाणं जहा
लहुअक्खरं दुरहियं अद्धं च कलायवज्जिअं सेसं । चोत्तीसक्खरजुत्तं जायइ खंधक्खरपमाणं ॥ ७० ॥ धुय लहुअक्खर चउरो खंधे सव्वत्थ हुंति कायव्वा । इहरासमंजसत्तं छंदविरोहो फलमणि,॥७१॥
उदाहरणं
बिंबोट्ठीए तीए थोरा गोरा समुन्नया वक्खो। तारुन्ने संपुग्ने किं किं दुक्खं न देइ कामीण दढं ॥ ७२ ॥
अहवा
हेलाए संनद्धो जीमूओ सबओ मसीसारिच्छो ।
गज्जतो गंभीरं मत्तो हस्थिव्व एस सो पञ्चक्खो ॥७३॥ पद्धडियालक्खणं जहा
सोलस मत्त जहिं पउ दीसइ ।
अक्खर गन्नु न किंपि गवीसइ । पायउ पायउ जमगविसुद्धउ
पद्धडिया इहु छंदु पसिद्धउ ॥ ७४ ॥ तुय पुन्निमचंदसमाणवयणि
गोरंगि चंगि सारंगनयणि । थणमंडलउप्परि पियह हत्थु
नं कलसि दिन्नु पंकउ पसत्थु ॥७५॥ चंदाणणछंदो गंयंतरे मयणावयार दुइयनामं । लक्खणं जहा
निसुणि चंदमुहि चंदाणणो रूवओ
सधणु करवालु विरएइ तहु बीयओ । तइयठाणे सुविज्जुज्जलो मुग्गरो
ललियगयगमणि निहणंगओ तोमरो ॥ ७६ ॥
(पादः पादो यमकविशुद्धो भवति । एष पद्धटिकाछन्दः प्रसिद्धः E) ॥ ७४ ॥ उक्तं च-मयणावयारछंदो पंचकलगणेहि चरहिं नायब्वोत्ति A) ॥ ७६ ॥
७०.१ लहुयक्खरं DF; २ कलाइ G; ३ चुत्तीस अक्खरजुत्तं D, ७१.१ धुव for धुय EG; लहुयक्खर DF; ७२.१ बिंबुट्ठीए F; २ येरा for थोरा CD; थेरो गोरो F; ३ तारुण्णे AB; ४ न dropped in D; कामिणीण F; देंति G; ७३ अहवा dropped in DF; ७३.१ लेहाए A; ३ गंभीरो F; ४ हत्थीव्व D; ७४.१ सोलसमत्तउ जहिं FG; २ अक्खरमत्तु AB; ३ पाइउ पाइउ जमगि DF; ४ पद्धडियहं इहु छंदु पसुद्धउ FG; पद्धडिय तहिं AB; पद्धडियाहि इहु D; B reads v. 73 after 74, DF read v. 15 after 74. ७५.३ विहिय for पियह D; noted as v. L. in EF; ७६.२ बीअओ AB; विरएहि तं बीयओ G; ४ गय dropped in F.

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सवृत्तिकः कविदर्पणः गयरहतुरंगपाइक्कजोहनामेहिं जाण चउमत्ता । बहुविविहपहरणाणं पंचगमत्तं पिहुलसोणि ॥ ७७ ॥
दुवईलक्खणं जहा
पढमगणे कलछक्कं चउक्कला पंच हुंति कमलंता। गुरुमज्झसव्वलहुआ दुवईए बीयछटुंसा ॥ ७८ ॥
उदाहरणं जहा
उब्भडभिउडिभंगतडवियडवियप्पकरालभालयं
निहरदंतदट्ठउठुट्टियसोणियपंकिलालयं । दठवड्ढयसरोसहुंकारपुरःसरकेसकड्ढणं
कुणउ नरिंद तुज्झ बहु संगमसंगरमिड्ढिवड्ढणं ॥ ७९ ॥ वत्थुओ जहा
दो वेया सिहिजुयलं जुयाइं दुन्निउ दुगं च वत्थुयओ । दिवड्ढछंदलक्खणं जहा
पनरसतेरसपनरसतेरसजुत्तो दिवढछंदो ॥ ८ ॥
वत्थुओदाहरणं जहा
कुंभिकुंभविब्भमह कवण थणकलसह उप्पम
इंदीवरदलसमह कवण नयणह सारिच्छिम । पारिजायलयनिभह भुअह कहि कवणह चंगिम
सीयएवि रुवस्स तुज्झ वन्निण कसु अग्गिम ॥ इअ भणइ राउ दहरहतणउ वणिवणि विलवंतउ करुणु । अहवा न वुझु जं जीवियउ जंजि तं जि विम्हियकरणु ॥ ८१ ॥
(यतः चन्द्राननछन्दसि धनुःकरवालमुद्गरतोमराणां नामानि गृहीतानि अत एवात्र गाथायां संज्ञा दर्शिता E। अत्रैतत्पञ्चमात्रिक [read चतुर्मात्रिक] संज्ञां दर्शयन्नाह--गयरहेति । तद्यथा सर्वगुरुर्गजः । आदिगुरुः रथः । अन्तगुरुस्तुरंगः। मध्यगुरुः पदातिः। सर्वगुरुयोधः A. But this is arbitrary; the stanza is from Virahanka's Vrttajatisamuccaya I. 17 ) ॥७७॥ कमलंता गुरुपर्यन्ताः ॥७८ ॥ (वत्थुयच्छन्दसि पदे पदे चतुर्विंशतिर्मात्रा भवन्तीति तात्पर्यम् । वत्थुयदिवद्वियोर्मीलने षट्पदबन्धः स्यात् E) ॥ ८०॥ अथवा न चुज्जं यज्जीवति सीतावियोगे तद्विस्मयकरं च(चु)ज्जं आश्चर्यकारि किं न भवति । अपि तु भवत्येव ॥ ८१॥
७८.१ कलुछकं F; ३ लहुया DF; ७९.१ for वियप्प C has कडप्प; D विलप्प; F विप्पड; २ दिठुरदंत FG; ३ दिढवढिय FG; ८०.१ जुअलं DF; ४ दिवड्ढछंदो DFG; ८१.१ विन्भममह D; २ दलसम कवण D; ३ भुअहं D; ४ कसु वन्निण AB; ५ इउ for इअ F; ६ वुज्ज A; चुज्जु FG; जउ जीवियउ G.

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App.!-गाथालक्षणम्
दूहालक्खणं जहा
चउदह मत्ता दुन्नि पय
पढमय तइयय हुंति । बारह मत्ता दो चलण
दूहालक्खण कंति ॥ ८२॥ उदाहरणं
लद्वउ मिसु भमंतइण
रयणायर चंदेण । जो झिज्झइ झिज्झंतइण
वड्ढइ वड्ढंतेण ।। ८३ ॥ उवदूहालक्खणं जहा
तेरह मत्ता दुन्नि पय
पढमय तइयय हुंति । बारह मत्ता अन्न दुइ
उवदूहउ इहु कति ॥ ८४ ।। उदाहरणं
नंदउ वीरजिणेसरह
धरखुत्ती नहपंति । दंसंती इव संगमह
___ नरय निरंतर गुत्ति ॥ ८५॥ भवदूहालक्खणं जहा
बारह मत्ता विसम पय
सम पय चउदह मत्त । इहु अवदूहउ पंडियहु
___ अन म करिसहु वत्त ।। ८६ ॥ उदाहरणं जहा
इक सलूणा सावलि
तुय थण जे संमुहय थिय । जेहिं न वंका वयणइ
लग्गंतेहि नहेहिं किय ।। ८७ ॥ हे कान्ते एतद् दोहदलक्षणम् ॥ ८२ ॥ हे कान्ते जानीहि ।। ८४ ॥ वीरजिनेन्द्रस्य कायोत्सर्गस्थितस्य धरायां पृथ्व्यां निलीना नखपङ्क्तिर्नन्दतु । उत्प्रेक्ष्यते । संगमकाभिधानस्य अभव्यस्य नरके निरन्तरं गुप्तिं नरके निश्चलनिवासं दर्शयतीव। (संगमस्य प्रभोरुपसर्गकर्तुळन्तरदेवस्य नरकनिरन्तरमार्ग दर्शयतीव E) ॥ ८५ ॥ स्तनयोः संमुखं ये पुरुषाः स्थिताः तैर्मुखं न तथा वक्रीकृत नखैर्लग्गैर्यथा मुखं तिर्यक् कृतं तथा । (यौ स्तनौ संमुखौ स्थितौ न तु पराङ्मुखौ जातौ । अर्थात् सुरतसंग्रामवेलायाम् । याभ्यां स्तनाभ्यां नखैर्लगद्भिरपि वक्रौ वदनौ (!) न कृतौ E) ॥ ८७ ॥
८२.१ चउदस E; तेरस G; २ पढमइ ABC; पढमतझ्यय D; ३ ग्यारह G; ४ लक्खणु D; ८३.१ भमंतएण AB: भमंतयण EFG; २ रयणायरो D: ३ झिज्झंतएण AB; ८४.२ पढमइ तइयइ ABC; ८५.३ उव संगमह DF; ८६ अवदूहालक्खणं जहा dropped in ABCF; ८७.१ सामलि A; २ तूय A; संमुह पंथिय A: ३ जेह न A; वंकय बयणवय F; ४ नतेहिं B; न तेहि य किय D; नहेहि कथ A.

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सवृत्तिकः कविदर्पणः
भमरु भामरु समरु संचालु
मयरंदउ मक्कडउ। नलु मरालु मयगलु पओहरु
ए नामाई दोहाहं मयरु मच्छु कच्छवउ गोरउ ॥ होइ हु छब्बीसक्खरउ
दोहउ बिहु लहुएहिं । अक्खरि अक्खरि बे चढहिं
भमराइयनामेहि ॥ ८८॥ आयोदाहरणं
बे गोरा बे सामला
बे रत्ता निप्पंक । बेनीला हेमप्पभा
सेसा मायामुक्त ॥ ८९॥ अन्स्योदाहरणं यथा
वियसियजलरुहदलनयण
हिमकरकरसरिसतणु। सरसइससहरसमवयण
पणमह जिण जणियनाणु ॥ १० ॥ सिलोयलक्खणं जहा
पंचम लहुयं सव्वं सत्तमं दुचउत्थए ।
छटुं पुण गुरुं सव्वं सिलोयं विति पंडिया ॥९१ ॥ उदाहरणं
पोसेउ पंचमो चक्की सोलसो मे जिणो जसं । चक्कं च धम्मचक्कं च जस्सायच्चु व्व सेवभो ॥१२॥ इति नन्दिताढ्यकृतं गाथालक्षणं समाप्तम् ।
पणमा
stan
।
Stanza 88 is a couplet made of a Matra and a Dohā. हे जिन हे जनितज्ञान अहं त्वयि प्रगतः। (जनितधर्म धनुशब्देन धर्मो ज्ञेयः । एवंविधं जिनं प्रणमत E) ॥९०॥ यस्य चक्ररत्नं चान्यत् धर्मचक्र आदित्य इव सेवते । (यस्य जिनस्य आदित्य इव सूर्य इव सेवकः E) ॥ ९२ ॥ (माण्डब्यपुरगच्छीयदेवाणंदमुनेगिरा। टीकेयं रत्नचन्द्रेण नन्दिताव्यस्य निर्मिता || A)
८८.२ मयलधुउ मङ्कडउ G; ३ मयगहलु पऊहरु F; ४ दोहडह G; ५ गोहरु F; ९०.४ पणय हुं (?) C; जणियतणु AG; जणियधणु E; ९१.४ पिंडिया for पंडिया D; ९२.१ पासेउ F; ४ जस्साइच्चोव्व सेवए AB: सेयओ for सेवओ F.

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APPENDIX II
श्रीरत्नशेखरसूरिविरचितः छन्दःकोशः।
This edition of the Chandaḥkośa based on four mss., three of which also contain the commentary of Chandrakirti. These three are A = No. 75 of 1873-1874%3; this has 23 folios and is dated Samvat 1931, but also contains the date of its original, namely, Sam. 1624; B = No. 448 of 1892-1895. This has 24 folios and is dated Samvat 1697, C = No. 591 of 1884-1886. This has only 13 folios and is dated Samvat 1667. My earlier edition at the Journal, University of Bombay, Nov. 1933 was based on these three mss. For the present edition I have consulted one more
ms., which contains only the text. It is No. 74 of 1873-1874. All the four mss. belong to the Bhandarkar Oriental Research Institute, Poona.
In noting down the variants I have neglected orthographical differences in the mss. Thus I have adopted the dental na both at the commencement of a word and in the conjunct nna, except in the case of the conjunct nna which is caused by metrical reasons from the original na. Similarly the u ending of nom. accu. sing, and the yaśruti are regularized except where all the four mss. have consistently the aending or the absence of the yaśruti. Obvious scribal errors are neglected. In the variants noted below, the first figure refers to the number of the stanza and the second to that of the Pāda or the line. Usually, only the word with changed spelling is reproduced. But when the variant entirely differs, or, when otherwise necessary, the word in whose place the variant occurs is also given.
In noting have adopted bent in the case Similarly the
for
आजोयणट्टियाणं सुरनरतिरियाण हरिससंजणणी । सरससरवन्नछंदा सुमहत्था जयउ जिणवाणी ॥१॥ भूचंदक्कमरुग्गणा मभजसा सव्वाइमज्झंतगा
गीयाईसु कमा कुणंति सुसिरिं कित्तिं च रोयं भयं । सग्गंभोगिणिखेसरा नयरता सव्वाइमझंतला
आउबुद्धिविणासदेसगमणं कुवंति निःसंशयं ॥ २ ॥
नमामि परमं ज्योतिस्तमःपारे प्रतिष्ठितम् । यत्र विश्वावकाशस्य तमसो नास्ति गोचरम् ।। १ ।। छन्दःकोशाभिधस्यास्य सूरिश्रीरत्नशेषरैः ।
कृतस्य क्रियते टीका बोधनायाल्पमेधसाम् ॥ २ ॥ सरसस्वराः षड्जादयो, वर्णा अकारादयः, छन्दांसि अनुष्टुप्प्रभृतानि । सरसानि स्वरवर्णच्छन्दांसि यस्यां सा ॥१॥ इह च्छन्दो द्विधा। मात्राच्छन्दो वर्णच्छन्दश्च । तत्र मात्राणां लघुदीर्घादिवर्णजनितत्वेन प्रथम वर्णच्छन्दोनिरूपणाय वर्णात्मकान् गणान् विवक्षुः प्राकृतभाषानिबद्धशार्दूलविक्रीडितच्छन्दसा प्राकृते साटक इति नाम च्छन्दसा तेषामेव लक्षणस्वामिफलान्याह--भूचंद० । गीआईसुत्ति । गीतं ध्रुवमण्ठादिमयं तथा आदिशब्दात् षट्पदादिषु प्रथमस्थानपतिताः सन्तः एते क्रमादनु क्रमेण एतानि फलानि कुर्वन्ति । सग्गंभोगिणि इत्यादि । स्वर्गः सुरालयः अम्भः पानीयं तथा अभिर्वह्निः खमाकाशं एते ईश्वराः स्वामिनो येषां ते ॥ २॥

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सवृत्तिकः कविदर्पणः छंदवसा दीहपरा कत्थवि लहुया हवंति पयते । एमो इहिबिंदू विभ रहवंजणजुत्तपुग्यो य ॥३॥ नायाणं ईसेणं उत्तो ___ सम्वहिं दीहेहिं जुत्तो। मं मं गं गं पाठिज्जंतो
हो सोमकंतो ॥४॥ वेयमिए भगणे हु उविजहु
दोधक छंदह नामु मुणिज्जहु । सोलस दीहपमाणु वि जाणहु
मत्त चऊसठि सोजि वखाणहु ॥ ५ ॥ तुरंगमाउसमा लहु दिज्ज
कला ससिसंख य ते गुरु दिज्ज । जगन्नइ होइ पयासु विसामु
सुगुल्हु पयंपइ मुत्तियदामु ॥ ६ ॥ सगणा इह तोटक छंद धुयं
गुरु सोलस तीसदुयं लहुयं । चउसट्टि वि मत्त थ संठवियं
अठतालिसक्खरबंधवियं ॥ ७॥
पइ पइ लहु सयल
पडहिं जहिं अविरल। तहिं नगणु वि(ति) ठवहु
जय(हिं) बहुलु सु भणहु ।। ८॥
अत्र छन्दःशब्देन प्राकृतच्छन्दो गाथादि गृह्यते । ततश्च छन्दोवशात् तत्र लघुत्वमृते छन्दोभङ्गापत्तेः । दीर्घपराः आकारादिदीर्घत्रयपराश्चत्वारो वर्णा गुरवोपि लघवो भवन्ति । के ते इत्याह-एओ इहि बिंदू विअ एकारः ओकारः इंकारः हिंकारश्च, तथा रव्यञ्जनयुक्तो हादिः हव्यञ्जनयुक्तो ह्यादिः एतयोरपि पर्वो वर्णः। तत एते षडपि वर्णाः प्राकृतच्छन्दसि प्रायो गाथादौ लघुत्वं ब्रजन्तीति तात्पर्यार्थः ॥३॥ एतत् सोमकान्तं नाम छन्दः ॥ ४ ॥ वेदमितानिति पादे पादे चतुरो भगणान् स्थापयत ॥ ५॥ तुरंगमोश्वः । तस्य यदायुर्जीवितं तस्य समा वर्षा द्वात्रिंशद्वर्षाः तत्संख्या लघवो देयाः । तथा शशिनः कला १६ तावत्संख्या गुरवः कार्याः । चतुर्भिर्जगणैः पदविश्रामः पदविरतिर्भवति । गुल्ह इति गोसलाख्यः कविः कथयति ।। ६ ॥ लघवश्च द्वात्रिंशत् । अत्र थकारः पादपूरणार्थः ॥ ७ ॥ तह तथा त्रयस्त्रयो नगणाः पदे पदे स्थाप्याः। यत्र ईदृशं लक्षणं तद् बहुलं नाम च्छन्दः भणहु कथयत ।। ८ ॥
३.४ जुत्तिपुन्वो B; जुत्तपुव्वा D; हुत्तपुव्वो A. ४.२ युत्तो BC; ३ पाढिज्जतो D. ५.४ चउस्सठि A%; चउसहि CD; वषाणहु B. ६.३ जगणिहि D. ७.१ इय D; ७.२ दुई AD.

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App. II-छन्दकोशः लहू सोलसा दीह बत्तीस दिने
असी मत्त चोवीस दूबार वन्ने । अयं ममणीभो भुयंगप्पयाओ
यगण्णेहिं संजुत्तो छंदरामओ ॥ ९ ॥ मत्त अस्सीइ रग्गण्णसंजुत्तयं ।
दीह बत्तीस जोएह नीरुत्तयं । सव्वछंदाण मज्झमि अइसोहणं 'अज्जुणो जंपए कामिणीमोहणं ॥ १० ॥ जाणेहु सट्टाई चालीस वनाई
चंदू लहू दीह दोतीस पुन्नाई । अस्सीई मत्ताई तग्गण्णु जाणेइ
छंदं पि मेणाउलं अल्हु जंपेइ ॥ ११ ॥ जसु पइपइहिं निबंधु मत्त चउवीसइ किज्जइ
अक्खरडंबर सरसु सुद्ध तं छंदु भणिज्जइ । छक्कलु आइहि होइ चारिचउकलसंजुत्तउ
दुक्कलु अंति निरुत्तु गुल्हकवि एरिस वुत्तउ ॥ बावन्नसउवि मत्तइ रयहु उल्लालइ सरिसउ गणहु छप्पयनिबंधु एरिसु हवइ काई गंथ गंथिय मुणहु ॥ १२॥ सुच्चिय छप्पयबंधु चरम उल्लालइ वज्जिउ
वत्थुयनामि हवेइ छंदु चहुंचहुं पइ सज्जिउ । सो पुणु देसीभाससरसबहुसहसमाउल
रोडकनामि पसिद्ध छंदु कवि पढहिं रसाउल ॥ १३ ॥
एवमशीतिर्मात्राः चउवीसत्ति चतुर्विंशतिः दूबारत्ति द्विगुणिताः अष्टचत्वारिंशद्वर्णा भवन्ति ।। ९॥ अर्जुनो नाम कविः कामिनीमोहनं नाम च्छन्दो जल्पति । अत्र छन्दसि इकारपर-उकारपरश्च अकार इकारेण उकारेण च सह दीर्घत्वमायातीत्याम्नायः । तेन 'अइ' इति वर्णो दीर्घरूपो गण्यते ॥ १०॥ यत्र साष्टानि अष्टाधिकानि चत्वारिंशदक्षराणि । तत्रापि चंदुत्ति चन्द्रकलाः षोडश तत्प्रमिता लघुवर्णाः । तच्छन्दो मदनाकुलं नाम अल्हुत्ति अर्जुनः कविर्जल्पति ॥११॥ इति वर्णच्छन्दांसि गणोदाहरणेन निरूप्य मात्राछन्दांस्याह । तत्रादौ षट्पदं निरूपयति-जसु० । एवं चतुषु पादेषु मात्राः ९६ ततः षट्पञ्चाशन्मात्रारूपं उल्लालकं भवति । एवं द्विपञ्चाशदधिकशत १५२ मात्राभिः कृतं तथाभूतं उल्लालकसहितं यत् षट्पदाख्यं छन्दस्तस्य बन्ध ईदृशो भवति। अहो ग्रन्थिकाः संस्कृतकाव्यवेत्तारो यूयं किं जानीत । अपभ्रंशस्य सांस्कृतिकैरनादृतत्वात् तत्प्रत्यवज्ञावचनमिदम् ॥१२॥ वस्तु नाम छन्दः रोडकं नाम छन्दः रसाउलछन्दः एवं नामत्रिकमस्य छन्दसः ॥ १३ ॥
९.२ चउवीस ACD; ३ भुयंगप्पयावो D. १०.२ जोएहु D; ३ सोल for सव्व, ए for अD. ११.१ सुद्धाई for सट्ठाई AD; ३ जाणेहु D. १२.१ चउवीसहं D; ३ चउकालहि सं. D; ४ एरस D; एरिसि B; ५ रइवि for रयहु AD; . ६ छप्पयबंध ABC; एरिसो B; एरिस C. १३.१ सुच्चिउ; उल्लालयवजउ D; २ वत्थुवनामि D; चउंचउं B; ३ देसियभास D; ४ नाम for नामि CD.

