kavidarpan

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

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ke rAjasthAna purAtana ganmAlA ke pradhAna sampAdaka - padmazrI jinavijaya muni, purAtatvAcArya [sammAnya saJcAlaka, rAjasthAna yAcyavidyA pratiSThAna, jodhapura ] granthAGka 62 ajJAtakartRka vRttisahita - prAkRtabhASAgrathita kavidarpaNa prakAzaka rAjasthAna rAjya saMsthApita rAjasthAna prAcyavidyA pratiSThAna RAJASTHAN ORIENTAL RESEARCH INSTITUTE, JODHPUR jodhapura ( rAjasthAna)

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rAjasthAna purAtana granthamAlA pradhAna sampAdaka-padmazrI jinavijaya muni, purAtattvAcArya [sammAnya saJcAlaka, rAjasthAna prAcyavidyA pratiSThAna, bodhapura / granthAGka 62 ajJAtakartaka vRttisahita prAkRtabhASAgrathita kavidarpaNa pra kA zaka . rAjasthAna rAjya saMsthApita rAjasthAna prAcyavidyA pratiSThAna RAJASTHAN ORIENTAL RESEARCH INSTITUTE, JODHPUR jodhapura ( rAjasthAna )

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rAjasthAna purAtana granthamAlA rAjasthAna rAjya dvArA prakAzita sAmAnyataH akhila bhAratIya tathA vizeSataH rAjasthAnadezIya purAtanakAlIna saMskRta, prAkRta, apabhraMza, rAjasthAnI, hindI Adi bhASAnibaddha vividha vAGmayaprakAzinI viziSTa granthAvali pradhAna sampAdaka padmazrI jinavijaya muni, purAtattvAcArya sammAnya saMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura praoNnareri membara oNpha jarmana orienTala sosAiTI, jarmanI; nivRtta sammAnya niyAmaka (Anareri DAyarekTara ), bhAratIya vidyAbhavana, bambaI; pradhAna sampAdaka, siMghI jaina granthamAlA granthAGka 62 ajJAtakartRka vRttisahita prAkRtabhASAprathita kavidarpaNa prakAzaka . .. rAjasthAna rAjyAjJAnusAra saJcAlaka, rAjasthAna prAcyavidyA pratiSThAna jodhapura ( rAjasthAna ) jAna

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ajJAtakartRka vRttisahita prAkRtabhASA-prathita kavidarpaNa sampAdaka pro. eca. DI. velaNakara, ema. e. saha-saJcAlaka, bhAratIya vidyAbhavana. bambaI prakAzanakartA rAjasthAna rAjyAjJAnusAra saJcAlaka, rAjasthAna prAcyavidyA pratiSThAna jodhapura ( rAjasthAna ) vikramAbda 2018 ) prathamAvRtti 1000 bhAratarASTrIya zakAbda bajAjJA 'gha'g'T. H wi" 17.07 bolanamAra.. pradhAna sampAdakIya vaktavya evaM mukhapRSTha ke mudraka- sAdhanA presa, jodhaparazana ava / zeSa bhAga ke mudraka - mauja prinTiga dhyaro, bambaI rA.prA. vi. pra..

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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 Kavidarpana 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 Matra Vittas, including strophes, in view of the number of Padas in a stanza or a strophe; strophic couplets and triplets in Sanskrit and Prakrit literature (6); the three Dvipadis, i.e., metres of 2 Padas each (7); two of them called Ullala; the meaning of the term Ullala (8); Catuspadis: the Gatha as the chief among them; its nature and the metres derived from it (9); the 10 Ardhasama Catuspadis; the Sama Catuspadis of 16 Matras in a Pada; the longer Sama Catuspadis and the Ardhasama Catuspadis (10); The Pancapadi metre Matra rather neglected by the author (11); origin and kinds of Satpadis, the Dhavalas and the Mangalas (12); Strophic couplets: Satpada and Phulla (13); other couplets (14); contents of ch.3: Mere enumeration of the 26 Jatis beginning with Ukta: The significations of the words Jati, Chandas and Vrtta; Matra Vrtta and Varna Vrtta (15); contents of ch. 4: 109 Varna Vsttas defined; significations of the words Vitana, Samani and Pramani (16); the term Vitana used in other works on prosody (17); contents of ch. 5: the Ubhaya Chandas, namely, the group of 11 metres headed by the Vaitaliya; the six Pratyayas treated very briefly in ch. 6 (18). I-XXIX (b) Gathalaksana of Nanditadhya: Contents (19); The author and his probable age (20). XXX - XXXII (c) Chandahkosa of Ratnasekhara : Contents (21); the author; Ratnasekhara and Praksta Paingala (22); unscientific nature of the treatment (23); Matra Vsttas: 1.