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१०२
सवृत्तिकः कविदर्पणः
नरायपाय वीस मत्त चारि मत्त अग्गला ठविज्जयंति सोलसाई अक्खराई निम्मला । लहू य भट्ट दीह अट्ठ एरिसो पसिद्धओ नरायनाम सोमकंतु गोसलेण दिट्ठओ ॥ १४ ॥
पए पर सु तीस मत्त वीसवन्नजुत्तओ ठविज्जए
विसुत्तरो सओ विमत्त इक्कमेलि ठामि ठामि किज्जए । सुसुद्ध छंदु सुक्खकंदु लोणंददायरो सु चामरो नरायनाम अज्जुणेण भासिओ सु तत्थ पंचचामरो ॥ १५ ॥
1
मिलाहि पयासम मत्तविसेसण होइ तहिं चिय चारि भणू
मत बतीस तीस थ मेलवि अट्ठहि ठामि ठवे सगणू । गणु अन्न न लिज्जइ सोवि ठविज्जइ तं फुडु जाणि निभंति करी करिजम विसाइ पाइण पाइण सुट्रुवि छंदु वि तंजि परी ॥ १६ ॥
मस हुवइ चउरासी चउपय चारिकल
तेसठि जोणि निबंधी जाणहु चहुयदल |
पंचकलु वज्जिज्जहु गणु सुटुवि गणहु
सो वि अहाण छंदु जि महियलि बुह मुणहु ॥ १७ ॥
अडवीस मत्त निरुत्त जहि पयबंधु सुंदरु दीसए
सउ बारहुत्तर मत्त चहुपई मेलु जत्थ गवीसए ।
जो अत्थलीउ जमगढ गोसलेण पयासिओ
सो छंदु गीय मुहुगुणियण विमलमइहि जु भासि ॥ १८ ॥
se नाराचकस्य बहवो भेदाः सन्ति तत्रायं सोमकान्तनाराचः ॥ १४ ॥ तत्पञ्चचामरं नाम नाराचकं छन्दः अर्जुनेन कविना भाषितम् ॥ १५ ॥ भणु इति द्वितीयः पुनरर्थः । श्र इति पूरणे । विसाइणत्ति प्राकृतत्वात् विशिष्टेन पादेन । तंजि परीत्ति तयैव रीत्या || १६ || तत्रापि प्रतिपादे एकविंशतितमी मात्रा लघुरूपा भवति । एवं चतुर्ष्वपि पादेषु प्रान्ते चत्वारः कलाः । अत्रापि पादे पादे प्रान्ते लघुत्रयं भवत्येवेत्याम्नायः। इह सत्रिभागमात्राया योनिसंज्ञा कल्पितास्ति कविभिः । वक्ष्यति च ' छंदाणं ' (०७३) । तदाभाणकं नाम छन्दः ॥ १७ ॥ यदर्थेन लीनं श्लिष्टं यमकशुद्धं गोसलाख्येन कविना प्रकाशितं तच्छन्दो गीतानामकम् । पादपूरणे। इति गीताछन्दः ॥ १८ ॥
१४.१ दीह for वीस; २ सोडसाई D. १५०३ सहामरो D; सुचामरो B; मुझामरो C. १६०१ पयासण for पयासम D; होहि for होइ AD; तहंचिय D; २ मेलिवि अट्ठथ ठाम D; ३ अण्ण ण A; अण्णु न D; सोइ for सोवि AD; सो for तं D; निभंतकरी B; ४ विसायण पायण पायण B; सुद्धवि D. १७.१ होहि for हुवइ D; चउपर C; २ तेसट्ठि D; निबद्धा B; निबद्धी C; ३ सुद्घवि for सुट्ठवि D; ४ मुहाणउ AD; बहु for बुह AC. १८०१ चउपय for जहिं पय D; २ चउपयमेल D; ३ जमकसु AD; ४ सु for जु D.

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१०३
App. II-छन्दकोशः विजयक छंदो
सुक्खक(क्कं)दो। लहुगुरुसहिओ
अज्जुणि कहिओ ॥ १९॥ बि बि पय सोलस मत्त कहिज्जइ
पंचदहं पुणु बेबि रइज्जइ । बासठि मत्तह जासु पमाणु
सो छंदउ फुडु बेसरु जाणु ।। २०॥ तेरह मत्ता विसमपइ
सम एयारह मत्त । अडयालीसं मत्त सवि
दोहा छंदु निरुत्त ॥२१॥ आइल्ले दीहा लहू
बावीसं चत्तारि। इक्किक्कं दीहा हरी
दोहा नामुच्चारि ॥२२॥ हंसु वराहु गयंदु पहु
पिंगलु तरलु तमालु। सायरु सुंदरु मेरु नरु
कुंजरु हरु सुकुमालु ॥ २३ ॥ दमणउ मरुवउ अहि पवणु
घणु विज्जू आणंद (दु) आमूलउ बावीसमउ
कहउ जु जाणइ छंदु ॥ २४ ॥ सो सोरट्टउ जाणि
जो दोहा विवरीय हुई। बिहुं पहं जमकु वियाणि
इकु पहिलइ अरु तीसरइ ॥ २५ ॥
प्रस्तारो यथा I HISS; SSSS; I I II I IS; SI II I S. ||१९|| स्फुटं बेसरनामक जानीहि । स्फुटबेसरनामकमित्येके ॥२०॥ तच्छन्द्रो दोधकनाम निरुक्तम् ॥२१॥
१९.१ विजयहु for विजयक D. २०.१ सोलह AD; मत्तह किज्जइ D; २ एय for बेबि D; ३ बासहि D; ४ फुडबेसरु D. २१.२ एगारह D; ३ अडचालीसं D. २४.४ कहइ जु D. २५.२ विवरीउ D, विवरी हुवइ B; ४ एकु for इकु D; अनु for अरु A.

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१०४
सवृत्तिकः कविदर्पणः दोहा छंद जु पढम पढि
मत्त ठविज्जहि पंच सुकेहा । चूलियाउ तं बुह मुणहु
गुल्हु पयंपइ सध्वसुएहा ॥ २६ ॥ दोहा छंदु जि दुदल पढि
दह दह कलसंजुत्त सु अडसठि मत्त सवि । उवचूलिय तं बुह मुणहु
लहुगुरु गणसंजुत्त सु जंपइ अल्हकवि ॥ २७ ॥ तिहिमत्त मत्त जहि पढमपउ
बीयउ रुद्दयजुत्त । पुष्वद्ध जेम तिम उत्तरवि
सो उग्गाहु निरुत्त ॥२८॥ मत्त इगारह मिलिय पुणवि दह संचलिय
पयपय इणि परिकलिय गुरुवि लहु संकलिय । सुणवि सवणमणिरलिय जीह जहिं न हु खलिय
सुदिढबंध न हु टलिय अत्थसंगह मिलिय ॥ तह चालसउवि मत्तई रयहु गुल्ह पयंपइ नियरलिय। रासाउल छंद जु एह हुइ काइं.कविय डंखहि अलिय ॥ २९ ॥ पयपयह मत्त बत्तीस दित लहुगुरुविचित्त चउकलयजुत्त
बहुजमगसुद्ध जाणहु निरुत्त बहुमत्थजुत्त कविअल्हि उत्त । सवत्थ मत्त किज्जहि इकत्त सय इक्क ठाणि अडवीस जाणि
छाणवइ जोणि पायडिय खोणि एरिसि य वाणि दंडक्कु जाणि ॥३०॥ दोहा छंदु जि पढम पढि ___ कव्वह अद्धु निरुत्त । तं कुंडलिया बुह मुणहु
उल्लालइ संजुत्त ॥
अत्र पञ्चमात्रास्थाने यगणो वा लघुगुरुलधुद्वयरूपं वा भवतीत्याम्नायः ॥ २६ ॥ तिथिमात्राः पञ्चदशसंख्या मात्राः । एवं [द्वि पञ्चाशन्मात्रामयं उद्गाहकं छन्दः ॥ २८॥ एवं ८४ मात्राभिः पदचतुष्टयम् । तदनु ५६ मात्रामयं षट्पदवच्च उल्लालकं प्रतीतमेवं १४० मात्राभिः रासाकुलं छन्दः ॥ २९॥ अल्हउत्तत्ति अर्जुनेन कविना उक्तम् । एतदर्धे स्कन्धकच्छन्दो भवति ॥ ३०॥
२७.१ दुदलि B; ३ बहु for बुह C. २८.३ जेम तित्तडउ for जेमतिम उत्तरवि D. २९.१ इग्यारह B; २ पइप CD; पुणु D, इण C for इणि; ३ जहिं जाहिं A; ५ रइवि for रयहु D, रलिय B; ६ बि for जु D; हुत for हुइ C; झंखाहे for डंखहि D. ३०.१ पइपइहि D, पइप B, for पयपयह; २ अल्हउत्त BD; ४ छाणबहु A; छाणवय C; रसियाण for एरिसि य D.

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App. II – छन्दः कोशः
उल्लालइ संजुत्त जमगसुद्धउ सलहिज्जइ चउवालसउवि मत्त सुदिढपइपंथ रइज्जइ ।
उल्लालइ संजुत्त लहइ सो निम्मलसोहा तं कुंडलिया छंदु पढम जहि पढियह दोहा ॥ ३१ ॥
सो चंद्रायण छंदु फुडु
fe धुरि दोहा होइ |
अइकोमलु जणमणहरणु बुहियण संसिउ होइ ॥
बुहियह संसियउ सो इ सलहिज्जए कामिणीमोहण पुरउ पाठिज्जए । मत अडवीससउ जेण विरइज्जए सोवि चंदायणो छंदु जाणिज्जए ॥ ३२ ॥
दोहा छंदह तिन्नि पय
पदम सुद्ध पढे ।
पुणवि चउत्थ विगाहपउ वेरालु वितं वियाणे ॥ ३३ ॥
तिहिहिं मत्त पढमु पउ होइ तह तीयउ पंचमड
बी चउत्थु रुय निरुत्तउ । सतसहि विमत्त निरु सुकवि अल्हि राढउ सु उत्तउ ॥
इकु राठउ अरु दूहडउ बिहु मिलि वोह । पणरुत्तरसउ मत्त थिरु
विरलउ बुज्झइ कोइ ॥ ३४ ॥
१०५
यत्र प्रथमं दोहाछन्दः पठ्यते काव्यार्धे निरुक्तं कथितं तत्कुण्डलिकं नाम छन्दः। उल्लालकेन षण्णवतिमात्रामयेण संयुक्तं यमकशुद्धं श्लाघ्यते ॥ ३१ ॥ चतुर्थे च गाथापादलक्षणं पञ्चदशमात्रारूपकं तत् वेरालकं नाम छन्दः ॥ ३३ ॥ एवं सप्तषष्टिमात्राभिः राढकं नाम छन्दः । तथा मात्रा ४८ दोहाछन्दसः । एवं ११५ मात्राभिर्वस्तुच्छन्दः । इति पुरुषनामच्छन्दांसि ॥ ३४ ॥
३१.५ उल्लालयसं B; सुलहिज्जइ B; ६ पयपंथ for पद्मपंथ D; ८ पढिया for पढियइ AC. ३२०४ संसिय for संसिउ B; ५, ८ जाणिज्जए and सलहिज्जए exchange places in D. ३३.२ पढमं for पढमई B; ३ गाहपय B. ३४.३ रुद्द थ for रुद्दय़ D; ५ स उत्तर A; ७ वत्थू for वत्थु वि. B.

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संवृत्तिकः कविदर्पणः पइ पइ होइ मत्त अडवीसवि छक्कलु आइ किज्जए __ मज्झ थ पडहि पंच चाउक्कल दुक्कलु अंति दिज्जए। चउरासी सुजोणिसंजुत्तउ लहुगुरुगणविसुद्धओ
तं दुवई य छंदु सुहलक्खणि अज्जुणि सुकइ बद्धओ ॥३५॥ पय चारि ठविज्जहि ससिहि मत्त
पाऊहरु गणु जइ होइ अंत । चउसटि कल इ सव्वइ गणेहु .
पद्धडिय छंद तं बुह मुगेहु ॥३६ ॥ पइ पइ[इ] होइ तीसं धुवमत्तइ अक्खरडंबरजुत्त
चउकल थ सत्त ठवि ठामय ठामय दुक्कलु अंतु निरुत्त । जइ नवइ जोणि षोणि थ सुपसिद्धी पढत थ अइसउ छंदु
वीसोत्तरसउ जहि मत्त निरुत्तउ सो चउपइया छंदु ॥३७॥ पढिऊण पढम गाहा पुरओ पढिऊण कव्वपयजुयलं । उल्लालयसंजुत्तं कुंडलिणी होइ सुनिरुत्तं ॥ तं कुंडलिणि निरुत्त मत्त तेवनसउ किज्जइ
दिढबंध थ संजुत्त अद्ध पाय थ सु ठविज्जइ । उल्लालयसंजुत्त एणिपरि बुहियणु किज्जइ
तं कुंडलिणी छंदु पढम जहि गाह पढिज्जइ ॥३०॥ सो चंदाइणि छंदो जेण पढिज्जंति पढम गाहाओ। कामिणिमोहण पुरओ मत्ता अस्सीयसंजुत्तो ॥ मत्त अस्सीइ जो होइ नीरुत्तओ
पंचकल सव्व ससिकल थ संजुत्तओ। कामिणीमोहणो पुरउ पाढिज्जए
सोवि चंदायणी छंद सलहिज्जए ॥३९॥
अथ स्त्रीनाम्ना प्राकृतच्छन्दसां नाम । अत्र प्रथमं द्विपदीछन्दः । पादे पादे षोडश मात्रा भवन्ति प्रान्ते च जगणो भवति । तत्पद्धडीति छन्दो बुधा जानीत । अत्र प्रायः पादे पादे द्वितीयचतुर्थचतु:कले एव जगणो भवति नान्यत्रेत्याम्नायः ॥ ३६ ॥ अत्र छन्दसि थकाराः सर्वेपि पादपूरणार्थाः । ठाम ठामत्ति पादे पादे ॥ ३७॥ प्रथमं गाथां पठेत् ततोग्रे काव्यपदयुगलं पठेत् । काव्यस्य षट्पदापेक्षया पादचतुष्टयस्यापि पादयुगलसंज्ञा । एवं षण्णवतिमात्रामय-उल्लालकसंयुक्तं तत् कुण्डलिनी नाम च्छन्दो भवति ॥ ३८॥ सर्वेपि गणाः कामिनीमोहनछन्दसि पञ्चकला भवन्ति तेपि ससिकलत्ति षोडशसंख्या भवन्तीति ।। ३९ ॥
३६.१ पग for पय C; २ पाउहरु जगणु for पाऊहरु गणु B; ४ पद्धडी for पद्धडिय B. ३७.१ होहिं D; ध्रुवमत्त for ध्रुवमत्तइ B; २ अंति for अंतु D; ३७.३ खोणि for षोणि D. ३८.४ दृढबंध B. ३९.१ चंदाइण CD; ४ मत्त असीएहिं for मत्ता अस्सीय. D; ५ असीय B अस्सीउ D for अस्सीइ जु for जो B; AC drop the word; नीरुत्तयं ABC; ६ संजुत्तयं ABC; ७ कामिणीमोहणं B.

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App. II-छन्दकोशः
१०७
सट्ठि थ मत्तह होइ निरुत्त
चउपय पंचकल थ संजुत्त । पनरह मत्तह पयह पमाणि
लहुचउपइया छंदु वियाणि ॥ ४०॥ चउपइ इक्कु जमक्कु वि दीसह
भडिल छंद तं बुह थ सलीसइ । जमकु होइ जहिं बिहुपयजुत्तर
मडिल छंदु तं अज्जुणि वुत्तउ ॥ ४१ ॥ पइ पइ अन्नु जमक्कु रइज्जइ
सोलस मत्त पमाणु वि किज्जइ। सव्वमत्त जगणु वि चिंतिज्जइ
मिन्नमडिल्ल नाम तसु दिज्जइ ॥ ४२ ॥ पय पढमसमाणउ तीयउ जाणउ
मत्त अढारह उद्धरहु । बिय चउथ निरुत्तर तेरह मत्तउ
घत्त मत्त बासठि करहु ॥ ४३ ।। सव्वाणं दीहा सोहाणी
बासट्ठी मत्ता मेहाणी। आणीया छंदा रेहणी
सा पत्तामेहा मेहणी ॥४४॥
ससिमत्तपरि?उ अंसगरिट्ठउ मुत्तिउ अग्गलि जासु
जणबंधहं सारी सव्वपियारी निम्मल लक्खण तासु । जणु पंडिउ बुज्झइ तासु न सुज्झइ हक्क वियाणउ भेओ
सुवि जंपिवि नत्तहं चिंतवयंतहं भासइ पिंगलु एओ ॥४५॥
तथा चतुर्पु पादेषु प्रान्ते पञ्चकलं भवति ॥ ४० ॥ सर्वत्र जगणश्चिन्त्यते प्राकृतत्वात् त्यज्यते पादान्ते इति शेषः ॥ ४२ ॥ यत्र सर्वेपि दीर्घा भवन्ति नवरं तृतीयचतुर्थयोः पादयोः सप्तमो लघुर्भवति सा मेहाणीति भवति कीदृशी प्राप्तमेधा मेधया बुद्धया प्राप्ता या सा तया ॥ ४४ ।। यत्र प्रथम ससित्ति षोडश मात्राः ततोपि अंस इति गुरुः तेन गरिष्ठं सहितं तदने च मौक्तिकं द्वादशमात्रकं कथ्यते । एवं पादे पादे त्रिंशन्मात्राः । कीदृशी सा जने बन्धेन रचनीया सारा सर्वेषां प्रिया । तस्येति सामान्यपण्डितस्य न शुध्यति ॥ ४५ ॥
४०.३ पणरह D; पमाणु D. ४१.१ एक्कु for इक्कु D; s for वि D; २ बुड्य सरीसइ D, ३ पइ for पय BD; ४ मडिल्ल BD; बुहण for अज्जुणि D. ४२.२ सोलह D; ३ सव्वत्थ य for सव्वमत्त D. ४३.१ तीन for तीयउ B. ४४.३-४ रेहाणी-मेहाणी ABCD; ४५.१ परिदिउ for परिदृउ D; ३ पंडिय for पंडिउ D; ठियाणउ for वियाण3 D; तेओ for भेओ ABC, भेउ D; ४ एहु for एओ D.

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१०८
सवृत्तिकः कविदर्पणः
पवाणि भट्ट अक्खरा लहू गुरू निरंतरा ।
पवाणि दूणियाणए
जो
नरायछंदु जाण ॥ ४६ ॥
दह मत्त पउ किज्ज
पंच
सुविज्ज ।
कं
एयावली छंदु ॥ ४७ ॥
पुम्वद्ध पढि दोहडउ
पञ्चदउ गाहाण | चूडामणि जाणिज्जहु
मज्झे सयलाण छंदाण ॥ ४८ ॥
ठामि ठामि चउपय लहुजुत्तउ तियलु पंचयलु वावि निरुत्तउ ।
सयल मत्त चउसट्ठि किज्जए
मालई थ छंदो मुणिज्जए ॥ ४९ ॥
ये
ठवि पउमावती ठाणं ठाणं चउमत्ता गण अट्ठा ध्रुव कना करयलचलणे विप्पो चारे गण उक्किट्ठा ये ।
जइ पडइ भोहर हरइ मनोहर पीडइ तह नायक्कतणूं ।
नरहं उब्वास कवि निन्नासइ छंदह लावइ दोस घणूं ॥ ५० ॥
सामन्नेणं बारस-भट्ठारस - बार - पनर मत्ताओ । कमसो पायचउक्के गाहाए हुंति नियमेणं ॥ ५१ ॥
गाहाइदले चउचउमत्तंसा सत्त अट्टमो दुकलो । एवं बीयदले विहु नवरं छट्टो इ एगकलो ॥ ५२ ॥
यत्र स्थाने स्थाने चतुर्ष्वपि पादेषु लघुयुक्तः त्रिकलः पञ्चकलो वा गणो गवति । सर्वा अपि चतुःषष्टिर्मात्राः क्रियन्ते ॥ ४९ ॥ यदुक्तम् — गुरुजुअ कन्नं गुरुअंति करयलं पयहरंमि गुरुमज्झे । आइगुरूण य चलो विप्पो सव्वें हुएसु ॥ ( Cf. vrttajātisamuccaya I. 19) इति क्रमेण तेषां संज्ञाः पूर्वाचार्यैः प्रणीताः । एतेषु पद्मावतीछन्दसि चत्वारो गणा भवन्ति । मध्यगुरुस्तु न भवति । यदि पयोधरगणः पतति तदा मनोहरं वस्तु हरति । तथा नायकः छन्दसि पुरुषादिवर्णः तस्य दोषगणं लगयति सज्जयतीत्यर्थः ॥ ५० ॥
४७.२ पंचकल B. ४९.१ ठामठाम D; २ वा for वावि AC; ४ य for थ D. ५००१ य for ये A; अट्ठाए for अट्ठा ये D; २ चलणो AB; चलणं D; विप्पा D; गुण for गण C; उकिट्ठाए for कट्ठा ये D; ३ चूर तसु नायक्कतणं D; ४ नउ नासर for निन्नासर D; घणं for घणूं D. ५१०४ नियमाप for नियमेणं D. ५२.४ छट्टो इहेगको D.

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App. II - छन्दः कोशः
पढमदले छहंसो गुरुमज्झे होइ सब्वलहुओ वा । विसमंसो पुण दोसु वि दलेसु न हु होइ गुरुमज्झे ॥ ५३ ॥
विसमंसा चउभेया दुइओ तुरिओ य हुंति पंचविहा । दुविगविहो छट्टो एग विहो अट्टमो अंसो ॥ ५४ ॥
छब्वीसं पत्थारयगाहा चत्तारि जाइगाहाओ । पंच य सहावगाहा विसेसगाहाउ चत्तारि ॥ ५५ ॥
लच्छी कित्ती कंती गंगा गोणी कुरंगिणी खोणी । लीला ललिया रंभा बंभाणी मागही मेहा ॥ ५६ ॥
माला बाला हंसी वीणा वाणी तरंगिणी तारा । सिद्धी बुद्धी रिद्धी गंधव्वी किंनरी जुण्हा ॥ ५७ ॥
तीसं वन्ना सत्तावीसं दीहा य तिन्नि अड़ीहा । जीए सा भइल्ला नायव्वा होइ एयासु ॥ ५८ ॥
ललिययरमिलियभविरल बहुलहुयर नियररंइयउभयदलं । हुयवहसरमियल हुगुरुदुगजुयमिह मुणह चरमयरं ।। ५९ ।। लच्छी विप्पी मेहा सुद्दी जाणेह खत्तिणी एसा । पडुपयडियवरलहुयरविरइयपयपवरचरमदला ॥ ६० ॥ पढमदलमिलियनिरुव मलवणिमगुणनिउणल हुयपहियतणू । पच्छद्धे दीहेहिं जासा जा सा वइस्सी सा ॥ ६१ ॥
पढमतइज्जा पाया बारसमत्ताउ नेव लंघेति । जीसे सा गाहा विय सहावओ भन्नए पत्था ॥ ६२ ॥
जीए पुण पढमतइज्जएहिं पाएहिं लंघिया मत्ता । सा विउला नाम कईहिं दंसिया छंदसत्यंमि ॥ ६३ ॥
जीए दलेसुं दोसुं पि दोचउथया हु [होंति] गुरुमज्झे । दीहंसरुद्धपासा हविज्ज सा नूणमिह चवला ॥ ६४ ॥
एसो विही य जीए दलंमि आइल्लयंमि होइ फुडं । मुहचवला नाम भवे सा गाहा इत्थ छंदमि ॥ ६५ ॥
एसो वि विही जीए सव्वो वि हविज्ज उत्तरदलंमि । सा होइ इत्थ गाहा जयंमि नूणं जहाचवला ॥ ६६ ॥
१०
५८०३ जाए for जीए D. ६१०२ रहिय for पहिय D. ६३.४ भासिया for दंसिया D: ६६.४ जहन for नहा D.

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सवृत्तिकः कविदर्पणः सा पुण विसेसरूवा होइ विगाहा फुडं लोए। जा गाहावि पढिजइ कईहिं विवरीयउभयदलकलिया ॥ ६७ ॥ जीसे पढमिल्लदले तीसं मत्ताउ तीस बीयदले। सा सहिमत्तकलिया गीई भणिया जयंमि बिबुहेहिं ॥ ६८ ॥ सगवीसं सगवीसं मत्ताओ दलदुगे जत्थ । सा चउवासुमत्ता उवगीई गिज्जए लोए ॥ ६९ ॥ बासट्ठी मत्ताओ कहिया गाहिणीइ छंदमि । बारटारसबारसवीसं च कमेण चउसु पाएसु फुडं ॥ ७० ॥ पत्थारछंदसंखा एगूणा अक्खराइसंजुत्ता । गाहाणं दूहाणं भक्खरसंखं पयासेइ ॥ ७१ ।। वना निराइदुगुणा लहुआइजुआ कहंति लहुसंखं । वनविसुद्धा मत्ता फुडं पयासंति गुरुसंखं ॥ ७२ ॥ पयडेह छंदसंखं अक्खरसंखा अणाइ एकजुभा । छंदाणं जोणीमो जाणह पाऊणमत्ताए ॥७३॥ इय पाइयछंदाणं कइवयनामाइं सुप्पसिद्धाइं । भणियाई लक्खलक्खणजुयाई इह छंदकोसंमि ॥ ७४ ।। इति रत्नशेखरविरचितः छन्दकोशः समाप्तः ॥
एकया मात्रया पादोना योनिर्भवति। चतसृभिर्मात्राभिस्तिस्रो योनय इति गाथाभावार्थः ॥७३॥ श्रीमन्नागपुरीयतपागच्छगगनमण्डननभोमणिश्रीवज्रसेनसूरिशिष्यश्रीहेमतिलकसूरिपट्टप्रतिष्ठितश्रीरत्नशेखरसूरिभिः कथितानीति ॥ ७४ | समाप्ता चेयं श्रीरत्नशेखरसूरिसंतानीय भट्टा० श्रीराजरत्नसूरिपट्टस्थितश्रीचन्द्रकीर्तिसूरिविरचिता छन्दःकोशनामग्रन्थस्य टीका।
६७.१ पुणु for पुण D. ७०.४ AC add होइ before फुड which latter is dropped by B ७४.१ कश्वइनामाइं BD.

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APPENDIX III श्रीनन्दिषेणीय-अजितशान्तिस्तवस्य जिनप्रभकृतटीकान्तर्गतछन्दोलक्षणानि।
long letterjurmatra Feach stangiven in the comp3; bur
N.B.-Jinaprabha's mention of Kavidarpana (s. v. 35 below) first drew my attention to that work. I am publishing below the definitions which he has quoted in his commentary of the Ajitaśāntistava. See Introduction Sect. IV. I had published them at the end of my edition of Kavidarpana in the Annals BORI., 1936. Here, I am also giving the text of the Stava for verification, generally following W. Schubring, who has critically edited it at ZII, 1923, pp. 178 to 203; but occasionally, I have adopted, for metrical reasons, variants given in the foot-notes. A few explanatory notes are added at the end of each stanza. Figures 3, 4, 5 and 6 indicate respectively a Trimātra, Caturmātra, Pañcamātra and Şaņmātra Gana. KD = Kavidarpaņa; S = A long letter; I = A short letter.
नेया मत्ताछन्दे दुतिचउपंचछकला गणा सव्वे । दुतिपंचभट्टतेरसभेइल्ला कचटतपनामा ॥ (KD. I. a).॥ मुणिटा गुरु तत्थ न जो विसमे छटे उ मज्झका पढमे । दूए उ दलंमि लहू छटे सेसं समं गाहा ॥२॥ दुइया छटे पढमाउ सत्तमे लाउ कुणह उवरिदले। नलहुंमि पंचमे पढमयाउ इह तलदले विरई ॥ २ ॥
अजियं जियसब्वभयं संतिं च पसंतसव्वगयपावं । जयगुरु संतिगुणकरे दो वि जिणवरे पणिवयामि ॥१॥ गाहा। ववगयमंगुलभावे तेहं विउलतवनिम्मलसहावे ।
निरुवममहप्पभावे थोसामि सुदिहसब्भावे ॥२॥ गाहा । [For vv. 2-2A cf. KD. 2. 4, 50. L. 2a मुनिटा; 2c बीए.] पंचमं लहु सम्वत्थ सत्तमं दुचउत्थए । छठें पुण गुरुं जाण सिलोगं बिंति पंडिया ॥३॥
सब्वदुक्खप्पसंतीणं सव्वपावप्पसंतिणं ।
सया अजियसंतीणं नमो अजियसंतिणं ॥३॥ सिलोगो। [Cf. Nanditādhya, Gāthālakṣaṇa v.91). विसमेसु दुन्नि टगणा समेसु पो टो ततो दुसु वि जत्थ । लहुओ कगणो लहुओ कगणो तं मुणह मागहियं ॥४॥
अजियजिण सुहप्पवत्तण
तव पुरिसुत्तम नामकित्तणं । तह य धिइमइप्पवत्तणं
तव य जिणुत्तम संति कित्तणं ॥४॥ मागहिया। [odd : 4, 4, 1, II or S, I, II, or s; Even: 6, 4, 1, II or S, I, II or s. This stanza is from KD. 2. 18].

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११२
.
सवृत्तिकः कविदर्पणः लहुदु-गुरु-टगणछक्कं सब्वेसु पएसु पढमतइयंमि । दुचउत्थे जमियमिणं आलिंगणयमि छंदंमि ॥५॥ किरियाविहिसंचियकम्मकिलेसविमुक्खयरं
अजियं निचियं च गुणेहि महामुणिसिद्धिगयं । अजियस्स य संतिमहामुणिणो वि य संतिकरं
सययं मम निव्वुइकारणयं च नमसणयं ॥ ५ ॥ आलिंगणयं । [Sama-Catuspadi : A Pada has 6 taganas, i.e., Caturmatras, each consisting of 2 short followed by 1 long letter. Yamaka of 1st with 3rd, 2nd with 4th].
पुरिसा जइ दुक्खवारणं
जइ य विमग्गह सुक्खकारणं । अजियं संतिं च भावओ
अभयकरे सरणं पवज्जहा ॥ ६॥ मागहिया । [See above on v. 4].
लहुतगणचउग-गुरुणो पायतिए, लहुयतदुग-टगणदुर्ग। लहुतगणो पंतगुरू संगययं रइयअणुपासं ॥७॥
अरइरइतिमिरविरहियमुवरयजरमरणं
सुरअसुरगुरुलभुयगवइपयउपणिवइयं । अजियमहमवि य सुनयनयनिउणमभयकरं
सरणमुवसरिय भुविदिविजमहियं सययमुवणमे ॥७॥ संगययं ।
mátrasada 4 contains twana with all shot
[Visama Catuspadi : Pādas 1 to 3 contain four taganas i.e. Pancamātras each containing all short letters, and a long letter at the end. Pāda 4 contains two taganas (5X2) with all short letters, two taganas (4 X 2), one tagana with all short letters, and a long letter at the end. Out of the two taganas, the 1st is Sarvalaghu, the 2nd is Madhyaguru).
गुरुलहुदुटगणपणगं गुरू य सोवाणयं समपएहिं ॥८॥
तं च जिणुत्तममुत्तमनित्तमसत्तधरं
अज्जवमद्दवखंतिविमुत्तिसमाहिनिहिं । संतिकरं पणमामि दमुत्तमत्तित्थयरं
संतिमुणिं मम संतिसमाहिवरं दिसउ॥८॥ सोवाणयं । [Sama Catuspadi : This is really a Varna Vrtta. Each Pāda contains five Taganas i.e., Caturmatras, each consisting of a long letter followed by two short ones, i.e. virtually 5 Bhaganas, and a long letter at the end of all].
त-च-प-त-टदुगं तदुगं पो टचउक्कं त-च-ततिग-गुरुगो । च दु, टो, च चउ, ट, चदुर्ग, त, च तिन्नि, ट एगदस य, गुरु वेढो ॥९॥

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App. III--जिनप्रभीयम् सावत्थिपुव्वपत्थिवं च वरहत्थिमत्थयपसत्थवित्थिण्णसंथियथिरसिरिवच्छवच्छं मयगललीलायमाणवरगंधहत्थिपत्थाणपत्थियं संथवारिहं; हथिहत्थबाहुं धंतकणगरुयगनिरुवहयपिंजरं पवरलक्खणोवचियसोमचारुरूवं सुइसुहमणाभिरामपरमरमणिज्जवरदेव
दुंदुहि निणायमहुरयरसुहगिरं ॥ ९॥ वेढो। [Veştaka does not appear to be a regular metre divided into Pādas; it rather resembles later Cūrņikā or rhythmical prose. The definition merely records the Mātrā ganas, very likely from the verse itself. They are : 5, 3, 6, 5, 4x2,5x2, 6, 4 x 4, 5, 3, 5x3, IS; 3X 2, 4,334, 4,3X2,5,3x3,4 x 11,S. The reading suisuha in the last compound, instead of suisuha of WS, is adopted in view of the scansion. See also Nos. 11 and 22 below].
टगणदुर्ग लहुगुरुणो; टगणतिगं लहुगुरू य; टगणतिगं । दुसरिच्छं अंतपयं रासाईलुद्धयं छंद ॥ १० ॥
अजियं जियारिगणं
जियसव्वभयं भवोहरिउं । पणमामि अहं पयओ
पावं पसमेउ मे भयवं ॥ १० ॥ रासालुद्धओ। [Visama Catuspadi : 1st Pāda :-4, 4, IS; 2nd :-4, 4, 4, IS; 3rd:4, 4, 4; 4th :-4, 4, 4, IS; i.e., the same as the 2nd].
पो तदुर्ग लहुगुरुणो टछक्क दुगुरू टसत्त लहुगुरुगा। प-टदु-त-च-गुरू नव टा दुलहुगुरु टचउ दो गुरुगा टदु-च-गुरुजुयं टतिगं दुलहुगुरू अवरवेढओ छंदं ॥ ११ ॥
कुरुजणवयहत्थिणाउरनरीसरो, पढमो तओ महाचक्कवत्तिभोए महप्पभावो, जो बावत्तरिपुरवरसहस्सवरनगरनिगमजणवयवई, बत्तीसारायवरसहस्साणुजायमग्गो, चउदसवररयणनवमहानिहिचउसहिसहस्ससपवरजुवईण सुंदरवई, चुलसीहयगयरहसयसहस्ससामी,
छन्नवइगामकोडिसामी, आसी जो भारहम्मि भयवं ॥ ११॥ वेढो। [See on 4.9 above. In the compound beginning with बावत्तरि I have adopted जणवयवई for जणवयहिवई of ws and छन्नवइ for छन्नवई in view of the scansion, which is : 6, 5 x 2, IS; 4 x 6, SS; 4X7, IS; 6,4x 2, 5,3,S; 4X9, IIS; 4X4, SS; 4 x 2, 3, SS; 4 x 3, IIS.]
टदु-लहुदु-गुरू पढमे, दुइए; टदु-लहु-गुरू पए तइए। तुरिए टदुगं सगुरू रासाईनंदियं छन्दं ॥१२॥ तं संतिं संतिकरं
संतिण्णं सव्वभया। संतिं थुणामि जिणं
संतिं विहेउ मे ॥ १२ ॥ रासानंदिययं । [Visama Catuspadi : 1st :-4, 4, IIS; 2nd :-4, 4, IIS; 3rd :-4, 4, IS%B 4th :-4,4,S.]

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१९४
सवृत्तिकः कविदर्पणः
त--त-टदु-लहुदु-गुरुगा आइदुगे त-ट-त- टतिग-दुलहु-गुरू । तुरिए त-ट-त-टजुयलं चगण-गुरू चित्तलेहत्ति ॥ १३ ॥ इक्खाग विदेह नरीसर नरवसहा मुणिवसहा
नवसारयस सिसकलाणण विगयतमा वियरया । अजिउत्तमतेयगुणेहि महामुणि अमियबला विउलकुला
पणमामि ते भवभयमूरण जगसरणा मम सरणं ॥ १३ ॥ चित्तलेहा |
[Visama Catuspadi : 1st and 2nd :–5, 4, 5, 4, 4, IIS; 3rd :–5, 4, 5, 4 × 3, IIS; 4th : 5, 4, 5, 4 × 2, 3, S.]
चअट्ठ
गुरुल हुचनवग नगणो चभट्ठ नगणो नगणो य । दस चगणा तह नगणो चगणो गुरु दोन्नि नाराओ ॥ १४ ॥
देवदाणविंदचंदसूरवंद हट्ठतुट्ठ जिट्ठ परमलहरूव धंतरुप्प - पट्टसेय सुद्धनिद्धधवलदतिपंति संति, सत्तिकित्तिमुत्तिजुत्तिगुत्तिपवर दित्ततेयवंद धेय सव्वलोयभावियप्पभावनेय पइस में समाहि ॥ १४ ॥ नाराओ ।
[This metre, ie, Nārāca, too, is like Vestaka; it is not divided into Pādas, and resembles a Curņikā. It consists of any number of long and short letters coming in succession and forming pairs; but sometimes, the long letter is substituted by short ones for the sake of variety. In the present stanza we have 40 such pairs followed by two long letters, but in the 10th, 19th, 28th, and 39th pair the long letter is substituted by two short ones. See below Nos. 28 and 31.]
विसमे कलाण छकं समेसु अडगं णिरंतरं न हु तं । अंते रगणो यगणो कुसुमलयाना मछंदमि ॥ १५ ॥
विमलस सिकलाइ रेयसोमं वितिमिरसूरकलाइरेयतेयं ।
तियसवइगणाइरेयरूवं
धरणिधरप्पवराइरेयसारं ।। १५ ।। कुसुमलया ।
[This is another name of Aupacchandasaka; see KD. 5. 2]
तगणो टगणो लहु गुरु; पगणो टगणो य दुलहु गुरु दुइए । एवं चिय पच्चद्धं भुयंगपरिरंगियं छंदं ॥ १६ ॥
सत्ते य सया अजियं
सारीरे य बले अजियं ।
तवसंजमे य अजियं
एस थुणामि जिणं अजियं || १६ || भुयंगपरिरंगियं ।
[Ardhasama Vrtta : Odd Pādas :–5, 4, IS; Even Pādas; 6, 4, IIS].
भरनभनगणलहुगुरू सब्वपएसुं तहा जई दसमे । सव्वं तक्खरजमियं छंं खिज्जिययनामं तं ॥ १७ ॥

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App. II-जिनप्रभीयम् सोमगुणेहि पावइ न तं नवसरयससी
तेउगुणेहि पावइ न तं नवसरयरवी । रूवगुणेहि पावइ न तं तियसगणवई
सारगुणेहि पावइ न तं धरणिधरवई॥ १७॥ खिज्जिययं ।
[Khijjiyaya is another name of the Varna Vrtta called Vamsapatrapatita, for which see KD. 4.84.]
टगणचउक्कं लहुगुरु पायतिए टगणतगणटगणदुगं । लहुगुरु तुरिए जाणह ललिययनामंमि छंदंमि ॥ १८ ॥ तित्थवरपवत्तयं तमरयरहियं
धीरजणथुयच्छियं चुयकलिकलुसं । संतिसुहपवत्तयं तिगरणपयओ
संतिमहं महामुणिं सरणमुवणमे ।। १८ ॥ ललिययं । [Visama Catuspadi, where Pādas 1 to 3 are equal and contain 4x4, IS each and the 4th Pada has 4, 5, 4, 4, IS.]
टप्पणगं ज लहुगुरू पत्तेयं सत्तवीस मत्ताओ। किसलयमालाछंदं जाणह छंदेसु निद्दिष्ठं ॥ १९॥
विणओणयसिररइयंजलिरिसिगणसंथुयं थिमियं
विबुहाहिवधणवइनरवइथुयमहियच्छियं बहुसो । अइरुग्गयसरयदिवायरसमहियसप्पभं तवसा
गगणंगणविहरणसमुइयचारणवंदियं सिरसा ॥ १९॥ किसलयमाला । [Sama Catuspadi: A Pada has 4 X 5, ISI, IS = 27 Mātrās.]
लहुचदुग टगण लहुगुरु; तदुगं लहुगुरु; पगण ट लहुगुरुगा। चदुगं टणगो लहुगुरु तेरकलं सव्वओ सुमुहछंदं ॥२०॥
असुरगरुलपरिवंदियं
किंनरोरुगनमंसियं । देवकोडिसयसंथुयं
समणसंघपरिवंदियं ॥ २० ॥ सुमुहं ।
[Sama Catuspadi : Each Pada has 13 Matras; but the scheme is different in different Pādas as the definition understands : Thus 1st : III, III, 4, IS; 2nd : 5, 5, IS; 3rd : 6, 4, IS; 4th : 3, 3, 4, IS.]
दुलहुगुरू दुलहुगुरू पत्तेयं विज्जुविलसियं छंदं ॥ २१ ॥
अभयं अणहं । अरयं अरुयं ।।
अजियं अजियं । पयओ पणभे ॥ २१ ॥ विज्जुविलसियं । [A Sama Catuspadi : Each Pada has IIS, IIS. It is virtually a Varna Vrtta.]

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संवृत्तिकः कविदर्पणः तदु ट तचउ टो ततिगं लगुरू प टदोन्नि दुगुरुगा वेढो ॥ २२ ॥
आगया वरविमाणदिव्वकणगरहतुरयपहकरसएहि हुलियं ससंभमो
यरणखुभियलुलियचलकुंडलंगयतिरीडसोहंतमौलिमाला ॥ २२ ॥ वेढो । [Another Vestaka; see above on v. 9. This contains : 5, 5, 4, 5 x 4, 4,5x3, IS, 6,4, 4, SS.]
पढमे ट दुगुरु एवं सेसेसु ट सत्त गुरुजुगं अंते । पत्तेयं बत्तीसं मत्ताओ रयणमालाए ॥ २३ ॥
जं सुरसंघा सासुरसंघा वेरविउत्ता भत्तिसुजुत्ता __आयरभूसियसंभमपिंडियसुट्ठसुविम्हियसव्वबलोघा । उत्तमकंचणरयणपरूवियभासुरभूसणभासुरियंगा
गायसमोणयभत्तिवसागयपंजलिपेसियसीसपणामा ।। २३॥ रयणमाला। [A Sama Catuspadi; each Pada has 8 Caturmātras, the last consisting of two long letters. The metre is very similar to Dandaka of CK. 30 and Padmāvati of CK. 50. In the former, the Caturmātras in the even places are always Madhyaguru, while here they are Sarvaguru in the 1st Pāda, and Adiguru in the others, the last Caturmātra always being a Sarvaguru. As a matter of fact, this Ādiguru Caturmātra is employed for every odd Caturmātra in all the Pādas. The internal Yamaka is noteworthy in both Dandaka and our metre.] पगणो टदुगं गुरुगो पत्तेयं खित्तयंमि छंदमि ॥ २४ ॥
वंदिऊण थविऊण तो जिणं
तिगुणमेव य पुणो पयाहिणं । पणमिऊण य जिणं सुरासुरा
पमुइया सभवणाइ तो गया ॥ २४ ॥ खित्तय । [A Sama Catuspadi: This and the next one are in the Rathoddhatā
metre, having SIS, III, SIS, IS or the ganas ra, na, ra, la and ga in each Pāda; but in the present case, the initial long letter is substituted by two short ones in Pādas 2, 3 and 4 and this is quite a common feature of Prakrit poetry. The definition mechanically gives 6, 4, 4, S as the composition of a Pāda. As a Mātrāvștta, this is the same as Vadana of KD. 2. 21. In majority of mss. the 1st Pāda reads thoūņa for thaviūna, in which case, it must be assumed that the last 2 short letters of the nagana are replaced by a long one; but when a Varņa Vịtta is employed for Prakrit poetry a tendency to use one long for two short in the original is rarely observed.] रनरलगा पत्तेयं खित्तय छंदंमि वा जाण ॥ २५॥
तं महामुणिमहं पि पंजली
रागदोसभयमोहवजियं । देवदाणवनरिंदवंदियं
संतिमुत्तममहातवं नमे ॥ २५ ॥ खित्तयं । (A Sama Catuşpadi Varna Vștta called Rathoddhatā; see above on the last stanza and below on v. 26.]

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App. II-जिनप्रभीयम्
खित्तयछंदं चउपयजमियं दीवयमडिलनाम ॥ २६ ॥
अंबरंतरवियारणियाहिं ___ ललियहंसवहुगामिणियाहिं । पीणसोणिथणसालणियाहिं
सकलकमलदललोयणियाहिं ॥ २६ ॥ दीवयं (अखि [A Sama Catuşpadi Varņa Vịtta called Svāgatā which has ra, na bha, ga and ga in its Päda. But, as in the case of Rathoddhatā in v. 24 above, here too, two short letters are employed for the 1st long letter of the ragana in Pada II, and for both the 1st and the 3rd long letters of that same gaña in Pāda IV. As a Mātrā Vștta, it is the same as Khittaya or Kșiptaka with 16 Mātrās in each Pada. It is also the same as Vadanaka of KD. 2. 21, and as we are also told at CK. 41, it is called adilā when all the 4 pādas have a common Yamaka. See, however, note on KD. 2. 21.]
टप्पणगं दोन्नि गुरू पढमे तुरिए य; टछग गुरु एगो । दुतिए; चउपयजमियं जाणह चित्तक्खरं छंदं ॥ २७ ॥
पीणनिरंतरथणभरविणमियगायलयाहिं
मणिकंचणपसिढिलमेहलसोहियसोणितडाहिं । वरखिंखिणिनेउरसतिलयवलयविभूसणियाहिं
रइकरचउरमणोहरसुंदरदंसणियाहिं ॥ २७॥ चित्तक्खरा ।
[An Ardhasama Catuspadi : Pādas I & IV have : 4 X 5, SS; Pādas II & III have 4 X 6, S; thus 24 and 26 Mātrās respectively. Ali Pādas have a common Yamaka. This is a peculiar type of Ardhasama Catuşpadi, where the 1st and the 4th Pādas are similar and so are the 2nd and the 3rd. As a matter of fact the 2nd and 3rd Pādas are identical with the 1st and the 4th, except for the two short letters which are added at the commencement in the former two.]
चगणेगारस गुरुगो चउदस चगणा य नगण सोलस चा । टगणो चगणा तिन्निउ अवरं नारायछंदगं जाण ॥२८॥
देवसुंदरीहि पायवंदियाहि वंदिया य जस्स ते सुविक्कमा कमा अप्पणो निडालएहि मंडणोड्डणप्पगारएहि केहि केहि वी अवंगतिलयपट्टलेहनामएहि चिल्लएहि संगयंगयाहि भत्तिसंनिविट्ठवंदणागयाहिं
हुंति ते वंदिया पुणो पुणो ॥ २८ ॥ नाराओ। [This is another Nārāca; see above on v. 14. In the present stanza we have first 11 pairs made up of one long followed by one short letter; then a long letter; next a pair of a short and a long letter, followed by 13 pairs of the first kind, a group of 3 short letters, 16 pairs of the first kind, Caturmātra and finally three pairs of the second kind i.e., made up of a short followed by a long letter. In view of the scansion and the Gathā metre, I am adopting the reading tagaņo cagaņā tinniu against tagaņā tinniu of ws.]
दुलहुगुरू दुलहुगुरू गुरू य सव्वेसु नंदियं छंदं ॥ २९॥

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सवृत्तिकः कविदर्पणः
तमहं जिणचंदं । अजियं जियमोहं ।। धुयसव्वकिलेसं । पयओ पणमामि ॥ २९॥ नंदिययं ।
[This is a Varna Vrtta Sama Catuspadi: Each Pada has two Sagaņas or Antyaguru Caturmätras, followed by a long letter. Neither the metre nor its name is mentioned by earlier Sanskrit or Prakrit prosodists.]
तगणो पगणो तगणो ट त ट त टगणो गुरू प टदु गुरुगो। बारस टगणा सजई भासुरयं जाण अणुपासं ॥३०॥
थुयवंदियस्सा । रिसिगणदेवगणेहिं ॥ तो देववहूहिं । पयओ नमंसियस्सा ॥
जस्स जगुत्तमसासणयस्सा
भत्तिवसागयपिंडिययाहिं । देववरच्छरसाबहुयाहिं
सुरवररइगुणपंडिययाहिं ॥३०॥ भासुरयं । [Bhāsuraka is really a strophic couplet. The metre of the 1st stanza is an Ardhasama Catuşpadī, whose odd Pādas contain 9 Mātrās and even ones contain 12 Mātrās each. The former are made up of a Caturmātra and a Pañcamātra (Adyalaghu), while the latter contain 3 Caturmätras, the last consisting of two long letters. The metre of the second stanza is Rāsa of VJS. IV. 85, which is a Sama Catuspadi, with four Caturmātras, the last of which shall always be a Sarvaguru, in each Päda. The definition does not recognize the true nature of the metre and merely records the Matra Ganas as follows: 5, 6, 5,4 (read ganehi), 5,4,5,4 (read panamiyassā) S. Then 64, 4, S; 4 x 12.]
तेरस चगणा नगणो नव चा नगणो य तीस चा गुरुगो। चगणटारस एवं अवरं नारायछंदयं जाण ॥३१॥
वंससद्दतंतितालमेलए तिउक्खराभिरामसद्दमीसए कए य सुइसमाणणेयसुद्धसजगीयपायजालघंटियाहि वलयमेहलाकलावनेउराभिरामसद्दमीसए कए य देवनट्टियाहि हावभावविब्भमप्पगारएहि नच्चिऊण अंगहारएहि वंदिया य जस्स ते सुविक्कमा कमा तयं तिलोयसव्वसत्तसंतिकारयं पसंतसब्वपावदोसमेसहं नमामि संति
मुत्तमं जिणं ॥३१॥ नाराओ। [Another Nārāca; see above on vv. 14 and 28. As a matter of fact we have here 72 Trimātras, each consisting of a long followed by a short letter, followed by a long letter at the end, but in the 14th and the 24th, the long letter is replaced by two short letters. The definition, however, counts the Trimātras in a slightly different way. After the 54th Trimātra, it mentions a long letter and then 18 Trimātras more, which follow it and which, besides, have a short letter followed by a long one, in each of them. It also records that the 14th and 24th Trimātras contain three short letters each.]