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savRttikaH kavidarpaNAH Sama Catuspadis (24); 7 Ardhasama Catuspadis, 2 Visama Catuspadis and 7 strophic couplets (25); conclusions suggested by the treatment of metres (26); the new type of prosodial music called Tala 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 Nandisenas' Ajitasantistava; 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 Catuspadi Matra Vrttas (31); 4 Ardhasama Catuspadi Matra Vsttas (32); 6 Visama Vittas (33); the terms Naraca and Vestaka used as names of metres; the nature of the Vaisamya in the Vsttas examined (34). XLIV - LII 3 Text of Kavidarpana and its commentary 1 - 68 4 Index of verses in the text 69 - 72 5 Index of Prakrit stanzas in Commentary ... 73 and 74 6 Index of Sanskrit stanzas in Commentary 7 Index of Matra Vrttas in Kavidarpana 76 - 77 8 Index of Varna Vsttas in Kavidarpana 78 - 80 9 Index of Prakrit stanzas in App. I-III ... 81 - 84 10 Index of Sanskrit and Prakrit metres in App. I-III 85 - 86 11 Appendix I: Gathalaksana of Nanditadhya - Text 87 - 98 12 Appendix II : Chandahkosa of Ratnasekhara - Text 99 - 110 13 Appendix III : Chandolaksanani of Jinaprabha ... 111 - 119 14 Corrections ... ... .. ... ... ... 120 - 124 15 Brief Notes ... ... ... ... .. ... ... 125 - 154 16 Concordance of the present and the earlier editions of Kavidarpana ... ... ** 155 - 156 ***

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Foreword by the General Editor Virahanka's Vrttajatisamuccaya and Svayambhu's Svayambhucchandas represent the tradition in metrics prior to Hemacandra. The Kavidarpana, on the other hand, can be taken to represent to a degree the post-Hemcandra metrical tradition. Even though it treats of the Varnavsttas as well as the Matravrttas, it is primarily interested in the Prakrit and Apabhrams'a Matra-metres. It is quite familiar with the Chandonusrasana, 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 Chandahkandali with regards to Prakrit-Apabhrams'a metres and by S'ura 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, Siddharaja Jayasimha, Kumarapala and Sakambhari-raja (as also to some Jainacaryas) 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 Gujarata and Rajasthan. 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 Ullala, Kavya, Vstta, Jati, Vitana, Upajati etc. are especially rich in illuminating information. Besides the Ka vidarpana and its commentary, the present volume includes two other short manuals of Prakrit-Apabhrams'a metres (the Gathalaksana of Nanditadhya and the Chandahkos a of Ratnasekhara) and also the text of Nandisena's Ajita-Santi-Stava along with the metrical definitions of its commentator Jinaprabha. Of these the Gathalaksana 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 Svayambhucchandas, (Purvabhaga, 3.2, 4.2, 4.1, and 3-3; Prof. Velankar's edition, p. 105). So also are the illustrations of the Duha (vol 83, Svayambhucchandas 5.2, p. 53). On the other hand, though the text of the Chandahkosa, 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 Svayambhu, Hemacandra, etc. it represents a metrical tradition which has later crystallized as the bardic tradition in the hotch-potch of Praksta-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 Virahanka to Ratnasekhara, were very vigorously cultivated in Rajasthan and Gujarata, and we can point to the metrical versatility of Abdala Rahamana, the author of the Sandes arasaka and to the numerous citations from the Vittajatisamuccaya, the Gathalaksana and the Chandahkosa in the commentary on the same (both of which are closely connected with Rajasthan), 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 Rajasthan Puratana Granthmala 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-santi-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 Gatha metre. The first of these explains the terms used for the five kinds of the Matra Ganas in the subsequent definitions. The second definition consists of a pair of Gathas which explain the constitution of a Gatha, while the third, which is the only one composed in the metre which it defines, defines the composition of a sloka. All the remaining ones, i.e., Nos. 4 to 34, are in the Gatha metre: and define the ing 31 metres employed in the hymn. At the end of these definitions Jinaprabha gives one more Gatha, 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. Chandahkosa of Ratnasekhara (CK.) edited here in Appendix I; 2. Chandahsekhara of Rajasekhara; edited at JBBRAS., N.S. vol. 22, 1946; 3. Chandassutrz of Pingala; NSP. edition, Bombay, 1938; 4. Chandonusasana of Jayakirti (JK.); edited in the Jayadaman, by the Haritosha Samiti, Wilson College, Bombay, 1949; 5. Chandonusasana of Hemacandra; in Praksta and Apabhraisa 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 Jayadaman 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 Jayadaman mentioned in Note 3 above; 7. Janasrayi (JNS.); edited at Trivandrum, 1948; 8. Kavidarpana (KD.); the present edition; 9. Ratnamanjusa; published by the Bharatiya Jnana Pitha, Kashi, 1949; 10. Vrttajatisamuccaya of Virahanka (VJS.); recently edited in the Rajasthan Puratattva Series; 11. Svayambhuchandas of Svayambhu (SB.); edited in the Rajasthan Puratattva Series; 12. Apabhrania Metres; published at the Bombay University Journal, Nov. 1933; 13. Apabhramsa Metres No. II; Bombay U. Journal, Nov. 1936; 14. Apabhramsa 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 Gatha is extended into a Giti in Nos. 9, 20, 28 and 31. Nos. 8, 21, 22, 24, 29, 33 and 34 consist only of a Purvardha of the Gatha, while Nos. 25, 26 and 32 consist only of an Uttarardha of it. On the other hand, No. 11 consists of one whole Gatha and a Purvardha of another attached to it.