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App. III जिनप्रभीयम् चगणो टगणचउक्कं गुरू तहा ललिययं अवरं ॥३२॥
छत्तचामरपडागयजवमंडिया
झयवरमगरतुरयसिरिवच्छसुलंछणा । दीवसमुद्दमंदरदिसागयसोहिया
सत्थियवसहसीहरहचकवरंकिया ॥ ३२ ॥ ललिययं । [This is another Lalitaka; see above on v. 18. The present one is a Sama Catuspadi, each Pada having 21 Matras distributed as follows: 3, 4 X 4, S. The constitution of the Galitaka of KD. 2. 23 is slightly different, but is quite applicable to our stanza. It is 5, 5, 4,4,3; f. also VJS. IV. 89] टचउक्के नवबारसलहुहिं सा वाणवासिया होई ॥ ३३ ॥
सहावलट्ठा समप्पइट्ठा
अदोसदुद्दा गुणेहि जिहा। पसायसिट्ठा तवेण पुट्ठा
सिरीहि इट्ठा रिसीहि जुठा ॥३३॥ वाणवासिया। [Vänavāsikā is one of the metres of the Mātrāsamaka group dealt with at KD. 2. 19-20. Its Pada has 16 Mātrās divided into four Caturmätras, where the 9th and 12th Mātrās are represented by short letters.]
अडकल रगणो लहुगुरु सव्वेहि तहवरंतिया होई ॥ ३४ ॥
ते तवेण धुयसव्वपावया
सव्वलोयहियमूलपायवा। संथुया अजियसंतिपायवा
तु मे सिवसुहाण दायया ॥ ३४ ॥ अवरंतिया । [Aparāntikā is a Sama Catuşpadi, derived from the even Pādas of the Vaitaliya; cf. KD. 5. 7. Its Pada has : 8, SIS, IS.]
एवं तवबलविउलं थुयं मए अजियसंतिजिणजुयलं । ववगयकम्मरयमलं गयंगयं सासयं विउलं ॥ ३५ ॥ गाहा । तं बहुगुणप्पसायं मुक्खसुहेण परमेण अविसायं । नासेउ मे विसायं कुणउ य परिसा वि य पसायं ।। ३६ ।। गाहा । तं मोएउ य नंदि पावेउ य नंदिषेणमभिनंदिं ।
परिसा वि य सुहनंदिं मम य दिसउ संजमे नंदिं ॥ ३७॥ गाहा । [For Gāthā, see above on vv. 1 and 2. Mark, however, the Antya Yamaka, which is found even in v. 2.]
कविदर्पणमुपजीव्य प्रायेण च्छन्दसामिह स्तोत्रे । स्वपरोपकारहेतोरभिदधिरे लक्षणानि मया ॥३५॥
। इति जिनप्रभीयटीकान्तर्गत-छन्दोलक्षणानि ।

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CORRECTIONS
The number of corrections is unusually large and this is deeply regretted. The photocopy of the only available ms. written on palm leaves was procured when the greater part of the text had already been printed. The press copy which was prepared twenty years back was not as perfect as it should have been, mostly due to inaccurate decipherment of certain letters and words.
N. B.-Letters within the circular brackets are suggested as substitutes: those within the rectangular brackets are recommended as additions, as usual. The correct reading is :-.
P. 1 : 1. 15 : सू (शू) रो for शूरो ; 1.19 : गाथा बद्धं for गाथाछन्दसा; 1.20 : लक्ष्यल [क्ष]णाभ्यां for लक्ष्यलक्षणाभ्यां.
P. 2 : 1. 2 : वन्तस्थाने for वत: स्थाने; 1.3 : कला मात्रा for कला तन्मात्रा; 19: तिगा (या ) for तिगे; 1.13 : गुरुलघु क्रमशः for गुरुलघवः कमसो; 1.15: तियत्ति for तिगत्ति; 1. 16 : प्रमाणमेषामिति कः for प्रमाणमेषामिति त्रिकाः ; प ( क )स्थाने य उक्तः for यस्थाने ग उक्तः; 1. 19 : गुरुलघु प्राह for गुरुलध्वत्राह; 1. 26 : नागरउ ( ग ) काराकृति for S उकाराकृति; 1 28 : गुरुसंज्ञम् for गुरु ज्ञेयम्.
P. 3 : 1. 2 : विबुधैर्विहितं for विहितं विबुधैः; 1.6 : द्रव्हन्हपमुहक्खराणं पुव्विल्ला न गुरुणो जहा दिसं for the line [The 1st Caturmatra is where the letters preceding and are not considered as long. Ed. ]; 1.14 : निक्किव for णिक्किव; 1.18 : इत्येतेऽपभ्रंश for इत्येते चापभ्रंश; 1. 20 : उत्तरइ for उत्तरह; 1. 25 : एगंतिण for एकंतिण; 1.28 : ' द्रव्हन्द' for इल्लाह; 1. 30 : तन्हा for तण्हा.
P. 4 : 1. 3 : जहादिट्ठेति for जहादिट्ठमिति ; 1.4: गुरु (र) वो यथा for गुरवो यथा; 1.7 : च्छसि (शि) ग्रहेपि for च्छशिग्र हेपि; 1.11 : तिलक[िन्दु]रथेन्दु for तिलकबिन्दुरथेन्दु; 113 : शूचित: for सूचितः; 1.17 : एवं शेषा अपि for एवं शब्दा अपि; 1.19 : य जई for अ जई; and सव्वत्थ for सव्वत्त; 1.21 : पुण्वापरभागा for पुव्वापरभाया; 1. 27 : श्रुत्योः सुखहेतु for श्रु[ ति] सुखहेतु; 1.29 : कलितमस्तोम for कलिमलस्तोम.
P. 5 : 1.3 : सर्वत्रानुवर्त्य for सर्वत्रानुवृत्तं; add श्लोकार्थे after विशेषेण; 1.5 : नोत्सेकं for नोत्साह 1.11 : अन्ते च सा स्यात् for चान्ते सा स्यात् ; 1. 14 : अव्ययो for अव्ययं; 1. 15 : तदैवायं for तदेवायं; 1. 16 : वारणघटा for वारणपदा; 1. 20 : drop त्य in केवलार्थेत्यव्ययम्, add इयं after it and read पादान्ते for पदान्ते; 1.25 : गादि for त्र्यादि; 1.27 : यदि for यति ; 1.30 : पूर्वस्यान्तवत् for पूर्ववत्स्यात्.
P. 6 : 1.3 : नहार्षीत् for नकार्षीत् ; 1.4: तदावत् (तद्वत् ) for तद्वत् ; 1.6 : दृश्यो for दृष्टो; 1.7 : भव्याब्ज for भव्याय; 1. 23 : अस्याचार्थो for अस्यास्त्वर्थो.
P. 7 : 1. 3 : हवंति for हुवंति; 14 : दुचउ for बिचउ; 1.9 : इतिर्विवक्षार्थो for इति विविक्तार्थो; 1.10 : विवक्षेयं for विवक्तेयं; add द्विपदीचतुष्पदी before पञ्चपदी; 1. 13 : द्वी (द्वि ) पर्दी for द्विपद; 116 : का ( क ) लाहिं for कलाहिं, 1.24 : पञ्चदशभिः for पञ्चदश; 1.25 : वन्दिनां for बन्दीनां; 1. 27 : वेहो for बोहो; वओ for गओ; 1. 28 : वओ for बलो; 1.29 : वामो for कामो; 1.30 : पंचवीसत्ति for पंचविंसत्ति.
P. 8 : 1.1 : उल्लालयाउ for उल्लालयंमि; 1. 2 : वद्धमाणेहं (हिं) for वडमाणेहिं ; 1.9 : at the

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CORRECTIONS ]
सवृत्तिकः कविदर्पणः
१२१
end add जोइक्खुत्ति दीपः ॥ [ ३-१ || ]; 119 : चतुःषष्टिद्विपदीभेदाः for चतुःषष्टिभेदाः; 1.26 : कः कगणो for कगणो; 1. 27 : मध्यगुरुसर्वलघू for मध्यगुरुः सर्वलघुः and सर्वत्रेत्थं for सर्वेत्यर्थात्.
P. 9 : 1. 5 : लघु च नलघु तस्मिन् for लघुश्च नलघुस्तस्मिन्; 1.7: add विरतिं before कुरुत; 1.9 : प्राचीनसूत्रगाथा for प्राचीनगाथा; 111 : लक्खा for लक्खो; 1.17 : कोडि for कोडी; 1.18 : ज्ञेयं for नेयं; 1.24 : दलदुगमुहं for दलदुगमुहे; 1.29 : सा for [सा]; उभयतो for उभयोर् .
P. 10 : 1.30 : एकैकगुरु for एकैकं गुरु; 1.31: अगाढ[गाढा ] for अगाढगाढा; 1.3233 : सर्वगुरुट: अन्त्यगुरुटः आदिगुरुटः; सर्वलघुटः मध्यगुरुटः for सर्वगुरुः टः अन्त्यगुरुः टः etc. P. 11 : 1. 1 : उदाहरणानि for उदा०; विच्छुय for विंछुय; 1.2: झणहणंतो for जण हणतो ( ज corrected to झ ); पिय for पिअ; 1.4 : [झणझणन् for जनं घ्नन् ]; 1. 12: कडु for कटु; 1.29 : real for अम्मो.
P. 12 : 1. 1 : अब्वो for अम्मो; 1.4 : दिट्ठमायन्नियं व for दिपायं नियंब; 1.6 : [दृष्टमाकर्णितं वा for दृष्टप्रायं नितंत्र ]; 1. 11 : अन्वो for अम्मो; 1. 15 : ललिता य भथा (ललिता यथा ) for ललिता यथा; 1. 21 : तूली तंबोलं for तूला तेवालं (?)
P. 13 : 1. 18 : वहू॑ति for वट्ट ( ं) ति; दिवसा for विवसा; 1.20 दिवसा for विवशा; 1. 22 : अदि (द्दि ) वाइ वियंभंगि (ति) for य ( णो ) दिट्ठाई वियंभंति.
P. 14 : 1. 8 : नहंकं for गर्हकं; जूयं for जुज्झं; 1.10 : [ द्यूतमिव for युद्धमिव; 1.17: रणयरणय ( रणरणय) for रणरणय; 1.31: सिद्धिर्यथा for सिद्धी यथा (सिद्धिर्यथा ).
P. 15 : 1. 10 : गरुयं for गहणं; 1. 12 : गुरुकं for गहनम् ; 1.24 : जिम्वइ for जिमह; 1.26 : [वृणोति for वृण्वती ].
P. 16 : 1.3 : वहुरुइय for वहु रुइय; सुहम् for मुहम्; 15: [ वधूरुचित for वधूः रुचित; रभससुखं for हृष्टमुखी: ]; 1.12 : लहलहिर for XX लहिर; 1.13: सुहविभवं for सुहविहवं; 1.16 : पादल ( लि) for पादलिप्त; 1. 22 : अन्वो for अज्जो; 1.26 : वैश्या for वश्या; 1. 27 : महविरहिय for अयि विरहिय; 1.28 : नीसंदेहं तं रे for निःसंदेहं तं ते; 1. 29 : [मतिविरहित for अयि विरहित ].
P. 17 : 1.30 : मध्यकावित्यर्थः for मध्यके इत्यर्थः ।
P. 18 : 1. 1 : एताः for एवं; 18 : पत्तो for शल्लो; 1.20 : स्कन्धमिति for स्कन्धकमिति; . 13 : निम्मला for णिम्मला; add गीई at the end; 1. 18 : उय for उव; 1.19 : add | उवगीई at the end; 1. 26 : add उग्गीई at the end; 1.30 : अथिरच्चिय जिय for अथिरज्जि जिब्ब; 1.31 : add खंधं at the end.
P. 19 : 1. 23 : आद्यगाथायां for आद्यगाथाया; 1.24 : जातीफलं for जातिफलं; 1.25 : जातीफलं for जातिफलं; 1.30 : जातीफलादिषु for जातिफलादिषु; गाथाया for गाथा.
P. 20 : 1. 12 : लब्भइ for लक्खइ; दइयस्स for दयिअस्स; 1. 14 : लभ्यते for लक्ष्यते; 1. 18 : कुं (किं) for किं; . 21 : जातीफलं for जातिफलं; 1. 27 : निब्भा (व्भ ) रं for निब्भरं.
P. 21 : 1. 9 : नमंत for णमंत; 1.16: चालुक्कचंद for तेलुक्कचंद; 118: मुणिराय for मुनिराय; 1.24 : भुयणंतराल for भुवणंतराल; 1. 25 : न होही for ण होही; 1.31 : तुभ्र् for तुज्झ. 1.26 : जातीफल for जातिफल; 1.32 : द्वितीयतुर्ययोः for
P. 22 : 1. 15 : कलाव for कलाप; द्वितीयचतुर्थयोः .

Page #191

१२२
सवृत्तिकः कविदर्पणः
[CORRECTIONS
____P. 23 : 1.2 : पंचाणणललिया for पंचाननललिया; 1.20 : समांहि for समाधि; 1.22 : Is it दुहि इह instead of दुह इहि of the ms. ?; 1.25 : मुग्गलत्ति for मुग्गलुत्ति; 1. 26 : सहयारवणि for सहयारवणी; 1. 31 : [उ]वदोहय for उवदोहय.
- P. 24 : 1. 3 : विषमाहिभ्यां for विषमाघिभ्यां; कलाद्विका[धि]काभ्यां for कलाद्विकाधिकाभ्यां; 1. 11: दद्धड for दद्धढः 1. 21 : मइरहं for मइरइ; वेयरणिहिं for वेयरणिहि; 1. 22 : लुलहिं for लुलहि.
. P. 25 : 1.5 : लकलकित्ति for लकलकत्ति; 1. 10 : कूलवालको for कुलवालको; 1. 11 : न for ण 1. 16 : पञ्चमाष्टमलघू for पच्चमाष्टमी लघू; 1. 18 : निगसिज्जंतं for निगमिजतं; मन्नहिं for मन्नहि; 1. 20 : [निग्रस्यमानं for निगम्यमानं]; 1. 22 : उम्मत्ता for उन्मत्ता; 1.24 : जा(आ)उखयं for आयुखयं.
__P. 26 : 1.5 : नामी for न; 1. 12 : सी(सि)रीउ for सिरीउ; 1. 16 : भिरनिशं for भिनित्यं 1. 30 : मुत्त(त्ता)वलिया for मुत्तावलिया; 1. 31 : read गीतिः at the end.
P. 27: 1. G : न्हाण for ण्हाण; 1. 10 : तुहुं for तुह; 1. 11 : add स्पष्टम् after line 14; 1. 16 : गुरुहुँ for गुरुहं; 1.17 : मडिला for [मडिला]; 1. 22 : add व्यत्यय after लो वा; 1. 21 : निय(अ)डि; 1. 22) : शशिश(शि)लायां for शशिशिलायां.
___P. 28: 1.5 : शू(सू)चयति तथाहि for सूचयति; 1.6 : मञ्जरी for मञ्जिरी; 1. 8 : त्रयं चावलम्बकाख्यं for त्रयमवलम्बकाख्यं; 1. 11: पयनक्खकंति for पयनक्खु कति; रुप्यद्धडिआइ for कम्पज्झडिआइ; 1. 14 : नक्खत्ति for नक्खुत्ति; I. 1.5 : छ for (?); 1. 23 : मयणावयारो for [मयणावयारो]; 1.25 : मदनापद्रक्षणे for मदनापदारक्षणे.
_P: 29 : 1.2 : टप्पंचग लहू for टगणपंचग लहु; 1. 10 : बुट्ट for बुढ; 1. 11 : यमकितांहित्वाम्नायात् for • नानात् ; 1. 26 : नेमिजिणवरो for जिणवरो. .
P. 30 : 1. 3 : केवलनाण for केवलणाण; 1. 4 : जिणनाहा for जिणणाहा; 1. 8 : add रासयं । स्पष्टम् ॥ २३.३ ।। at the end; 1. 24 : द्रोण्याकृति for द्रोणाकृति; 1. 26 : कढिण for कठिण. __P. 31 : 1. 1 : उत्करान् for उत्करः; 1. 8 : पुनरेकः for त्वेकः; 1. 12 : रंगो for रिंगो; 1. 13 : रुत्तो(?) for तत्तो; 1. 14 : मयमओ for मयमयो; 1. 15 : मइहरो for मइभवो; 1. 20 : add यद्वा after रासावलयपूर्वार्ध; 1. 22 : मुहु(ह)रासा for मुहरासा; 1. 25 : रासावलयं for [रासावलओ].
P.32: 1.2: उन्हु for उण्हु; 1.28:नवरि for णवार __P. 33 : 1. 8 : मत्ता for [मत्ता]; 1. 12 यदवोचं for यदवोच-; 1. 11 : वुच्चइ for उच्चइ; 1. 16 : निहणा for णिहण; महुयरिया for महुअरिया; 1. 17 : इय मत्तविलासिणिया for [इय] मत्तविलासिनिया; 1. 29 : एगारसहिं for एकारसहिं; 1. 30 : रवीहिं व for रवि(वी)हिं य. __P. 34 : 1. 1 : दुइयाण for बिहुयाण; 1. 2 : तहयच्छहाण for तयछट्टआण [य]; 1. 10 : वक्ष्य माणे(ण)स्य for वक्ष्यमाणस्य; 1. 11 : छड्डणिकेति for छडणिकेति; 1. 12 : मुद्धय for मय (मुद्धय); नमिय for णमिय; 1. 20 : नंदण for णंदन(ण); 1. 21 : ms. reads गुणगुमणि wrongly for गुणमणि; 1. 23 : ध्रसक for धसक; add स्पष्टम् after this word. ___P.35 : 1. 1 : कुड्डः for कुड्ड; 1. :) : दीसहिं for दीस हि; 1. 1) : यतः for एवं; 1. 14 : शेषांहि for शेषाद्धि; 1. 17 : यदवोचं for यदवोचच्; 1. 27 : छड्डणिका for छडणिका; 1. 30 : पुणु for पुण.

Page #192

CORRECTIONS ]
वृत्तिकः कविदर्पणः
१२३
P. 36 : 1. 10 : चंपइकुसुमाईनामियाओ for चंपयकुसुमाइणामियाओ; पणपन्ना for पणवन्ना; 1. 11 : नयण for णयण; 1. 15 : नामेहि for णामेहिं; 1. 17 : सरिसएहिं for सरीस एहिं ; 1. 30 : कुङ्कुमाद्या तु for कुङ्कुमाद्यास्तुः; 131 : add प्रागुक्ता एव after द्विपदीभेदाः ।
:
P. 37 : 1. 2 : जाणमणुपासो for जाण अणुपासो; 1. 7 : धवलनिहेण for धवलमिहेण; 1. 11 : तत्राष्टपदं for तत्राष्टपद 1 17 न for ण; किंवि for किंचि; 1. 22 : शब्दः संमितार्थः for शब्दा 'संमितार्थाः ; गुणधवल भ्रमरधवलादिः for गुणधवलादिः ; 130 फुलटकं for फुलडक; 1.31 : चतुष्के तस्य for चतुष्टये यस्य; 1 32 : उत्साह for उच्छाह; 1.33 : add तेवि after मिसेण; धवला for घवलं. P. 38 : 1. 1 : इय मंगलावि तन्नामपुव्वया मंगलार्थ संबद्धा for the line; 1. 8 : ms wrongly reads पुल्ल for फुलं; 1. 22 : नज्जइ for नज्झइ; 124: जुन्हा for जुहा.
P. 39 : 1. 6 : add छप्पड at the end; 111 नयण for [नयण ]; 1.15: भासिणिहि for भासणिहि; 1. 25 यु (मु ) द्धि for मुद्धि;
P. 40 : 1. 4 : ल्हूसडउ for ल्हसडउ; 1.6: remove brackets; विविध for विहव; 1.12 : विविध for विभव; 1.17 : माणमडप्प (फ) रु for माणमडम्फरु 1.20 : माणक्कि for माणिक्क; 1.27 : कुङ्कुमे [न] for कुङ्कुमेन.
P. 41 : 1. 10 : धुणियः for घुणिय; 1. 11 संधुक्किय for संभुक्किय; दुसहु for हु सहि; 1. 16 : धुत for घूर्णित; 1 25 : किम्बइवि for किंवइ.
P. 42 : 1. 6 : तलडहि for तल्लडिहिं; 1.16 : हिट्ठयंमि for हेयंमि, 1.24 add स्पष्टं at the end of the line; 1. 25 : नल for णल; 1. 28 : कि न for किण.
P. 43:1.: क्त्व-इ-इउ इवि for क्त्वा इ-इउ- इवि; 114 add मिलितौ before तरलं; 1. 23 : धवलिउ for धवलिओ; 1.28 : add तरलं at the end.
1
P. 41 : 15 : नालिय for नालिअ; 1.6 : वत्थुवया; for वत्थुवयण; 1. 10 : वस्तुवदनकं for वस्तुवदनं; 1.11 : यस्यामिति for यस्यां सा; 115 : उज्जिंति for उजंति; 1.16 : बुलं (लं) ती for बुल्लंती; 1. 17 : जलुल्लूय for जलुल्लय; add स्पष्टा at the end of 1. 18.
P. 45 : 1.7 : मञ्जरी for मंजिरी; 1.9 : ह ( द ) हि for दहि ; 1.10 : वंश ( ख )ण for वंखण बंदिण for बंदीण; 1.12 : नारीयणि for नारियणि; वुज्झए for बुज्जए; 1.14 : add दुहंगिया at the end.
P. 46 : 1. 4 : ओ for तो; वत्थू for वत्थु; 119 : माल[व] for माल (व); 1.30 : वज्रंति for वज्झति; 1.34: पयड for पयउ.
P. 47 : 1. 11 : add अथ before खण्डयुगलान्ते; 1. 16: घत्तादुगं for घत्तादुयं; 1. 27 : पद्धडिया for पज्झडिया 1 32 : मइरा for महुरा.
P. 48 : 1. 6 : शू(सू ) चनादवलम्बकः for शूचनावलम्बकः; 1.8 : उग्घोसण for पयासण; 1.9 : तक्करा for तक्करो; 1. 10 : सुहयरा for सुहयरो; 1. 12 : उन्हा for उण्हा; जुन्हा for जुण्हा; 1. 13 : झंकार for हुंकार ; महु ( मुह ) लिय for मुहलिय; 1. 23 : त्रिभिस्त्रिभङ्गी for त्रिभिस्त्रिभिस्त्रिभङ्गी; 1. 25 : भंगधरे for भंगिधरे; 1. 25 : हिंडोला for हिंदोला; 1. 27 : मोयमए; for मोअमए; 1. 31 : चित्तए for चेत्तर; न for ण.

Page #193

१२४
सवृत्तिकः कविदर्पणः
[ CORRECTIONS __P.49 : 1. 10 : पद्धटिका for पद्धडिका; 1. 12 : मंडलि for मंडली(लि); नामिहि for णामिहि; 1. 16 : तिण for तिणि; 1. 18 : निवेस for णिवेस; 1. 19 : हुयउ for हुवउ.
__P. 50 : 1. 13 : चतुःपदी for चतुष्पदी; 1. 26 : चतुःपादी for चतुष्पादी; 'ततः सेसं' for 'तो सेसं'; 1. 27 : चतुःपादी for चतुष्पादी; 1. 29 : उण्हिगणुठुभ for उण्हिहअणुहुभ.
_P. 51 : 1. 8 : तृ(त्रि)ष्टुप् च for त्रिष्टुप् ; 1. 10 : add संस्कृतिः २४ after २३; 1.11 : एकाक्षरांहि for एकैकाक्षरांहि.
__P. 52 : 1. 6 : add गीस्त्रियोः before एकेनांहिणा; 1. 8 : मिगी for मृगी; 1. 18 : विझूमाला for विज्जूमाला; II. 23-25 : The words वसवो लगाः प्रमाणिका, व्युत्क्रमे समानिका तु and इतोऽन्यद्वितानम् are not in the ms. They are inserted by mistake; 1. 26 : अन्यत् for अन्य. ____P. 53 : 1. 1 : मो नो [यो] for मो नो यो; 1. 3 : The ms. wrongly reads मोतोमामो for मो नो यो; 1. 7 : नरजगा इयं for नरजगद्वयं; l. 6 : चंपयमालेयं for चंपकमालेयं; 1. 10 : दोधग for दोधय; 1. 19 : जः सस्तगौ गः for जस्त(स्तो)गौ; 1. 20 भस्तो for तौ; 1. 22 : दुन्ह for दुण्ह..
___P. 54 : 1. 3 : मिमं for मिणं; 1.11 : व(न)दुग for नदुग; 1. 16 : add निशृणुत after तामरस; 1. 17 : ज्ञेया for शेयौ; 1. 24 : गश्चन्द्रिकायां for गश्च चन्द्रिकायाम. ____P.56 : 1. 4 : पभद्दयं for पभद्दकं; 1. 5 : Drop यो atter छंद; 1. 21 : [यत्र] for यत्र; 1. 29 : यमनसभला गः for यमनसभलगैः. , P. 66 : 1. 3 : निःपन्निका for निष्पन्निका; 1. 6 : विक्कीलियं for विक्की डियं; 1.16 : add सप्त भिश्चेत्यर्थः after यतिः.
P. 57 : 1. 1 : ल(जु)गल for जुगल; 1. 6 : निहण for णिहण. .
P. 59 : 1. 27-28 : न चेयं पथ्यया for न चेयं पथ्या(थ्य)या. ' P. 63 : 1. 13 : शू()चितम् for सूचितम्; 1. 15 : गुरु(र)वो for गुरवो.
P. 64 : 1.8 : अष्टासु for अष्टसु; 1. 10 : तेष्वष्टाविह for तेष्टाविह; 1. 12 : तेष्वसाकाः for तेष्वसाका; 1.16 : अष्टाभ्यः for अष्टभ्यः.

Page #194

BRIEF NOTES
UDDESA I
V.1: This stanza is reconstructed with the help of the commentary. The
stanza in the commentary is also quoted by Hem acandra in his Svopajña Vștti on Chandonuśāsana I.1. The word jayadevādiḥ in the commentary refers to an ordinary man desiring to study prosody. It has obviously no connection with the great metrician of that name, who is mentioned at KD. 5.10. Śūra is a writer on Sanskrit metres, who is otherwise unknown. Here he is quoted in support of the threefold division of metres based on the triple unit of scansion, namely, the Mātrā, the Varna and both. He is again mentioned as the author of the technical terms for the different Mātrā Ganas by the commentator on Ch.2 v. 4 below. This same terminology is used even by the author of the Chandahkandali, which, however, is composed in the Prakrit
language. V. 2: 'In the Matrā metres, five Ganas respectively consisting of 2, 3, 4, 5
and 6 Kalās or Mātrās should be known to exist. They are respectively
of 2, 3, 5, 8, and 13 kinds and are called ka, ca, ţa, ta and pa.' V. 3: Read tiyā for tige which is a misprint. See corrections. In the com
mentary read trayaḥ pramāṇameşāmiti kaḥ, the sentence gives an
authority for the use of the termination ka after the numeral. The · ms. reads pasthāne ya uktah; but the correct reading seems to be kasthāne ga uktah. The 8 Trikas mentioned here are the same as those defined and adopted by Pingala. Generally, they are adopted by all metricians, but at least two exceptions are known at present. They are the Ratnamañjūsā and the Jānāśrayi. Their technical names of
the Gaņas are essentially different. V. 4: 'A long letter, a letter which is accompanied by Anusvāra, or
followed by a simple consonant, a Visarga, or a conjunct consonant is here counted as a Dvimātra ; it is (shown as) bent and is known as) Guru. The other one is (known as) Laghu ; but even this becomes Guru optionally at the end of a Pāda'. Long letters are the long vowels and the diphthongs as also a short letter which is immediately followed by a consonant that does not end in a vowel, e.g., the letter sa in the word dhasak. Samyoga is a conjunct consonant ending in a vowel. In the third line of the commentary on this stanza read vakram någara

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gakāräkrti sthāpyam which means 'a long letter should be represented by the figure of the letter ga in the Nagari alphabet'. This figure of ga is similar to a straight line bent at either end, as Virahānka has said at Vịttajātisamuccaya 1.14. The representation of a short letter is done by a straight line equal to nearly three quarters of an inch or one Angula as Virahānka directs at the same place. Jānäśrayi lays down the same thing in slightly different words : 'Their separation (i.e., the distinction between the short and the long letter) is to be like that of ra and ga; this is to be done at the distance of one Angula each.' 1.16-17. This means that a short letter is to be represented by the symbol consisting of the letter ra and the long letter by that consisting of the letter ga and that the space between the two should be ordinarily one Angula. Jayakirti in his Chandonuśāsana has almost the same thing to say: 'A Guru should be known by the Samjñā (j.e., technical name) of ga, should have 2 Mātrās (as its syllabic contents) and should be bent like the letter ga of the Nāgari alphabet ; a Laghu should be known by the name la, should consist of 1 Mātrā, should be straight and resemble a raised finger.' 1.3. The letter ra in the old Devanāgarī resembled a straight line or a raised finger and probably stood for the word raghu, as ga stands for guru in the terminology of the prosodists. The letter ga in the old Devanagari script broadly resembled the capital S of the Roman alphabet; it is a straight line, nearly three quarters of an inch in height, bent upwards towards the left at its lower end and bent downwards towards the right at its upper end, which latter is brought down almost upto the base of the letter. Jayadeva and Hemacandra lay down plainly that a short letter is called la and is straight, while the long one is called ga and is bent. Pingala is silent on the point of representation. The word vă in the stanza is explained by the commentator as conveying an option, which, however, is regularized, since it is to be exercised only where a short letter is not actually prescribed at the end of a line, or where, its long pronunciation is not pleasing to the ear. Thus in the lines of the Samānikā the last letter must be a short one and no option mentioned above is allowed here. Similarly, at the end of metres like the Vamśastha, a short letter is felt to be pleasant to the ear, and so it should not be counted as Guru. Our commentator quotes a stanza in
this connection, which is quoted earlier by Hemacandra. Vv. 5-6 : 'The letters e, o, im, him in the Prakrit and ur, hur, him and
ham in the Apabhramsa aré optionally short at the end of a word. The yoweis e and o when combined with a consonant, on the other hand,

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127 are optionally short even in the body of a word. The letters which precede the (conjunct) letters dra, lha, nha and the like are not (to be considered as) Guru as seen (from the practice of the poets). A quarter (of a stanza) is a Pada when no specification is made to the contrary). Numbers 1 and the like are known by such terms as Candra etc. The commentator quotes illustrations for the rules ; in No. 3 I think we must read tie for tīi and virahão for virahāu, where the final e and o are to be pronounced as short, though the ms. does not read so. The same illustration contains short im in jāim, taim and duhāim ; so also it contains short him in kodihim. In No. 4 which is very corrupt, short him in tahim, short hur in tasahum, short um in pasaṁsauń and short ham in jāham are all illustrated. No. 5 illustrates short e and short o even when combined with a consonant, whether within the body or at the end of a word. Even here the ms. does not indicate which letters are to be pronounced as short, though we can see that the o of both go and lo in the word goälovi and the e of te in egantena are to be pronounced as short as required by the metre. The commentator rightly points out that the rule regarding uñ, haṁ, hiń, hum as also about e and o combined with a consonant occurring in the body of a word applies to the Apabhramśa language, while that about e, o, im, him, and the one mentioned in v. 6 applies to the Prakrits in general. In v. 6 please note the correct reading dra-lha-nha-pamuhakkharānam puvvilla na guruno jahā dittham of the first half. In illustration No. 6 we find that in spite of the general rule laid down in KD. 1. 4 (that a short letter followed by a conjunct consonant becomes Guru), conjunct letters like tha in lhasiya, nha in nhāyavva and dra in drahe do not cause Gurutva to the letters which precede them. Even in the defining stanza, v. 6, lha and nhạ do not cause Gurutva to the letters which precede them. Illustrations Nos. 7-10 in the commentary show how sometimes even in Sanskrit, short letters do not become long optionally, when followed by certain conjunct consonants like hra, i.e., those that contain h or r or both. All the four illustrations are bodily taken out from Hemacandra's Chando
nuśäsana-Svopajña-Vịtti. Vy. 7-8 : These two stanzas prescribe rules about the Yati in a stanza :
And Yati is a pause which is pleasant to the ear; it takes place everywhere at the end of a Pāda, (but) regularly at the end of the half of a śloka. (It takes place) also at the end of a word which contains three or more letters in it in the middle of a Pāda). It may take place even in the middle of a word, if the earlier and the later portions (i.e., the

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portions which precede and follow the Yati) do not consist of a single letter. But, this (last kind of) Yati which takes place in the middle of a word must not be used at the end of a Pada (of the stanza).' The rule about the Yati in the middle of a Pada is that it must not be introduced earlier than at the end of the third letter after its commencement. All these rules about Yati hold good only in the case of the Sanskrit metres and our author follows the lead of Jayadeva and Pingala in this respect. They do not apply to Prakrit poetry (except in the case of the Dvipadis), where the Yati is merely a matter of convenience of the individual poets. Accordingly, all the illustrative stanzas in the commentary on these two stanzas are from Sanskrit literature and, generally, reproduced from Hemacandra's Chandonuśäsana, chapter I. In illustration No. 11, the Yati at the end of the first Pāda occurs at the end of a word, i.e., stoma, whose case, however, is dropped owing to its being a part of the compound. In the 2nd half of No. 11 and in No. 12 the Yati at the end of the Pada occurs at the end of a regular word; in No. 13, however, the Yati at the end of Pada 1 does not coincide with the end of a word and so ought to be condemned. In No. 14 the Yati at the end of the half of the Sloka is regular; but that in v. 15 is inadmissible since the word mandali is not an independent word, being compounded with the word in the next half. In No. 16, the Yati in the middle of Pada 1 and 2 is admissible as it occurs at the end of the 3rd letter. In Nos. 17 and 18 the Yati occurring in the middle of a word is admissible, since both the parts of the word which precede and succeed the Yati consist of more than 1 letter, but it is inadmissible in No. 19, since the part of the word rajati which precedes the Yati consists of a single letter namely, ra. This Yati in the middle of a word, though admissible with certain restrictions as described above, must not be resorted to at the end of a Päda; this means that a word must not be distributed over two Padas. This applies only to a single word and not to a compound one, and so the breaking up of the word nārāyaṇa and its distribution over the two Pādas is not admissible in No. 20.
Illustrations Nos. 21, 22, 23 and 27 constitute what is called the Yatyupaniṣat by Halayudha on Pingala's Chandassutra 6.1. Perhaps these stanzas were composed by Halayudha himself. Our commentator seems, however, to have reproduced them, from Hemacandra who has introduced a few verbal changes and one rather important change in them. In No. 21c Halayudha reads samudrădipadante ca for gädicchinnapadante ca and in v. 22b he reads

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129
samudrādau for gakārādau ; this means that the earliest Yati in the middle of a Pāda comes after the 4th letter according to Halāyudha, while according to Hemacandra, it can come even after the 3rd (Hemacandra's symbol for 3 being ga according to Chandonuśāsana 1.16). Among the illustrations, Nos. 26 and 30 are supplied by the commentator himself, while the others are borrowed either froni Halāyudha or from Hemacandra. In No. 30 which is in Āryā metre, the pleasant Yati according to the commentator is after the 5th Mātrā Gana; so that a single letter should not be dragged into it from a word belonging to the sixth Gana ; but this is what is done in it and so it is not admissible. Here it is that the commentator quotes a stanza from Svayambhū (1.71) according to which Yati is not regarded as compulsory even in the Sanskrit Varņa Vrttas according to some ancient writers like Māndavya, Bharata, Kaśyapa and Saitava. Incidentally, while commenting on this stanza, he mentions a threefold classification of metres into Sanskrit beginning with Uktā, Prākrit beginning with Ripucchandas and Apabhraṁsa beginning with Utsäha ; this is according to Hemacandra's Chandonuśāsana, but it is not followed by the author of the Kavidarpana, who does not base his classification on language and hence does not define the Prakrit and the Apabhramsa metres separately, though he assigns a separate chapter to the Sanskrit Varna Vrttas. His threefold division of metres is into the Mātrā, the Varna and the Ubhaya Chandases and this is based on the triple unit of scansion, namely, the Mātrā, the Varna and both combined.
UDDEŚA II
V. 1: The Mātrā Vrttas are divided into 11 classes according as they
contain 2, 4, 5, 6, 7, 8, 9, 10, 11, 12 or 16 Pādas in them. Among these the first four are simple metres, while the last seven are strophic couplets, triplets or quartets. But even some of the Şatpadīs are strophic couplets and at least one kind of the Aştapadi
is a simple metre. Vv. 2-3: Among the Dvipadis, the two Ullalas, the Kumkuma and the
Karpūra, which are the favourite metres of the Magadhan bards and are essentially Apabhraíśa metres, are defined here at the commencement. The former, i.e., the Kumkuma, contains 2 Dvimätras (kadugaṁ), 1 Caturmātra (to), 2 Dvimātras (kaduga), 1 short letter (lahu), 2 Dvimătras, 1 Caturmātra, 2 Dvimātras and 2 short letters

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[ BRIEF NOTES at the end of all, in each half or Pāda, which thus has a total of 27 Mātrās in it. The Yati is after the 15th Mātrā in each half. The mention of 2 Dvimātras instead of 1 Caturmātra in the definition is to prohibit the use of a Jagana or the Madhyaguru Caturmātra, as the commentator explains. In actual practice, the last three Mātrās at the end of the first of the two parts of a Pāda, caused by the presence of the Yati at the 15th Mātrā, are represented by short letters, though in theory we may have a long letter for the 14th and the 15th Mātrās; while the second part consists of 1 Dvimātra, 1 Ca urmātra of any kind, 1 Caturmātra which must not be a Jagana and 2 short letters at the end. This Dvipadi is comparable with the Upagīti in respect of the number of the Mātrās in each Pāda; but the Yati in the Upagiti comes after the 12th Mātrā, while here it is after the 15th ; and besides the constitution of the last 15 Mātrās in the Pāda materially differs in the two metres. The second Ullala called Karpūra is but an extension of the Kumkuma by a single Mātrā or a short letter, at the end of each Pāda ; so that both the parts of the Pāda, caused by the presence of the Yati, end in three short letters in actual practice, as said above. The third Dvipadi is the Mauktikadāman which has 32 Mātrās in each of its 2 Pādas. The Yati is after the 12th and then again after the 8th Mātrā, thus twice in each Päda. The 32 Mātrās are made up of 8 Caturmātras of any kind, which means that the only restriction that is to be observed about the use of short or long letters is that no long letter is to be employed at the junction of any 2 Caturmātras and thus the Mātrā Gaņas are to be kept separate. This Dvipadi is mentioned by Hemacandra, Chandonuśāsana, 7.19; Rājasekhara, Chandahấekhara, 5.188 and Svayambhuchandas 6.144. The rhyme at the end of the Pädas is of course to be understood as in the case of other Apabhramśa metres, as pointed out by the commentator. The 25 varieties of the Karpura are given separate names by some writers whom Hemacandra quotes in his Chandonuśāsana, 7.3 and our commentator probably reproduces the passage from Hemacandra. He also remarks at the end of his comments on v. 3.3 that there are 64 kinds of a Dvipadi; but that they are not discussed for fear of increasing the extent of the work. Here, too, he has obviously followed the lead of Hemacandra's Chandonuśāsana, which defines all of them in Ch. 8 and concludes evaṁ dvipadidhruvā catuh sastih.
As regards the Yati, Prakrit prosodists reeognize it only in the case of the Dvipadās; and here, too, the tendency is to break the line

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131 into two or more parts at the place where the Yati is introduced, particularly so, when even the Antya Yamaka is employed at the same place. These parts, then, in course of time, assume the form of independent Pādas, so that the former Dvipadi is turned into a Catuspadi or a Şațpadi. The example of the Gāthā is instructive in this respect; as a Sanskrit metre it is only a Dvipadi and like the Varna Vsttas, its Yati is laid down. As a Prakrit metre its Yati became very pronounced and when Yamaka also came to be introduced occasionally at that place, as for example in the Gathās 2, 35, 36 and 37 of the Ajita-Santi Stava in Appendix III, each Pada came to be divided into two and so the Gāthā became a Catuspadi as understood by the Kavidarpana, and
rightly interpreted by its commentator. See Introduction, para 9. Vv. 4-8 : These stanzas define a Gāthā and its varieties, namely Pathyā,
Vipulā and Capalā. In his introductory remarks, the commentator rightly describes the Gāthā as a Catușpadi following the Kavidarpaņa as shown in para 9 of the Introduction. But, as he unconsciously follows Hemacandra, he remarks a little further, dalagrahaņāt asyām na pāda-vyavastha : 'There is no division into Pādas or quarters in this metre since the Dala or the half alone (and not a Pāda) is mentioned
(by the author in his definition)'. Remembering, however, that he had described the Gāthā as a Catuspadi, he then quotes the view of Trilocanadāsa, according to whom the Gathā has 4 Pādas or quarters, even though his view is introduced as the view of ke-cit, which ex
pression usually indicates the writer's dissatisfaction with it. Vy. 4-5: 'In the first Dala or Half, there are 7 Caturmātras (muni-ță) and
a long letter; among these, a Jagaņa does not occur at odd places, but at the sixth place, only those Caturmātras which have a Dvimātra in their middle (i.e., those which have a short letter at either end), namely, the Madhya-guru and the Sarva-laghu, can occur. On the other hand, in the 2nd half, there occurs only a single short letter at the sixth place; the rest is similar. That is the Gāthā. Here, in the upper half, effect a pause from the 2nd short letter when the 6th (Gana) consists of a Nagana and a Laghu (i.e., of 4 short letters), but from the 1st short letter, if the 7th is so. Similarly, in the lower half, do the same (i.e., effect a pause) from the 1st short letter when the 5th Gana consists of a Nagana and a short letter.' The directions in v. 5 are intended to lay down that a new word must begin with the 2nd short letter in the 6th Caturmātra of the first half when it consists of all short letters, but when the 7th Caturmātra in the first half and the 5th Caturmātra in the second half similarly consist of all short letters,

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a new word must begin with the first letter itself. The defining stanza itself illustrates this; in the first half, both the 6th and the 7th *Caturmatras consist of all short letters. Similarly, the 5th Caturmātra in the second half consists of all short letters; of these, a new word begins with the 2nd letter in the 6th, while it begins with the very first letter in the 7th of the first half and the 5th of the second half. (The 6th and 7th Gaņas in the first half are: u kunaha and uvalida, while the 5th in the second half is iha tala.) The commentator remarks that v. 5 is an old Gāthā which is both definitive and illustrative; this seems to mean that our author has reproduced
it from some older source. V. 6 : 'The total number of all the kinds of that (Gathā), obtained by a
mutual multiplication of all the possible varieties of each of the 16 Ganas of a Gāthā is 8 crores, 19 lacs and 20 thousand.' A Caturmātra can be of 5 different kinds in view of the different arrangement of its short and long letters, as said at 1.2 above. Out of the 16 Ambas or Ganas of which a Gātha consists, all the 5 kinds are allowed at all the even places except the 6th and the 14th as we saw above, in v. 4; while, at the odd ones, only 4 are permissible, since the Jagana is prohibited there. At the 6th place, only 2 kinds are allowed and at the 14th only one is possible, namely, a single short letter. All these different figures (Gaņa-bhedas) are to be multiplied together for obtaining the total number of all the possible varieties of a Gāthā, caused by an ever-new arrangement of short and long letters in them. Sec Virahanka, Vșttajātisamuccaya, 6.53.
V. 7 : 'A Gāthā which has a Yati after the 3rd Gana in both the halves, is
Pathyā; that which is not so, is Vipulā. A Capalā is (characterised) by the Jagaņas at the 2nd and the 4th places, surrounded (i.e., preceded and succeeded) by a long letter.' In the Pathyā, a word must end with the 3rd Gana in each half, whether that word is one with a case-ending or is a part of a compound word; but in a Vipulā, a word is distributed over the 3rd and the 4th Caturmātra Gaņas, in one or both the halves. On the other hand, while the 2nd and the 4th Gaņas in one or both the halves of the Capalā must be Jaganas, its 1st must be an Antya-guru, the 3rd a Sarva-guru and the 4th an Adi-guru, in one or both the halves.
V. 8: ‘Both Vipulā and Capalā are of three kinds each (according as
these characteristics appear in the two halves, jointly or singly), namely, Sarva, Mukha and Nitamba; many other kinds of the Gathā

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133
are mentioned by some others too. It should be noted that no such kinds are mentioned in the case of the Pathyā, since a Mukha Vipulā includes what may be called a Nitamba-Pathy, and a Nitamba-Vipulā includes what may be called a Mukha-Pathyā. Hence the name Pathyā is reserved for that kind alone in which the Yati occurs at the end of the 3rd Gaņa in both the halves. As regards the other varieties of the Gāthā based on other principies, the commentator quotes 3 stanzas, Nos. 5-7, (also quoted by Hemacandra), which are very likely reproduced from Nanditādhya's Gāthālakṣana vv. 40-42. According to these, a Gāthā is of 26 kinds, according as it contains 3 to 53 short and 27 to 2 long letters in them. Thus the shortest among them contains 30 letters in it (27 long and 3 short, namely, 2 at the 6th Amśa in the upper half and 1 at the same place in the lower one) while the longest has 55 (53 short and 2 long, namely 1 at the end of each half). The nex! two stanzas, Nos. 8-9, which are quoted by the commentator, but whose source is unknown, give two other four-fold divisions of the Gāthā according to two different principles. Thus a Gāthā which contains all long letters in both the halves (except the 3 compulsory short, ones), is Brāhmani; that which has all long leiters (except the 2 compulsory short ones) only in the first half, is Ksatriyā; that which has all long letters (except the compulsory short one), only in the second half, is Vaiśyā; and finally, that which has all short letters, except the 2 compulsory long ones, is Śūdri. Further, a Gathā is called Gadhā when only the two kinds of Caturmātras, namely, the Sarvaguru and the Madhya-guru, occur in it one after the other in succession; it is Agādha-gādhā when the Antya-guru and the 'Madhya-guru similarly alternate in it. In the Dara-gadhā, the Ādi-guru and the Madhya-guru, and in the Sarala-gādhā, Sarva-laghu and the Madhyaguru, aliernate in the same manner. In No. 9 the letters ka, sa, bha, pha and ja respectively stand for the Sarva-guru, the Antya-guru, the Adi-guru, the Sarva-laghu and the Madhya-guru Caturmātras. I have not yet met with these terms anywhere else; nor does the commentator mention the source of the stanza as said above. Perhaps
they are from the Chandahkandali. V. 8. 1-7 : All these illustrative stanzas are evidently composed by our
author himself, as the name of the particular variety of the Gāthā is introduced in them by way of Mudrā. The mention of the Gurjara ladies in v. 8.2 betrays the author's home Gujarat, while v. 8.5-7 show that he was a Jain and probably a monk. The commentator gives (or perhaps quotes from unknown sources) illustrations for all the other