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[INTRODUCTION savRttikaH kavidarpaNaH 'mostly depending on the Kavidarpasa'. 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-santi-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 santicandra Upadhyaya 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 upajivya prayena (mostly depending upon the Kavidarpana)'. Actually, it is found that only four Gathas have been reproduced from the Kavidarpana that is before us, while the remaining ones, whether Gathas, Gitis 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 upajivya is only the terminology employed by him for prescribing the Matra Ganas in the composition of the different metrical lines. Perhaps, even the use of the Gatha 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 Kavidarpana. But it is also found that in the case of a few metres, he has neglected the Kavidarpana, though he could have very well quoted from it its definitions of these metres. Thus the Vanavasika which is employed for the composition of v. 33 of the hymn, is defined at Kavidarpana 2. 19-20. Similarly, the Aparantika 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 Vanavasika, though it is in the Gatha metre, while the latter is not

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88 1-3 ] savRttikaH kavidarpaNaH composed in the Gatha, but in a single line of the Aparantika 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 Gatha 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 Kusumalata, Khidyitaka, Ksiptaka and Adila Dipaka respectively, but the Kavidarpana knows them under the names of Aupacchandasaka (KD. 5.2), Vamsapatrapatita (KD. 4.84), Rathoddhata (KD. 4. 27) and Svagata (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 Gatha 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 Prsthamatras throughout; it sometimes writes the letter i in the older way, i.e., with two dots and an ukara 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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savRttikaH kavidarpaNaH [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 Chandonusasana and the verses from the text of the Kavidarpana 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 Chandonusasana, while explaining the metres of the Ajita-santi-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 Sridhavala at 2.34.1 from Hemacandra's Chandonusasana 5.33, of Dvipadikhanda at 2.36.3 from Sriharsa's Ratnavali Natika 1.14-16, of Cudala-Dohaka at 2.17.2 from Jinasimhasuri, of Dvibhangi at 2.35.1 from Suraprabhasuri, of another Dvibhangi at 2.36.1 from Tilakasuri. 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), Kumarapala (in 2.30.4-6; 33.4; 37.3), Jayasimhadeva (in 2.3.3) and sakambhari-raja (in 2.30.4). It also alludes to Tilakasuri (in 2.30.2), Yasoghosasuri (in 2.32.1), and Guru Samudrasuri (in 2.22.1), evidently as the comtemporary distinguished personalities. On the other hand, the commentator largely quotes from the Chandahkandali, which is evidently a work on Prakrit prosody written in the Prakrit language and employing the same terminology as is used in the Kavidarpana. 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 Kavidarpana also quotes besides this, one stanza from Svayambhuchandas (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 Chandahkandali; 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 Sura on p. 1 and on p. 8 under KD. 2.4; he mentions that the technical terms used for the Matra Ganas in the Kavidarpana are borrowed from sura (sura-paribhasa iyam pujya-prayukta sarva iti arthaj