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varieties of a Gathā, remarking that the author did not give them for fear of increasing the extent of his work. Most of these illustrative stanzas are stray verses expressive of the erotic sentiment (Nos. 10-27; 29-31; 34, 36 and 42-43) and a few are examples of religious or devotional poetry (Nos. 28, 32, 35, 37-41), while only one (No. 33) may be said to belong to the class of Heroic poetry.
V. 9: This stanza explains the formation of the four derivatives of the
Gāthā, viz., Gīti, Upagiti, Udgiti and Skandhaka. 'A pair of the first half of the Gāthā is a Gīti; but a pair of the second half is an Upagiti. When an inversion (of the two halves) takes place, there is the Udgiti, while the Giti itself becomes a Skandhaka when the 8th (Amsa also) is a Caturmātra (in each half). The commentator here explains how each of the three Gitis (i.e., Giti, Upagiti and Udgiti) is sixteenfold like the Gāthā. The sixteen kinds of the Gathā are shown by the commentator on v. 8 above. He quotes two Sanskrit stanzas in support, which are also quoted by Hemacandra (NSP. ed. p. 28B/Il. 1-3), explaining how the Āryā, which is the same as the Gāthā, is 64-fold. The iwo stanzas are perhaps borrowed by both from Halāyudha's commentary on Chandassūtra 4.23, with the necessary changes occasioned by difference of views about the Skandhaka as a derivative of the Gāthā. Halayudha counts the Skandhaka too as a derivative of the Gāthā, while Hemacandra and our author do not think so; so that according to Halāyudha the Aryā is 80-fold, while according to Hema candra and our author it is only 64-fold. The older name of the Skandhaka known to Pingala is Āryāgiti as noted by the commentator, who also tells us that the Skandhaka is of 29 kinds according as it contains a smaller or larger number of short and long letters. The shortest among them contains 4 short and 30 long letters in the two halves together, while the longest has 60 short and 2 long letters in them. The quotation which is alluded to here apparently contains names of these 29 kinds; but these names are quite different from those given either by Hemacandra or in the Prāksta Paingala. The subdivisions of the Skandhaka are, however, in accordance with those that are mentioned by Hemacandra; thus if the 6th Gana consists of a single short letter in both the halves, it is called Upaskandhaka, while it is called Utskandhaka and Avaskandhaka respectively, when the 6th Gaņa consists of a single short letter in the upper and the lower half. When one of the two halves is that of a Gīti and the other that of a Skandhaka it is called Samkirņa Skandhaka,

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V. 9. 1-4 : Out of the 4 illustrations, very likely composed by the author
himself as the introduction of the name of the metre indicates, the first and the last are religious poetry, while the 2nd and the 3rd are erotic.
V. 10 : 'Here there are other four kinds of a Gīti, namely, Ripucchandas
and the others, as also the eight kinds of a Găthā such as Gātha and others; since it is said.' The commentator adds that there is also the 9th variety of the Gathā namely the Jātīphala, and this is suggested by the author by the particle ca in the 2nd half.
Vv. 11-13: It would appear that these three stanzas are reproduced from • some earlier work (like v. 6 above), as is suggested by the concluding
words of v. 10. But the commentator does not help and it is also possible that those words refer to the substance rather than to the actual wording of the stanzas. A Gīti is called Ripucchandas when the 7th Gana (in both halves) is a Tagana, i.e., a Pañcamātra; it is called Lalitā when the 3rd Gaņa (in each half) is so. When both the 3rd and the 7th Ganas (in each half) are so, it is Bhadrikā and it is Vicitrā when Taganas, i.e., Pañcamātras, are employed at will (for any of the Caturmätras) except the 6th (which must always be a Madhya-guru or a Sarva-laghu Caturmātra as required by the peculiar rhythm of the Gāth, and as said above in v. 4). By an addition of a pair of Catursmātras each time before the last long letter in the first half of a Gāthā, (we get in succession, Gātha (with 9), Udgātha (with 11), Vigātha (with 13), Avagātha (with 15), Samgātha (with 17). Upagātha (with 19) and Gāthini (with 21 Caturmätras in the first half). On the other hand, if, (after the Gāthinī), pairs of Caturmātras are added at will (at the same place), (we have) a Mālāgātha, which is (therefore called) a Mahāchandas.' The commentator mentions also the Jātīphala which contains 8 Caturmātras before the last long letter in the first half of a Gāthā. He also says at the end of his commentary on the stanza that 8 similar derivatives can be had even from the Jātīphala by adding each time a pair of Caturmātras before the long letter at the end of the first half of the Jātīphala. The second half is, however, always that of a Gāthā in all these derivatives of the Gāthā.
Vy. 14-18 : These define 10 Ardhasama Catuspadis; they are: "Pañcā.
nanalalitā is made with 12 and 10 Mātrās in its odd and even Pādas respectively, Malayamāruta with 9 and 10, Rāsa with 7 and 13, Dohaka with 13 and 11 ; here (i.e. in Dohaka) at the end of the even Padas

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[ BRIEF NOTES
there should always be a long followed by a short letter. This (last) is called Avadohaka when there is an inversion (of the Pādas). Upadohaka is made, they say, with the uneven Pādas of a Dohaka, but with 1 Mātrā less, and the Samdohaka with an addition of ? Mātrās (to the same Pādas). (In both cases, the even Pādas shall be same as in the Dohaka). An Uddohaka is made with all the Pādas having 13 Mātrās each; (and) a Cūdāladohaka with a Tagana, i.e., a Pañcamātra, at the end of the even Pādas (of a Dohaka). Where we have 2 Caturmātras in the odd Pādas, and a Şanmātra and a Caturmātra in the even ones, and then in both, a short letter, a Dvimātra, a short letter and a Dvimātra (in succession), know that to be the Māgadhikā. As usual the author composes his own illustrations, but in the case of the Malayamāruta, he quotes a stanza from an unknown author. From these, Pañcānanalalita is defined in the midst of other Ardhasama Catuspadis according to their scheme by Rājasekhara (5.100) and Hemacandra (6.20, 87), but is not mentioned by Svayambhū. Malayamāruta is similarly defined by Svayambhū (6.42), Rājasekhara (5.79) and Hemacandra (6.19, 23). Rāsa is mentioned by all the three under the name Rāvanahastaka (6.13; 5.47; 6.19.9 respectively). For Rāsaka, which is a Sama Catuspadī, see below v. 23 and note. In the case of the Dohaka, cur author's definition agrees with that of the Präkrta Paingala and the Chandaḥkośa, while according to Svayambhū, Rājasekhara and Hemacandra, a Dohaka must contain 14 and 12 (instead of 13 and 11 of our author) Mātrās in its odd and even Pädas respectively. Our author's Dohaka is called Kusumākula-madhukara by them; his Avadohaka in v. 15 is called Vibhramavilasitavadana by these three authors, while the Präkşta Paingala (1.170) and the Chandahkośct v. 25) both call it Scraţtha. Similarly his Upadohaka and Samdohaka in v. 16 are defined by the three authors under the names of Makaradhvajahāsa and Madanavilāsa respectively. His Uddohaka in v. 17, which is a Sama Catuspadi, is perhaps to be identified with the Apsarovilasita of the three authors, while the Cūdáladohaka is their Kāminikridanaka, but is called merely Cūlikā by the Prākṣta Paingala (1.167) and the Chandaḥkośa (v. 26). The last, i.e., Māgadhikā, is peculiarly defined by our author and the only effect of it is that in theory, any or all the three long letters (two of the Ragana and the last one) in the Pādas of the Vaitālīya (with which it is otherwise identical), may be substituted by two short ones and this is quite in keeping with the nature of the pure Mātrā Vrttas. In the

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137
illustration of the author, this option is exercised only in the case of the 1st long letter of the Ragana in the first Pāda. Our author's definition closely follows the wording of Hemacandra, who defines Māgadhi among the Sanskrit metres derived from the Vaitālīya at Chandonuśāsana 3.62. Among the Prakrit Ardhasama Catuspadis, Hemacandra defines the same metre under the name Vasantarekhikā at Chandonusāsana 6.19, 54. At this last place, the 2nd long letter of the usual Ragana in the third Pāda only is substituted by 2 short ones in the illustration. The option of using 2 short for one long letter at the end of each Päda was very probably not generally exercised in
view of the general rule mentioned at Kavidarpana 1.4 above. Vv. 19-20 : Four Caturmätras, but never with a Jagana at the commence
ment, where a long letter stands at the end and the 9th (Mātrā) is (represented by) a short letter, (make) a Mātrāsamaka; and when the 5th and the 8th (Mātrās) are similarly (represented by) short letters, it is Viśloka. It is Citrā when even the 9th (Mātrā) is so represented by a short letter) ; (when) the 9th and the 12th (Mātrās) are (represented by) short letters, it is Vānavāsikā. Upacitrā is that in which the 9th (Mātrā) is represented by a long letter (together with the 10th), while Pādākulaka (is made) with the Pādas of all these.' These stanzas define the six metres of the Mātrāsamaka group, each of which has 4 Caturmātras in a Pāda, but the position of the short or long letters in them is variously fixed. In none of these again, the 1st Caturmātra shall be a Jagana, and the last letter must be a long one, in all. In his illustrations of the first five, the author introduces the name of the metre, which means that he has composed them for the occasion, while for the last he quotes a stanza from
some old author. Vy. 21-32 : 'Four Trimātras and a Caturmātra make a Muktavalikā; a
Şaņmātra, 2 Caturmātras and a Dvimātra, on the other hand, make a Vadana. This last is called Madilā when it has one common ending rhyme in all the four Pādas and Adilā when it has the same ending rhyme, separately in the first two and the last two Pādas. Paddhatikā has 4 Caturmātras; but in the last we may have only those (Caturmatras) which have a Dvimātra in their middle (i.e., the Madhyaguru and the Sarva-laghu), and a Jagana must not be used for an odd Gana. Two Caturmātras, and a Pañcamātra make a Khanda, while four Pañcamatras make a Madanāvatāra.' Of these five metres Muktavalikā is not defined by any other author so far as I know;

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[BRIEF NOTES Vilasini of Hemacandra, Chandonuśāsana 4.52, is almost identical with it, but the Caturmātra in it occurs just at the middle of the Pada instead of going at the end. Vadana is known to all the three, namely, Hemacandra, Svayambhū and Rājasekhara. In the case of Madila and Adilā, however, our author records a view which is wholly opposed to the one held by Virahānka (VJS., 4.32, 34), Rājasekhara (5.20), Syayambhū (4.12) and Ratnasekhara (CK. v. 41). See also AS. v. 26 in App. III. According to these authors, it is Adila which has a common rhyme and not the Madilā as our author main. tains and as Prāksta Paingala 1.127 seems to imply. Hemacandra, on the other hand, gives Adilā as the common name to both the varieties of the Vadana; but remarks at the end of his commentary that some call it Madilā when all the four Pādas have a common rhyme. According to Virahānka's Vșttajātisamuccaya 4.32-34, the word Adilā would seem to have been used as a common name, like Galitaka and Rāsa, by the Apabhramśa poets to signify a metre which showed. striking Yamaka and Anuprāsa. It is quite likely that the name Adilā has a reference to the peculiar word-music of the metre like the name Ullala, for which see Introduction, para 8. As regards the other name Maqilā, it appears to be a new name coined to distinguish the single-rhymed stanza from the more usual and common one having separate rhymes for the two halves of it. In early stages, Adilā alone evidently served the purpose of both. Among the prosodists Svayambhū (4.12) and Rājaśekhara (5.20) are the first to use both these terms to signify the two different types of rhymed stanzas; but they reserve the older name Adilā for the rarer single-rhymed type and adopt the name Madilā for the commoner one having two separate rhymes for the two halves. Our author, however, has chosen to follow the view of 'some' recorded by Hemacandra as shown above, and so gives the new name Maạilā to the rarer single-rhymed type and reserves the older name Aạilā for the commoner variety with two rhymes. The definition of the Prāksta Paingala 1.127 agrees with this view, but its illustration has one single rhyme for all the four
Pādas. V. 22 cd : Khanda, as well as Upakhanda and Khanditā, which are its
derivatives, are designated as Avalambaka by Hemacandra, Chandonusāsana 4.45-48. Madanávatāra is known to all, but is called Kāminimohana by Ratnasekhara at Chandahkośa v. 10, when all the Pañcamātras in a Pāda are of the Ragana type. Nanditādhya, v. 78, gives Candrānana as another name of the same metre. Perhaps, the

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real name is Candrāyaṇa, which is given by the Chandaḥkośa v. 32 to a couplet of stanzas in the Doha and the Kaminimohana metres and which may then have been transferred from the couplet to its 2nd constituent. See my remarks on the name Dvipadi at Vṛttajātisamuccaya, Introduction, para 5. The name Samgataka given by Virahanka (VJS. 4.64-65) to a strophic couplet was apparently transferred to its first constituent as seen from the Samgataka metre of Hemacandra at Chandonuśāsana 2.265, in a similar manner. The commentator supplements the author and defines other metres of the same class. Thus Hela has a Saņmātra followed by 4 Caturmätras, of which the 2nd and the 4th must be either Madhya-guru or Sarvalaghu. Adhikākṣarā has 5 Caturmatras, of which the 2nd and the 4th must not be Madhya-guru, followed by a Pañcamātra in a Pāda. This metre is defined by Virahanka at VJS. 4.24 and by Hemacandra at Chandonuśāsana 4.69. Mañjarī has 2 Trimātras, 3 Caturmātras and 1 Trimātra at the end in each Pada; Aravindaka has 1 Ṣaņmātra, 1 Pañcamātra, 1 Caturmätra, 1 Trimātra and 1 Dvimātra in succession in a Pāda. These four metres are said to belong to the Paddhatikā class of metres, while the two metres of the Khanda class are Upakhanda and Khaṇḍitā. The former has in its Pādas 1 Ṣaņmātra, 1 Caturmātra and 1 Trimātra, while the latter has 1 Ṣaņmātra followed by 2 Caturmatras in a Pāda. The five metres which belong to the class of Madanavatāra are, as the commentator mentions, Madhukari, Navakokilā, Kāmalilā, Sutārā, and Vasantotsava which have respectively 5, 6, 7, 8 and 9 Pañcamātras in each of their Pādas. These metres are defined by Hemacandra at Chandonusasana 4.75.
139
V. 23: 'A pair of Pañcamātras, a pair of Caturmātras and a Trimātra make (the Pāda of) a Galitaka; a pair of Trimātras, 3 Caturmätras, a Trimātra and a long letter (at the end) make (that of) a Khañjaka, and 5 Caturmātras followed by a short and a long letter make (that of) a Rāsaka.' All these four names have been treated as common names by the poets and prosodists as the commentator tells us. Thus the Pādāntya Yamaka was considered as a peculiarity of the Galitaka, as specifically mentioned by Virahanka at VJS. 4.106 after defining several Galitakas in vv. 89-105. Hemacandra refers to this as a view of 'some' in his commentary on Chandonusāsana 4.40. Pādāntya Yamaka and Anuprāsa were the characteristics of a Khañjaka according to our commentator, but Hemacandra's directions at Chandonuśāsana 4.41-42 com. are that a Khañjaka has the Anuprāsa, but not the Yamaka, even though all his illustrations of the Khañjakas

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given under Chandonusāsana 4.42-75 have the Pādāntya Yamaka without exception. Virahānka's Khañjaka at VJS. 4.18 is, on the other hand, entirely different. This latter is an Ardhasama Vștta whose odd Pādas contain a Caturmātra and a Madhya-laghu Pañcamātra (SIS), while the even ones have an addition of 2 short letters before this Pañcamātra. Sirsakas are couplets and triplets of stanzas in different metres and are a peculiarity of Prākrit and Apabhramśa poetry. As regards the Rāsaka the word seems to have different significations. It was applied to individual metres as also to short poems themselves as seen from VJS. 4.37-38. Several metres are defined as the Rāsakas by Hemacandra at Chandonuśāsana 5.3-15 after quoting a stanza, which is also quoted by our commentator, which says that all Jātis may be called Rāsas. See Introduction, para 10. Hemacandra, however, (and following him even our author in v. 14 above) seems to make a distinction between the Rāsa defined at Chandonuśāsana 5.16 and the Rasaka defined at 5.3 and the following. The same appears to be the case with Virahānka, who considers Rāsaka as the name of couplets or triplets or short poems, while he defines the Rāsa (with 16 Mātras in a Pāda) at VIS. 4.85. Svayambhū is not very clear on the point; but he seems to have used the same term Rāsa for both a short poem and a single stanza which contains 21 Mātrās in a Pāda, with the Yati at the 14th at Svayambhūchandas 8.24-25. This latter is identical with Hemacandra's Rāsaka (5.3), while his Rāsa is only as Ardhasama Catuspadi having 7 and 13 Mātrās in its odd and even Pādas. This Rāsa of Hemacandra (already defined by our author above in v. 14) is identical with Rāvaṇahastaka defined by him at 6.19.9. Our Rāsaka with 23 Mātrās in a Pāda is identical with that of Hemacandra'defined at 5.4. Svayambhū's Rāsaka with 21 Mātrās in a Pāda is called Ábhāņaka by Chandahkośa v. 17. A love poem of the Rāsaka class, called Sandesa Rāsaka is published in the Singhi Jain Grantha Mālā No. 22, Bombay 1945-46. This contains a large number of stanzas in a metre which is called Räsaka or Abhāņaka, by the commentator
who quotes Chandaḥkośa v. 17 in support. V. 24: "That is Candralekhikā where there are : 1 Şanmātra, 4 Catur
mātras and 1 Dvimātra (in a Pāda); and a Dvipadi is that where there are : 1 Şaņmātra, 5 Caturmātras of which the 1st and the 5th are either Madhya-guru or Sarva-laghu, and a long letter.'
Candralekhikā is really Candralekhā of Hemacandra, Chandonušasana 4.60, since, the latter's Candralekhikā is an Ardhasama Catuspadi with 15 and 10 Mātrās in its odd and even Pädas defined at 6.20.102.

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Agfa
fa
&a
141
As regards the name Dvipadi applied to a metre which is really a Catuşpadī, see Vșttajātisamuccaya, Introduction, para 5. The illustrations of both Candralekha and Dvipadi, evidently composed by the author himself as seen from the introduction of the name of the metre, are very beautiful examples of high poetical fancy. The former imagines the digit of the moon to be a leaf of the Ketaki flower placed by the lady Night on the deity, namely, the sky which is smeared with a thick paste of musk of darkness and covered with a heap of flowers, namely, the stars. In the second the moon is conceived as a bull that has drawn out with great force the cart of Light which had sunk deep in the mire of endless and fearful darkness and is now grazing the young shoots of grass in the form of the lustres of the stars, in the pasture land of the sky.
Two more metres derived from the Dvipadi are mentioned by the commentator. The first is Āranāla whose Pada is identical with that of the Dvipadi, but it is extended by a long letter at the end; the second is Kāmalekhā whose Pāda, too, is of the same type as that of the Dvipadī, but is devoid of the penultimate short letter which is compulsory in a Dvipadi.
V. 25 : Rāsāvalaya has 1 Şanmātra, 1 Caturmātra which is not a Jagana,
1 Şanmātra and 1 Pañcamātra (in its Pāda) ; while in a Vastuvadana there occur 1 Saņmātra, 1 Caturmātra which is not a Jagana, another Caturmātra which has a Dvimātra in the middle (i.e, is either a Madhya-guru or a Sarva-laghu), yet another Caturmätra which is not a Jagana and 1 Şaņmātra (at the end).' Thus the Rāsāvalaya has 21 and the Vastuvadana has 24 Mātrās in its Pāda, respectively. According to the commentator Vastuvadana is otherwise called Vastuka and is of 41 kinds according as it contains from 16 to 96 short letters in its four Pādas together. Here he quotes 4 stanzas, which are also quoted by Hemacandra at 5.25 com., giving the names of these
kinds. V. 26 : Six Caturmātras make Utsāha; the 3rd and the 5th have a
Dvimātra in their middle, while the others are not Jagaņas. Here, generally, in the Catuspadīs, there is a rhyme of the odd and the even Pādas.' This stanza defines the last Catuspadi, i.e., the Utsäha, with which, however, Hemacandra starts his treatment of the Apabhramsa metres in the fifth chapter of his Chandonuśāsana. Exceptions to the general rule about the Anuprāsa or the Antya Yamaka are metres like Pañcānanalalitā, Malayamāruta, Rāsa, as also

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the Dohaka and its derivatives, where the rhyme is of the even Pādas and rarely also of the odd Pādas among themselves. Gāthā and its derivatives are not regular Catuspadīs, though our author has treated them as Catuspadis all along, and hence there is generally no rhyme in them; there are indeed some exceptions as in the case of the Ajita-Santi-Stava vv. 2, 35, 36, 37 (App. III), but they are generally rare. Anuprāsa is a special feature of Apabhramśa poetry and the Gāthā is essentially a Prākrit metre. Even the metres of two Pādas like the Ullāla and others have this peculiarity, as they are Apabhramsa
metres. Vv. 27-28 : '(There are) two Pañcamātras, 1 Caturmātra and a short letter
in the 1st, 3rd and the 5th Pädas, the Caturmātras in the 3rd and the 5th Pādas being only those that have a Dvimātra in their middle; (while) in the 2nd and the 4th Pādas (we have) a pair of Caturmātras and a Trimātra. This Mātrā, whose first half consists of the first) three Pādas and whose 3rd and 5th Pädas rhyme together, is of various kinds.' This normal Mātrā of our author does not agree with that of either Hemacandra or the author of the Chandahkandali whom the commentator quotes; see Introduction, para 11. The normal Mātrā of the Chandahkandali seems to be the same as that of Hemacandra, i.e., containing respectively 16, 12, 16, 12 and 16 Mātrās in their Pādas as against that of our author which has 15, 11, 15, 11, and 15 Mātrās, respectively, in their Pādas. This is concluded from the word samacaraṇa-nihana-tagane 'in the last tagaña, i.e., Caturmätra, occurring in the even Pādas', which evidently refers to the 3rd and not the 2nd Caturmātra in those Pādas. The five divisions of the normal Mātrā of the Chandahkandali are as follows:-When the 1st Caturmātra in the 2nd and the 4th Pādas is replaced by a Pañcamātra either severally or jointly, the Mātrā is called Mattabālikā thus having 16, 13, 16, 13 and 16 Mātrās in its Padas. When the 3rd Caturmātra in these same Pādas is similarly replaced by a Trimātra, severally or jointly, it is called Mattamadhukarikā, which has 16, 11, 16, 11 and 16 Mātrās in its Pādas. We have probably to read cagane for tagane in the 3rd line of the quotation from the Chandahkandalī as ta stands for a Pañcamātra and not a Trimātra according to the Chandahkandali and the Kavidarpana. On the other hand, if the two Pañcamātras at the commencement of the 3rd and the 5th Padas are replaced by two Caturmātras, severally or jointly, it is called Mattavilāsini whose Pādas have thus 16, 12, 14, 12 and 14 Mātrās in them. Similarly, if the Caturmātra in these same Pādas is replaced by a Pañcamātra, severally or jointly, it is called

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Mattakariņi, which thus has 16, 12, 17, 12 and 17 Mātrās in its Pādas. A promiscuous mixture of the Pādas of all these five kinds gives rise to the Bahurupā. The commentator does not give illustrations of any of these additional varieties of Mātrā.
UDDESA 2 ]
143
Vv. 29-31 These stanzas define a Șatpadi, variously called Ghatta or Chaḍḍanikā, or even a Dhruva or Dhruvaka according to the commentator, and give six different kinds of it, which, as the commentator observes, are merely illustrative. Each of the six is divisible into two equal halves which contain three lines each, having respectively 10, 8, 13; 12, 8, 13; 8, 8, 11; 10, 8, 11; 12, 8, 11; and 12, 8, 12 Mātrās. None of these types of the Satpadi Ghatta of our author is mentioned by Hemacandra in particular. Nor do they appear to have been recorded by the author of the Chandahkandali whom the commentator profusely quotes in this connection. Only one, i.e., the 10, 8, 13 type is known to Svayambhuchandas 8.11. It will be noted that in all the six types, the 2nd and the 4th Padas contain 8 Mātrās only; the 1st and the 3rd contain 8, 10, or 12, while the 3rd and the 6th have 11, 12 or 13 Mātrās in them. Of the illustrations, only the first contains the name of the metre and was probably composed by the author. The second refers to one Tilakasūri, the 3rd to King Bhimadeva and 4 to 6 to King Kumārapāla of Ahnilvad. They were obviously borrowed from existing literature.
V. 32 Kirtidhavala is another Satpadi divisible into two equal halves whose three Pādas respectively contain 14 (6,6,4), 8 (4,4), and 16 (6,6,4) Mātrās in them. The peculiarity of this metre is that its 1st Pāda rhymes with the 3rd in both the halves, which by themselves have no common rhyme like the other Ghattas. See Introduction, para 12, for other Dhavalas and the significance of the name Dhavala.
V. 33: A Vastuvadana or a similar metre coupled with an Ullala is (called) a Saṭpada, or a Sardhacchandas or a Kavya; and a Mātrā coupled with an Ullala is (called) Phulla.' For the name Kavya, see Introduction, para 13. The author gives two illustrations for the 1st Dvibhangi; the first contains a Vastuvadana (cf. v. 25 above) and a Kumkuma Ullala, while the second contains a Vastuvadana and the Karpura Ullala. The first is an Utprekṣa of an ocean on the star-lit heaven and the second contains a highly poetical description of a lecturing Suri. The word adi in the expression vastuvadanadi in the definition leads the commentator to mention and illustrate other combinations which constitute a Satpada; but all of them (Nos. 87-94) are bodily reproduced from Hemacandra's Chandonuśäsana 4.79 com. Two

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illustrations are given also of the Phulla ; in the 1st a Mātrā of the. usual type (15, 11, 15, 11, 15) is coupled with a Kumkuma, while in the 2nd, it is combined with a Karpūra Ullāla. The 1st does not contain the name while the 2nd does contain it. The word muggadu (mrtasvam-com.) is a Desi word which occurs in old Rāsas as mogada, as my friend Dr. Bhayani tells me. Any kind of the Mātrā is allowed for this couplet as the commentator explains on the
authority of Manoratha, whom he quotes. V. 34 : 'A Sridhavala (takes place) with 3 Caturmātras and a Dvimātra
in the four odd (Pādas) and with 2 Caturmātras in the even ones each; in it the odd and the even Padas rhyme. And the Doha and the
Saṁdoha together make a Tarala. Also see Introduction para 14. V. 35: 'A Vastu (i.e., a Vastuvadana) and a Dohā, a Doha and a Vastu
vadana, so also a Dvipadi and a Gīti make a Dvibhangi. A Mātrā coupled with a Doha and the like is Vastu.' The author gives illustrations of both the kinds of the Dvibhangi; the first is a quotation from 'an author called Sūraprabhasūri. It seems to be from a Nemināthacarita in the Apabhramba language. At the end of the second illustration, the commentator mentions a curious convention occording to which some of the words employed in the Dohaka are to be repeated in the following stanza in the Vastuvadanaka metre, but in a reverse order. This same convention is observed in the case of the Dvibhangis called Candrāyana and Candrāyani as defined by Ratnasekhara in his Chandahkośa vy. 32 and 39, where a Dohā and a Kāminimohana or Madanāvatāra and a Gāthā and a Kāminimohana are coupled together. Kundalika of the Chandaħkośa v. 31 is only another name of our second Dvibhangī, since Kāvya is a name which is employed by Ratnasekhara even for the Vastuvadana as shown by me in Introduction, para 13. The convention is not observed in any other Dvibhangis and it would seem that it applies only to those Dvibhangis where a Dohā or a Gāthā is employed first and is coupled with a longer metre like the Vastuvadana following next. The typical Dvibhangi illustrated by Hemacandra at Chandonuśāsana 4.78 is a pair of a Dvipadi and a Gīti and is the same as our third Dvibhangi. Hemacandra has introduced the name Dvibhangi in his illustration while our author has not done so, and rightly so, because he does not consider the word as a proper name of a metre. The author's words taha ya are interpreted by the commentator to mean that a Dvibhangi is possible even by a combination of any other two metres; and by way of illustration gives one resulting from a Gātha and a Bhadrikā Giti. Hemacandra has

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mentioned and also illustrated this particular Dvibhangi on 4.79, which then is followed by 6 others. These last are bodily reproduced by our commentator under the Șatpadīs while commenting on v. 33, with a slight change in the order of the illustrative stanzas, where those that have a Kumkuma occur first, while those that have a Karpūra occur next.
The concluding portion of v. 35 defines the well known Dvibhangi, which has a specific name, viz., Vastu, and, further, which has 9 Pādas or is a Navapadi. It is a combination of a Mātrā and a Dohaka or its derivatives, Avadohaka and Upadohaka. This Dvibhangi is also known as the Radda and is defined by Virahānka at VIS. 4.30-31, Präkrta Paingala I. 133-143, Chandah kośa v. 34 and Hemacandra, Chandonuśasana 5.23. Our author's illustration is a beautiful example of a Paramparita Rūpaka on the Full Moon, who is variously conceived as a white parasol, a lion, a mirror, a lotus, a jar of nectar, a flower and
a bulbous root. V. 36: 'A Dohaka and a Ghattā make a Dvibhangi, and a Vastu coupled
with an Ullāla becomes a Tribhangi, while a pair of the Khandas and a Gīti make (a Tribhangi called) Dvipadikhanda.' The illustration of the first Dvibhangi is a quotation from one Tilakasūri and it mentions a monk called Sūraprabhasūri and a king of Mālava; that of the second Dvibhangi is a description of the advent of the rainy seasori as a performance staged in honour of King Ananga. For the word Dvipadi occurring in the name of the second Tribhangi, see Introduction, para 14.
V. 37: 'A pair of Ghattās is another Dvibhangi; a Tribhangi is a Dvipadi,
a Khanda and a Gīti. A quartet of the Paddhatikā and other metres is a Kadava and a collection of these last is a Sandhi.' The author's
illustration of the Dvibhangi is in praise of King Kumārapāla and se - is also the illustration of the Kadavaka. The illustration of the Tri
bhangi is a description of the Spring season. At the end of his commentary on v. 37.2, the commentator states that a similar Tribhangi having 12 Pādas can be had with any other metres which are pleasant to the ear. As an illustration, he quotes a triplet which is also given by Hemacandra on Chandonuśāsana 4.80. As he also points out, all the Dvibhangīs and Tribhangis are technically known as the Sīrsakas, for which see Hemacandra, Chandonuśāsana 4.76-83.

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· [ BRIEF NOTES
सवृत्तिकः कविदर्पणः UDDEŠA III
V.1: Salakkha-lakkhanayam : 'together with their Laksya and Laksana',
i.e., together with their names and the definitions which would serve also as the illustrations. In the Mātrā Vrttas, the defining verse was not also the illustrating one, as it is going to be in the Varna and the Ubhaya Vịttas. This was so, because the Mātrā Vșttas cannot be properly understood without having full examples of them before us. Their rhythm is not fixed since a long letter may be substituted by two short ones in them and vice versa. This seems to be the meaning of the commentator's words patana-samyogayor abhāvāt.. For the use
of the technical name Vștta and Jāti, see Introduction, para 15. V. 3: ‘Among them, in the Sama Vștta, there are 24 classes of a Catus
padi, beginning with (Uktā) which has only a single letter (in its Pāda) and ending with (Utkşti) which has 26 letters (in a Pāda). Thereafter the Sesa (Vrttas) and then the Dandakas.' For the distinction between the seșa Vrttas and the Dandakas, see Introduction, para 15 end.
UDDEŠA IV
V.1: This metre, namely, Gi, is called Gau by Virahanka. (VJS. 5.1) and
sri by Pingala and Hemacandra.
V.2: This is called Nau by VJS. 5.2.
V. 8: Jayā is not mentioned by any one else.
-V. 19 : For a discussion of the signification of the name Vitāna see Intro
duction paras 16 and 17. V. 21: This Makaralatā with ma, na and ya Ganas is not mentioned by
others; Hemacandra at Chandonuśāsana 2.102 mentions another Makaralatā which has the ta, na and ma Ganas and which is called Kanakalatā by Bharata 32.200. 33: Cittā is rendered by the commentator by Sanskrit Citrā; but this seems to be a mistake as seen from v. 73 below. Others call this
metre Vrttā or Vịntā. V. 40: See Introduction para 17 conclusion, for the signification of the
word Upajāti. V. 48: Priyamvadā has the Ganas ja-bha-ja-ra; the Priyamvadā of Hema

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candra (2.174) and Kedāra (Vṛttaratnākara 3.55) has na-bha-ja-ra Ganas and is also called Mattakokila by Jayakirti (2.133).
V. 66: Our commentator spells the word as Praharaṇakalikā like Jayakirti 2.173 and Ratnamañjūṣā 6.22.
V. 68 Our author does not mention the Yati after the 7th letter in this metre as is done by others. Pingala calls it Candravartā and Ratnamañjuṣā calls it Candravartman.
V. 69
The metre Tonaka seems to be known to the Jain Tradition only: it is mentioned by Hemacandra 2.254 and Svayambhu 1.16.
v. 33.
Citra (neuter)
V. 73 This is Citra proper; see above on
different; see v. 75 below.
is
V. 76 Aśvagati is otherwise called Aśvakrāntā by Virahańka (VJS., 3.32-33), Padmamukhi by Jayakīrti (JK. 2.199), Sangata by Hemacandra (2.265) and Nila by Prakṛta Paingala 2.170.
V. 89: The text seems to read vitta and not città as the commentator does. the former is the name given to it by others.
V. 94 Both the commentator and the author read Bhadraka and not Madraka as Hemacandra and others do.
V. 95 This Citraka is not mentioned by any other author; the Citraka of Hemacandra (2.362) and Jayakīrti (2.251) has the na as the 4th Gana in the place of our author's ja Gana.
V. 97 Only Bharata (16.103-104) and Hemacandra (2.367) mention this metre, besides our author.
V. 103 The ms. clearly reads mālāvittam in both the text and the commentary. Hemacandra calls it Mäläcitra at 2.381. Malāvṛtta of Jayakirti (2.266) is different
V. 104: The name Seṣa Jāti must have been applied to all metres which were lomger than the metres of the Utkṛti class, till the adoption of the Dandaka into the fold of the Sanskrit Varna Vṛttas. See Introduction para 15. After that, by convention, a few longer metres which did not contain the repetition of the same Trika or Akşara Gaṇa, as in the Dandaka, came to be regarded as the Seşa Vṛttas. They are called Mālā Vrttas by Jayakīrti at 1.19 and are unknown to Pingala and the followers of his school.
V. 105: The early Dandaka seems to have been characterized by the Ragana (SIS). Virahānka mentions only one Daṇḍaka where after the initial 6 short letters, 10 Raganas are used in each of its four Padas:

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BRIEF NOTES but he permits any number of these Gaņas, if the same number of them is employed in all the Pādas. Actually, his commentator, states how other teachers permit a Dandaka with 7 or 9 or 11 Raganas in it. The shortest seems to be one with 7 and was called Candavrsțiprapāta, Candavrsti-prayāta or merely Candavrsti. The longest contained 16 of them and was known as Bhujanga as the commentator tells us. The author mentions only Śankha as the last containing
14 Raganas. V. 107: Pracitaka is a common name applied to any Dandaka which con
tains 7 Trikas of the same kind except the Ragana (and, of course, the Magana and the Nagana whose employment cannot introduce any variety and, therefore, cannot be a source of any Varna Sangīta) coming after the initial 6 short letters. See Music and Metres, p. 202. This last, namely, the use of 6 short letters at the commencement, appears to be an old characteristic of the metre, even though Dandakas with 3, 4, 5, or even 7 short letters at the commencement are found to exist; see Jayadāman, p. 147-148. Pingala at Chandassütra 7.32-35, mentions only one Dandaka, namely, the CandavȚstiprapāta and gives the common name Pracita to any other Dandaka. His commentator Halāyudha, however, restricts this name only to those Dandakas which contain a smaller or larger number of Ragaņas, but this is against the practice of the later prosodists, who reserve the name for any Dandaka which does not contain the Raganas. Varāhamihira knew and employed these Dandakas in his Brhat Samhità ch. 103; but he uses two more, Varņaka and Samudra. According to his commentator. Utpala, the two ancient prosodists, Rata and Mandavya admitted only seven Dandakas of which the first is called Suvarna by them; this is the same as the Candavrstiprayāta of others. Pingala himself at 7.34, mentions that these two authors did not agree with him about the
name of the Dandaka. Vv. 108-109: Our author mentions two more Dandakas which are based
on an alternative succession of any number of short and long letters in a Pāda, provided, of course, the same number is employed in all the Pādas. These two are mentioned only by Svayambhu and Hemacandra, besides by our author. Jayakīrti's treatment of this metre, namely, the Dandaka, is more interesting (cf. JK. 6.33-34), as he describes its varieties in consonance with the actual practice of his day in the Karnataka, rather than in a purely conventional manner. This peculiar metrical device is the ruling factor of the Nārācas in the Ajita-śānti-Stava, for which see App. III, Note on v. 14. ..

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Vv. 110-117: These 8 verses define the 8 well known Ardhasama Varna
Vṛttàs, some of which at least show the basic rhythm of the Vaitaliya in a slightly changed form; see my remarks on these at Jayadaman, Introduction, para 16.
Vv. 118-120 The Visama Vṛttas are generally divided into four groups, namely, the Vaktra, the Padacatururdhva, the Udgata and the Upasthitapracupita. See Introduction to Jayadaman, paras 12-15. The metres of the first group have the same number of letters in all their Pādas; but the order of short and long letters may differ, The particularly in the case of the 2nd, 3rd and the 4th letters. last 3 letters of the 3rd and the first 2 letters of the 4th Pada of v. 118 are not quite intelligible. The signification and significance of the terms Pathya, Capala and Vipula is not very clear to me, particularly in relation to the same terms when applied to a Gāthā.
'A Vaktra is that metre of the Anustubh class, where (in each Pāda) any Trika except na (III) and sa (IIS) may occur after the first letter; a Yagana (ISS) must occur after the 4th letter and the 1st and the last letter may be either short or long. (It becomes) a Pathyā Vaktra if a Jagana (ISI) is substituted for the Yagana in the even Pādas; the same is Viparīta Pathyā, if the Jagana (is substituted) for the Yagana in the odd Pādas and the Yagana (is retained) in the even ones. That same (i.e., Viparita Pathya) again becomes a Capalā, when its Jagana (in the odd Pādas) is replaced by a Nagana (after the 4th letter). That is (called) Vipulā Vaktra in whose even Pādas, the 7th letter is always short.'
It will be seen that in a Vaktra, the structure of the even Pādas is restricted to a Yagana or a Jagana in repect of the 5th, the 6th and the 7th letters. Again, in each Pāda, whether odd or even, the 1st letter as well as the last one may either be a short or a long one, and the next 3 letters, i.e., the 2nd, the 3rd and the 4th may be represented by any of the eight Trikas of Ganas except the na and the sa Ganas. Pingala prohibits even the ra Gana for these same letters in the even Pādas at Chandassutra 5.11. Thus absolute freedom of choice is left only in the case of the 5th, the 6th and the 7th letters in the odd Pādas only. Any one of the 8 Ganas may be employed for these letters, but the employment of the different Gaņas gives them different names. It is called a Vaktra if the Yagana is used for them, provided the same Yagana is used also for the same letters in the even Padas, but it is called a Pathya Vaktra if a Jagana is used

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[ BRIEF NOTES
for the Yagana in the even Pādas. If a Jagana is used for the 5th, the 6th and the 7th letters in the odd Pādas, and when the Yagana is retained in the even Pādas as in the ordinary Vaktra, it is called a Viparīta Pathyā Vaktra. If a Magaṇa is employed for them and if the 7th letter is short in the even Pādas, i.e., when it behaves like a Pathyā Vaktra in respect of its even Pādas, having a Jagana to represent its 5th, 6th and 7th letters (it must be remembered that no other Gaņas except ya and ja are possible here according to vv. 118-119), it is called a Ma-Vipulā Vaktra; similarly, if any of the other five Gaņas, namely, the bha, ra, sa, ta ana na, is employed for these letters in the odd Pädas, it is respectively called Bha-Vipulā, Ra-Vipulā, Sa-Vipulā, Ta-Vipulā and Na-Vipulā Vaktras. It will be seen that in the last six cases, namely, the Ma to Ta Vipulas, a new name, i.e., Vipulā, is adopted, which is common to them all, the earlier three names, viz., Pathyā, Viparīta Pathyā and Capalā, being inapplicable and reserved for certain varieties only. Hence a definition is newly coined for Vipulā in v. 120 cd. A Vipulā Vaktra is that in which the 7th letter of the even Pādas is short; but this definition is applicable even to the Pathyā Vaktra and so we must understand Vipulā to be a wider term and not coextensive with Pathyā. Vipulā is thus to be applied to all other cases of Vaktra which are not covered by Pathyā. In short, Pathyā is only a kind of Vipulāto be exact—a Ya-Vipulā, but it has been given a special name
Pathyā. See the remarks of the commentator on v. 120. V. 121: In the opinion of Saitava, a Vaktra becomes a Vipulā Vaktra
when the 7th letter is short in all the four Pādas. This particular variety is, however, included in the Ta, Na and Bha Vipulās, where the last letter of these Ganas (i.e., the 7th of the Pāda) is necessarily short. There is one more variety which is not covered by our author's scheme of Vipulās; it is the Ja-Vipulā, namely, the one in which the 5th, 6th and 7th letters in all the Pādas are represented by a Jagana, instead of by the usual Yagana. These six Vipulās, viz., those that have any one of the six Trikas out of the eight (excluding the Ya and the Ja Gaņas), are mentioned also by Hemacandra at Chandonuśäsana 3.39; but other writers like Pingala (5.19), Jayadeva (JD. 5.12-15), Jayakīrti (JK. 4.8-11), Kedara (VR. 2.27-30), Jānāśrayi 2.28, and Ratnamañjūsā 4.20 mention only four, excluding the Ma-Vipulā and Sa-Vipulā. These are, however, added by Halāyudha on Chandassūtra 5.19. The remarks of Svayambhūchandas 3.10 are very interesting : He says :-'Vipulā is of four kinds according to Saitava's view; (it)

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is of eight kinds (in the opinion of) Pingala. Who is able to define it in detail ?' His statement that Saitava admitted only four Vipulās is quite correct, since the 7th letter can be short in the odd Pādas, only when the bha, ta, ja and na Ganas are used for the three letters (5th, 6th and 7th) and these alone make the Vaktra a Vipulā. But his remarks about Pingala are not quite accurate; for, in addition to the six Vipulās of our author, we may admit the Ja-Vipulā on the strength of the word ca in Sūtra 5.19 (even though Halāyudha understands only the Ma-Vipula and the Sa-Vipula by the force of the same word), yet we can have only seven Vipulās, the Ya-Vipulā being expressly called by him the Pathyā in Sūtra 5.14. Svayambhu's treatment of the metre is much different; he mentions only five kinds of it, namely, Vaktra, Suvaktra, Pathyā, Pathyā Vaktra and Capalā Pathyā. In a Vaktra, the 5th is a short letter and is followed by three long ones; in a Suvaktra, both the 5th and the 7th are short (the 6th and the 8th being long). In a Pathyā ihe odd Pādas are like those of the Vaktra and the even ones like those of the Suvaktra, while, in the Pathyā Vaktra just the opposite takes place, i.e., the even Pādas are like those of the Vaktra and the odd ones like those of the Suvaktra. In the Capalā Pathyā, the 5th, 6th and the 7th letters are short in the odd Pādas, while the 5th and the 7th alone are short in the even ones (the 6th and the 8th being long as in the case of the Pathyā). Here in the Kavidarpana, the six Vipulās are defined and illustrated in vv. 122-127. Illustration 122.1, 124.1, 125.2, 3, and 127.1, 2, 3 are quoted by Halāyudha and even by Hemacandra, while 125.1 and 127.1 are given by Hemacandra alone. 126.1 seems to be reproduced from Halāyudha, 123.3 and 127.5 are from Māgha (2.44, 49), 123.1 is found even in the Kávyaprakāśa and 122.3 is certainly from the Uttararāmacarita of Bhavabhūti. *124.2 is already
quoted in the Dhvanyaloka (NSP. ed.), p. 49. V. 128 : This verse defines the Vişama Vștta called Padacatururdhva and
the commentator supplements by defining the Pratyāpida, Āpida, Kalikā, Lavali and Amstadhārā, all of which are obtained by a little
manipulation from the Padacaturürdhva. Vy. 129-130: These two stanzas similarly define the Udgatā and the
Upasthitapracupita, both of which are Vişama Vșttas. Even here, the commentator defines the derivatives of these two; they are thus, Saurabhaka and Lalita from the former and Vardhamāna and Suddhavirādrsabha from the latter. Two more Vişama Vșttas, namely, Saumy, and Jyotis are given by the commentator. In the former, the

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[BRIEF NOTES
first half contains all long letters, and the second half has all short nes. In the latter, the position is exactly opposite; cf. Pingala, Chandassūtra 4.50, 51 for the last two metres. Saumyā is otherwise called Anangarkridā by others.
UDDEŠA V
V. 1: Vaitāliya group belongs to the category of Ubhayachandas; this
chapter treats of these metres. In the odd Pādas 6 Mātrās, in the even ones 8 Mātrās; thereafter, a Ragana (SIS), a short and a long letter (in both). That is the Vaitāliya. In the 8 Mātrās (of the even Pādas) 6 short letters in succession must not occur; in both (again) an even Mātrā must not combine with the successor (so as to form a long
letter).' V. 2: The Ancients call that itself Aupacchandasaka when a Yagana
stands at the end of the Ragana. In other words, Vaitāliya becomes Aupacchandasaka by the addition of a long letter at the end of every Pāda. Some authors spell the name as Aupacchandasika.
V. 3: "(It itself becomes) Āpătalikā owing to a Bhagana and two long
letters (following it), in place of the Ragana, a short and a long letter).'
V. 4: 'If a long letter is introduced after 3 Mātrās in the even Pādas (of a
Vaitālīya), it is called Pracyikā.' This same applies to the Aupacchandasaka and the Apātalikā also; so that we have three kinds of the
Prācyikā, which is also known as Prācyavștti. V.5: 'It is called Udicyikā if a long letter is similarly introduced after the
initial Mātrā in the odd Pādas.' The reading of the manuscript is corrupt, visame being expected in place of samesu. In Udicyikā the even Pādas are those of a Vaitāliya itself. Like the Prācyikā this too is of three kinds, being possible in the case of the Aupacchandasaka
and the Apātalikā. The metre is otherwise known as Udicyavștti. V. 6: Similarly, a mixture of the Pādas of these two earlier metres
(Prācyikā and Udicyikā) is called Pravșttaka.' This too is of three kinds, being possible in the Vaitālīya as well as in the Aupacchandasaka
and the Apātalikā. 7.7: Aparāntikā arises from the even Pädas of all (these Metres). This
metre is naturally a Mātrā-Sama Vrtta and can be had from the three main metres as also from their derivatives. Thus we get three

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argfacs: enfactor:
Aparāntikās from the three Pracyikās, but not from the Udicyikās and Pravṛttakas, since the even Pādas in the case of these two latter are identical either with those of the three main metres or with those of the three Pracyikās; so in all we have only six kinds of the Aparāntikā.
V. 8: Caruhasini (similarly) arises from the odd Pādas (of all these metres).' This, too, is a Matra-Sama Vrtta and can be had in a similar manner from the three main metres and from the Udicyikās. In the case of the Pracyikā and the Pravṛttaka, their odd Pādas are identical either with those of the main metres or with those of the Udicyikās. So this too is of six kinds only.
V. 9: That is Dakṣinantika, where there stands a long letter after the first Mātrā in all the Pādas.' Thus we may get three Dakṣiņāntikās from the three main metres, three from the three Pracyikās, none from the Udicyikās and Pravṛttakas as these are included in the three which we get from the main metres, six from the six Aparantikās (i.e. those which are obtained from the three main metres and from the three Pracyikās) and only three from the three Caruhasinīs derived from the three main metres; thus we have only 15 kinds of the Dakṣiṇāntikās.
V. 10 Clever men should know that any metre is called Gāthā when it has a smaller or larger number of letters in its Pādas, or has a smaller or larger number of Pādas in it (as compared with those that have been described so far) among the three kinds of metres, and which has not been also defined by (prosodists like) Jayadeva and others.
V. 11: The number of letters in a metre is obtained by deducting the number of long letters from the number of Mātrās in it; the number of long letters is obtained by deducting the number of letters from them and the number of short letters is obtained by deducting twice the number of long letters from them.' The verse seems to be out of place here, since the next chapter deals with the six Pratyayas.
UDDESA VI
Vv. 1-3: "This chapter treats of the Pratyayas which are six in number and are enumerated in the first stanza. The commentator explains the word Pratyaya as pratiti-jananat pratyayāḥ: 'It is called Pratyaya because it causes conviction.' They are, so to say, proofs which show the correctness of a statement about the numbers and forms connected

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BRIEF NOTES
with the different aspects of a metre. Our author's treatment of the topic is, however, very perfunctory; he explains only two, namely, Prastāra and Samkhyā, out of the six Pratyayas. Virahānka has given eight different kinds of a Prastāra out of which our author gives only one, namely, the Samudra, which is given at VJS. 6.20-22 and for which see Introduction to the new edition of the work, para 10. In v. 3 the Samkhyā of the Mātrā Vrttas only is explained, for which see VJS. 6.49 and its Introduction, para 17. In his introduction to v. 3 the commentator clearly says that the author has neglected the three Pratyayas, namely, Naşta, Uddista and Lagakriyā owing to Prakriyagaurava. As regards Adhvan, we do not know what our author had to say; the commentator merely observes at the end of his com mentary on v.3: jātyadhvayogas tu vșttādhvayogatulya eva iti noktah. "The adhvayoga of the Jātis is similar to that of the Vșttas and so it is not mentioned'. But where is the Vrtta-adhvayoga explained ? Is a verse missing from our manuscript like the concluding colophon ?
NOTES TO APP. I-Gāthālakṣaṇa. V. 4: This is found at Bharata's Nātyaśāstra 18.6; it was probably borrowed
by Nanditadhya from it. V. 39 : Cf. : PC. 49.4.8; this latter seems to be a close imitation of our
passage. V. 56: This is from the Karpūramañjarī II. 49. Vv. 16, 74, 78 and 80 are quoted without mentioning the source in the
commentary on the Sandeśarāsaka (SR.) edited by Dr. H. C. Bhayani in the Singhi Jain Granthamala, Bombay 1945, on pp. 2, 9, 49 and 37 respectively. The name Vastuka seems to be given to the strophic couplet at SR. 92 and 94, but according to both N. 80 and CK. 13 it is the name of the first member of it and is alternately called a Rodaka.
In this connection it is interesting to note that on SR. 19, the commentator quotes a definition of the strophic couplet Raddā in which the name Nanditadhya occurs, but it is not found in the work before us: It is as follows: जासु विरयणि हुंति पय पंच । पढम चिय पनरह य ।
बीय चारि गारह निरुद्ध(त्त)उ ॥ तह तीयइ पंचदह । रड्डुभेउ जाणहु सु सुद्धउ ॥ करहिय मोहिणि मियनणि । राहासेणु(णि) मुणिंदु ॥ अंतिहिं दोहउ जसु हवइ । कवि नंदड्ड भणंति ॥

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[155
सवृत्तिकः कविदर्पणः NOTES ON APP. II—Chandaḥkośa.
Vv. 7, 16, 17, 21, 26, 32, and 41 of the Chandaḥkośa are quoted in the
commentary on SR. pp. 69-70, 10, 12, 15, 46, 32 and 42-45 respectively, without mentioning the source,
V. 7: In the definition quoted in the commentary on SR. 170-171 this
stanza is reproduced, but with the word nandini substituted for the word toțaka; nandini is also the name used by the author of the SR. in v. 170 of the work on p. 69 and 70 according to his usual practice.
Vv. 10, 32 and 39: Kāminimohana is another name of Madanāvatāra for
which see KD. 2.22.
Vv. 12, 29 and 31: For the Ullāla see Introduction, para 8.
V. 17 : This Rāsaka-Abhāņaka is also called Catuspadikā at SR. 86-87.
V. 26 : SR. 113 employs the name Cūdillau, which word therefore seems
to have been substituted for Cūliyau in CK. 26 by the commentators. This same stanza of SR. (113) mentions also Khadahadau and Gāhā as the metres of vv. 115 and 116 respectively. The commentator on this stanza quotes a definition whose wording resembles that of Chandahkośa; cf. CK. v. 7. But CK. does not mention this metre at all. On the other hand VJS. 4. 73-75 gives the name Khadahadaka to a strophic couplet made up of a stanza in the Bhramarāvali metre and a Gāthā. Bhramarāvali is the name of the metre which is here called Khadahadaka both by SR. and its commentators. Perhaps even here as in the case of the Dvipadi, the name is transferred from the strophic couplet to its first member. Bhayani, however, in his introduction to SR p. 69 thinks that the author of the poem has here conformed to the definition of VJS. and not with the one quoted in the commentary, since the two stanzas 115 and 116 form a syntactical unit and also because they obviously imitate the wording of VJS. 4. 74-75. Yet we must not neglect the fact that the author of SR. himself mentions the Khadahadaya and the Gātha as two separate metres of vv. 115 and 116 in v. 113 according to his usual practice. This shows that Khaďahadaya is separate from the Gāthā and is the name of a single stanza.

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156]
सवृत्तिका कविदर्पणः
The definition quoted by the commentators mentions Ativallabhā as another name of the Khadahadaka : It is as follows:
सगणा इय वीस य छंदु धुवं
लहु चालिस वीस गुरू सुमणोहरयं । खडहड्डयनामहि निच्च पसिद्धपयं
अइवल्लहु नामि दुईय य तं कहियं ।।

Page #226

TREE
सन्न पर प्रमा
राजस्थान सरकार
राजस्थान प्राच्यविद्या प्रतिष्ठान ( Rajasthan Oriental Research Institute )
जोधपुर
सावरायाम
MBein
सूची-पत्र
राजस्थान पुरातन गम माला *
प्रधान सम्पादक-पद्मश्री जिनविजय मुनि, पुरातत्त्वाचार्य
अप्रेल, १९६३ ई०

Page #227

राजस्थान पुरातन ग्रन्थ-माला प्रधान सम्पादक-पद्मश्री मुनि जिनविजय, पुरातत्त्वाचार्य
प्रकाशित ग्रन्थ
१. संस्कृत १. प्रमाणमंजरी, ताकिकचूड़ामणि सर्वदेवाचार्यकृत, सम्पादक - मीमांसान्यायकेसरी पं० पट्टाभिरामशास्त्री, विद्यासागर ।
मूल्य-६.०० २. यन्त्रराजरचना, महाराजा सवाईजयसिंह-कारित । सम्पादक-स्व० ५० केदारनाथ ज्योतिविद्, जयपुर।
मूल्य-१.७५ ३. महषिकुलवैभवम्, स्व० पं० मधुसूदन अोझाप्रणीत, भाग १, सम्पादक-म० म० पं० गिरिधरशर्मा चतुर्वेदी।।
मूल्य-१०.७५ ४. महर्षिकुलवैभवम्, स्व० पं० मधुसुदन अोझा प्रणित, भाग २, मूलमात्रम् सम्पादक-पं० श्री प्रद्युम्न अोझा।
मूल्य-४.०० ५. तर्कसंग्रह, अन्नंभट्टकृत, सम्पादक-डॉ. जितेन्द्र जेटली, एम.ए., पी-एच. डी., मूल्य-३.०० ६. कारकसंबंधोद्योत, पं० रभसनन्दीकृत, सम्पादक-डॉ० हरिप्रसाद शास्त्री, एम. ए., पी-एच. डी.।
मूल्य-१.७५ ७. वृत्तिदीपिका, मोनिकृष्णभट्टकृत, सम्पादक-स्व.पं. पुरुषोत्तमशर्मा चतुर्वेदी, साहित्याचार्य।
मूल्य-२.०० ८. शब्दरत्नप्रदीप, अज्ञातकर्तृक, सम्पादक-डॉ. हरिप्रसाद शास्त्री, एम. ए., पी-एच.डी.।
मूल्य-२.०० है. कष्णगीति. कवि सोमनाथविरचित, सम्पादिका-डॉ. प्रियबाला शाह, एम. ए., पी-एच. डी., डी. लिट् ।
मूल्य-१.७५ १०. नृत्तसंग्रह, अज्ञातकर्तृक, सम्पादिका-डॉ. प्रियबाला शाह, एम. ए., पी-एच. डी., डी. लिट् ।
मूल्य-१.७५ शृङ्गारहारावली, श्रीहर्षकविरचित, सम्पादिका-डॉ. प्रियबाला शाह, एम. ए., पी-एच.डी., डी.लिट् ।
मूल्य-२.७५ १२. राजविनोद महाकाव्य, महाकवि उदयराजप्रणीत, सम्पादक-पं० श्रीगोपालनारायण
बहुरा, एम. ए., उपसञ्चालक, राजस्थान प्राच्यविद्या प्रतिष्ठान, जोधपुर । मूल्य-२.२५ १३. चक्रपाणिविजय महाकाव्य, भट्टलक्ष्मीधरविरचित, सम्पादक केशवराम काशीराम शास्त्री
मूल्य-३.५० १४. नत्यरत्नकोश (प्रथम भाग), महाराणा कुम्भकर्णकृत, सम्पादक-प्रो. रसिकलाल छोटा
लाल पारिख तथा डॉ. प्रियवाला शाह, एम. ए., पी-एच. डी., डी. लिट् । मूल्य-३.७५ १५. उक्तिरत्नाकर, साधसन्दरगरिणविरचित, सम्पादक-पद्मश्री मुनि श्रीजिनविजयजी, पुरा
तत्त्वाचार्य, सम्मान्य संचालक, राजस्थान प्राच्यविद्या प्रतिष्ठान, जोधपुर । मूल्य-४.७५ १६. दुर्गापुष्पाञ्जलि, म०म० पं० दुर्गाप्रसादद्विवेदिकृत, सम्पादक-पं० श्रीगङ्गाधर द्विवेदी, साहित्याचार्य।
मूल्य-४.२५ 2. कर्णकुतूहल, महाकवि भोलानाथविरचित, सम्पादक-पं० श्रीगोपालनारायण बहरा,
एम. ए., उप-संचालक, राजस्थान प्राच्यविद्या प्रतिष्ठान, जोधपूर । इन्हीं कविवर की अपर कृति श्रीकृष्णलीलामतसहित ।
मूल्य-१.५० १८. ईश्वरविलासमहाकाव्यम्, कविकलानिधि श्रीकृष्णभट्ट विरचित, सम्पादक-भट्ट श्रीमथुरा
नाथशास्त्री, साहित्याचार्य, जयपुर । १६. रसदीधिका, कविविद्यारामप्रणीत, सम्पादक-पं० श्रीगोपालनारायण बहुरा, एम.ए. उपसंचालक, राजस्थान प्राच्यविद्या प्रतिष्ठान, जोधपुर ।
मूल्य-२.०० २०. पद्यमुक्तावली, कविकलानिधि श्रीकृष्णभट्टविरचित, सम्पादक-भट्ट श्रीमथरानाथ शास्त्री, साहित्याचार्य।
मूल्य-४.००
बहा
"
११.५०
पालनारायण
विकलानिधितष्ठान, जोधप

Page #228

[ २ ] २१. काव्यप्रकाशसंकेत, भाग १ भट्टसोमेश्वरकृत, सम्पादक-श्रीरसिकलाल छो० पारीख,
मूल्य-१२.०० २२. " भाग २
मूल्य-८.२५ २३. वस्तुरत्नकोष, अज्ञातकर्तृक, सम्पा०-डॉ. प्रियबाला शाह । - मूल्य-४-०० २४. दशकण्ठवधम्, पं० दुर्गाप्रसादद्विवेदिकृत, सम्पादक-पं० श्रीगङ्गाधर द्विवेदी ।
मूल्य-४.०० २५. श्री भुवनेश्वरीमहास्तोत्रम्, सभाष्य, पृथ्वीधराचार्यविरचित, कवि पद्मनाभकृत, भाष्य
सहित पूजापञ्चाङ्गादिसंवलित । सम्पादक-पं. श्रीगोपालनारायण बहुरा। मूल्य-३.७५ २६. रत्नपरीक्षादि सप्त ग्रन्थ संग्रह, ठक्कुर फेरू विरचित, संशोधक-पद्मश्री मुनि जिनविजयजी, पुरातत्त्वाचार्य।
मूल्य-६.२५ २७. स्वयंभूछन्द, महाकवि स्वयंभूकृत, सम्पा० प्रो० एच. डी. वेलणकर । मूल्य-७.७५ २८. वृत्तजातिसमुच्चय, कवि विरहाङ्करचित, " " "
मूल्य-५.२५ २६. कविदर्पण, अज्ञातकर्तृक,
,
,
मूल्य-६.०० २. राजस्थानी और हिन्दी ३०. कान्हडदेप्रबन्ध, महाकवि पद्मनाभविरचित, सम्पादक-प्रो० के.बी. व्यास, एम. ए.।
मूल्य-१२.२५ ३१. क्यामखां-रोसा, कविवर जान-रचित, सम्पादक-डॉ. दशरथ शर्मा और श्रीअगरचन्द नाहटा।
मूल्य-४.७५ १२. लावा-रासा, चारण कविया गोपालदानविरचित, सम्पादक-श्रीमहताबचन्द खारैड़।
मूल्य-३.७५ ३३, वांकीदासरी ख्यात, कविराजो वांकीदासरचित, सम्पादक-श्रीनरोत्तमदास स्वामी, एम. ए., विद्यामहोदधि ।
मूल्य-५.५० ३४. राजस्थानी साहित्यसंग्रह, भाग १, सम्पादक-श्रीनरोत्तमदास स्वामी, एम.ए.। मूल्य-२.२५ ३५. राजस्थानी साहित्यसंग्रह, भाग २, सम्पादक-श्रीपुरुषोत्तमलाल मेनारिया, एम. ए., साहित्यरत्न ।
मूल्य-२.७५ ३६. कवीन्द्र कल्पलता, कवीन्द्राचार्य सरस्वतीविरचित, सम्पादिका-श्रीमती रानी लक्ष्मीकुमारी चुंडावत ।
मूल्य-२.०० ३७. जुगलविलास, महाराज पृथ्वीसिंहकृत, सम्पादिका-श्रीमती रानी लक्ष्मीकुमारी चूंडावत।
मूल्य-१.७५ ३८. भगतमाळ, ब्रह्मदासजी चारण कृत, सम्पादक-श्री उदैराजजी उज्ज्वल । मूल्य-१.७५ ३६. राजस्थान पुरातत्त्व मन्दिरके हस्तलिखित ग्रंयोंकी सूची, भाग १ मूल्य-७.५० ४०. राजस्थान प्राच्यविद्या प्रतिष्ठानके हस्तलिखित ग्रन्थोंकी सूची, भाग २। मूल्य-१२.०० ४१. मुंहता नैणतीरी ख्यात, भाग १, मुंहता नैणसीकृत, सम्पादक-श्रीबद्रीप्रसाद साकरिया।
मूल्य-८.५० ४२. " " " ," २, , ,
, मूल्य-६.५० ४३. रघुवरजसप्रकास, किसनाजी पाढाकृत, सम्पादक-श्री सीताराम लाळस । मूल्य-८.२५ ४४. राजस्थानी हस्तलिखित ग्रन्थ-सूची, भाग १ सं. पद्मश्री मुनि श्रीजिनविजय । मूल्य-४.५० ४५. राजस्थानी हस्तलिखित ग्रन्थ-सूची, भाग २-सम्पादक-श्री पुरुषो त्तिमलाल मेनारिया एम.ए., साहित्यरत्न ।
मूल्य-२.७५ ४६. वीरवाण, ढाढ़ी बादरकृत, सम्पादिका-श्रीमती रानी लक्ष्मीकू री चूंडावत । मूल्य-४.५० ४७. स्व० पुरोहित हरिनारायणजी विद्याभूषण-ग्रन्थ-संग्रह-सूची, सम्पादक-श्रीगोपाल नारायण बहुरा, एम. ए. और श्रीलक्ष्मीनारायण गोस्वामी, दीक्षित ।
मूल्य-६.२५ ४८. सूरजप्रकास, भाग १-कविया करणीदानजी कृत, सम्पादक-श्री सीताराम लाळस।
मूल्य-८.०० " " र "
" "
, मूल्य -९.५० ५० नेहतरंग, रावराजा बुसिंह कृत-सम्पादक-श्री रामप्रसाद दाधीच एम.ए. मूल्य-४.०० ५१ मत्स्यप्रदेश की हिन्दी-साहित्य को देन, प्रो. मोतीलाल गुप्त,एम.ए.,पी.एच.डी. मूल्य-७.००

Page #229

[ ३ ]
प्रेसों में छप रहे ग्रंथ संस्कृत
१. शकुनप्रदीप, लावण्यशमंरचित सम्पादक - पद्मश्री मुनि श्रीजिनविजयजी । २. त्रिपुराभारतीलघुस्तव, धर्माचार्यप्रणीत, सम्पादक - पद्मश्री मुनि श्रीजिनविजयजी ३. करुणामृतप्रपा, भट्ट सोमेश्वरविनिर्मित, सम्पा० - पद्मश्री मुनि श्रीजिनविजयजी । ४. बालशिक्षाव्याकरण, ठक्कुर संग्रामसिंहरचित, सम्पा० - पद्मश्री मुनि श्रीजिनविजयजी । ५. पदार्थरत्नमंजूषा, पं० कृष्ण मिश्रविरचित, सम्पा० - पद्मश्री मुनि श्रीजिनविजयजी । ६. वसन्तविलास फागु, अज्ञातकर्तृक, सम्पा० - श्री एम. सी. मोदी |
७. नन्दोपाख्यान, अज्ञातकर्तक, सम्पा० - श्री बी. जे. सांडेसरा |
८. चान्द्रव्याकरण, प्राचार्य चन्द्रगोमिविरचित, सम्पा० - श्री बी. डी. दोशी ।
६. प्राकृतानन्द, रघुनाथकविरचित सम्पा० - पद्मश्री मुनि श्री जिनविजयजी ।
१०. कविकौस्तुभ, पं० रघुनाथरचित, सम्पा० - श्री एम. एन. गोरी ।
११. एकाक्षर नाममाला - सम्पादक- मुनि श्री रमणीकविजयजी ।
१२. नृत्य रत्नकोश, भाग २, महाराणा कुंभकर्णप्रणीत, सम्पा० - श्री आर. सी. पारीख और डॉ. प्रियबाला शाह ।
१३. इन्द्रप्रस्थ प्रबन्ध, सम्पा० - डॉ. श्रीदशरथ शर्मा ।
१४. हमीर महाकाव्यम्, नयचन्द्रसूरिकृत, सम्पा० - पद्मश्री मुनि श्रीजिनविजयजी ।
१५. स्थूलभद्र काकादि, सम्पा० डॉ० श्रात्माराम जाजोदिया ।
१६. वासवदत्ता, सुबन्धुकृत, सम्पा० डॉ० जयदेव मोहनलाल शुक्ल ।
१७. वृत्तमुक्तावली, कविलानिधि श्रीकृष्ण भट्ट कृत; सं० पं० श्री मथुरानाथजी भट्ट १८. श्रागमरहस्य, स्व० पं० सरयूप्रसादजी द्विवेदी कृत, सम्पा०- प्रो० गङ्गाधरजी द्विवेदी |
राजस्थानी और हिन्दी
१६. मुंहता नैणसीरी ख्यात, भाग ३, मुंहता नैणसीकृत, सम्पा० - श्री बद्रीप्रसाद साकरिया । २०. गोरा बादल पदमिणी चऊपई, कवि हेमरतनकृत सम्पा० - श्रीउदयसिंह भटनागर, एम. ए. २१. राजस्थान में संस्कृत साहित्य की खोज, एस. आर. भाण्डारकर, हिन्दी अनुवादकश्रीब्रह्मदत्त त्रिवेदी, एम. ए.,
२२. राठौडांरी वंशावली, सम्पा० - पद्मश्री मुनि श्रीजिनविजयजी ।
२३. सचित्र राजस्थानी भाषासाहित्यग्रन्थसूची, सम्पादक- पद्मश्री मुनि श्रीजिनविजयजी । २४. मीरां - बृहत् - पदावली, स्व० पुरोहित हरिनारायणजी विद्याभूषण द्वारा संकलित, सम्पा० - पद्मश्री मुनि श्रीजिनविजयजी ।
२५. राजस्थानी साहित्यसंग्रह, भाग ३, संपादक - श्रीलक्ष्मीनारायण गोस्वामी ।
२६. सूरजप्रकाश, भाग ३, कविया करणीदानकृत सम्पा० - श्रीसीताराम लाळस ।
२७. रुक्मिणी हरण, सांयांजी भूला कृत, सम्पा० श्री पुरुषोत्तमलाल मेनारिया, एम. ए., सा. रत्न । २८. सन्त कवि रज्जबः सम्प्रदाय और साहित्य डॉ० व्रजलाल वर्मा ।
२६. समदर्शी श्राचार्य हरिभद्रसूरि, श्री सुखलालजी सिंघवी ।
३०. पश्चिमी भारत की यात्रा, कर्नल जेम्स टॉड, अनु० श्रीगोपालनारायण बहुरा, एम. ए.
अंग्रेज़ी
31. Catalogue of Sanskrit and Prakrit Manuscripts Part I, R.OR.I. ( Jodhpur Collection ), ed., by Padamashree Jinvijaya Muni, Puratattvacharya.
32. A List of Rare and Reference Books in the R. O.R.I, Jodhpur, ed., by P.D. Pathak, M.A.
विशेष- पुस्तक विक्रेताओं को २५% कमीशन दिया जाता है ।

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