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$$ 3-4 ] savRttikaH kavidarpaNaH jneya). On the same page and under the same stanza he also quotes Trilocanadasa in support of the view that the Aryya or Gatha is a Catuspadi and not a Dvipadi. On p. 18 under KD. 2.9, he speaks of Pingala as one who gave the name Aryagiti 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 Gatha), 2.13 (vv. 46-58, derivatives of the Gatha), 2.33 (vv. 87-94, varieties of a Dvibhangi called Satpada or Kavya), 2.35.3 (v. 97, a Dvibhangi), 2.37.2 (v. 98, a Tribhangi), and 4.122-127 (20 stanzas in all). Among the illustrations of the varieties of a Gatha (vv. 10-43), he quotes one (v. 36) from Padaliptasuri 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 Gatha. On the other hand, vv. 87-94, 97 and 98, which respectively illustrate the different kinds of a Satpada, a Dvibhangi and a Tribhangi which are not actually mentioned by the author, are all of them wholly reproduced from Hemacandra's Chandonusasana. 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 Chandonusasana. Of these v. 18, 20, 24, 25, 29 are first quoted by Halayudha in his commentary on Pingala's Chandas-sutra 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 Yatyupanisad, our commentator adopts the readings given by Hemacandra and not those that are found in Halayudha. 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 Vipulas given on KD. 4.122-127, which are all in Sanskrit, are again reproduced many of them directly from Halayudha'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 Bhavabhuti's Uttararamacarita; 4.123.1 from Rajasekhara's Viddhasalabhanjika I; 4.123.3 and 4.127.5 from Magha's sisupalavadha 2.44 and 49. In addition to these he often quotes grammatical rules from Hemacandra's Sabdanusasana, Adhyaya 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 :-Ratnasuri (2.32, p. 15), Dharmasuri and King

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savRttikaH kavidarpaNaH INTRODUCTION Jayasimha (2.54, p. 21), King Siddharaja Jayasimha (2.53, p. 21) and King Kumarapala (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 Mudra. His main aim was to compose a practical guide in respect of metres, particularly those in the Prakrit and the Apabhramsa languages, which are usually employed by the popular bards. Accordingly, he has expended great care on the second chapter which deals with the Matra Vittas, whether single or strophic, composed in the Prakrit or the Apabhramsa languages. In this chapter he employs the Gatha 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 Utsaha. Hemacandra composes his definitions in the Sanskrit language, throughout his work, in the form of Sutras 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 Kavidarpana does not follow Hemacandra in this respect and classifies the metres under three heads in accordance with the unit of scansion, namely, a Varna, a Matra 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 Vsittas and the mixed Matra-Varna Vrttas. As his main interest was in the Prakrit and Apabhramsa metres, as said above, he does not give full illustrations of the Varna and the Misra Vittas 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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vii 88 4-6 ] savRttikaH kavidarpaNaH 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 Ullalas, Kumkuma and Karpura (2.3.1-2), of Mauktikadama (2.3.3), of the Catuspadis beginning with Pancananalalita and ending with Cudaladohaka (2.14-17), of Vadana, Madila, Adila and Paddhatika (2.2122), of Rasavalaya and Vastuvadana (2.25), of Utsaha and Matras (2.2628), of Ghattas, Kirtidhavala, Satpada, Phulla, Sridhavala, and Tarala (2.30, 32-34), of the Dvibhangis and Tribhangis which contain a Dohaka or an Ullala (2.35-36) and of a Kadavaka which consists of 4 stanzas in the Paddhatika metre (2.37) are composed in the Apabhramsa language. On the other hand, the examples of the Gatha and its varieties and derivatives as also of those Dvibhangis and Tribhangis which employ a Gatha or a Khanda are all composed in the Prakrit language. 6. Kavidarpana 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., Matra, Varna, cr both, as said above and then proceeds to enumerate the different kinds of Ganas, whether of Varna or of Matra, 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 Apabhramsa poetry, while the definition of a Pada 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 Vittas are concerned, where he invariably mentions it while defining them in the fourth chapter. The commentator here quotes a stanza from Svayambhuchandas (1.72) according to which the Yati was considered as optional even in the case of the Sanskrit Varna Vsttas by older prosodists like Mandavya, Bharata, Kasyapa 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 Matra 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 Padas or lines which a stanza or stanzas in a simple or a composite metre may contain. Thus he begins with the Dvipadi, i.e., a metre with two Padas, and ends with a Sodasapadi, j.e., a metre having 16 Padas in it. Among these Dvipadi, Catuspadi,

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agfam: fazdor: [INTRODUCTION Pancapadi, Satpadi and Astapadi metres are simple metres consisting of a single stanza each, having respectively 2, 4, 5, 6 and 8 Padas in them; while some Satpadis, Saptapadi, some Astapadis, Navapadi, Dasapadi, Ekadasapadi, Dvadasapadi and Sodasapadi 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 Apabhramsa 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 Apabramsa 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 Brhati or the Kakubh metre coupled with another in the Satobrhati 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 Visesakas 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 Apabhramsa languages are intentional and definitely meant for variety and ornamentation. viii 7. Among the Dvipadi metres our author selects only three, namely, the two Ullalas, 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 Vrttajatisamuccaya of Virahanka. 5. See Vrttajatisamuccaya, 4.86 for these.

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$$ 6-8 ] savRttikaH kavidarpaNaH ix the bards of Magadha, and the Mauktikadama. Of the two Ullalas the second, i.e., the Karpura, 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 Ullalas no long letter is compulsory, but a short senting the 13th Matra and 3 shorts representing the 26th, 27th and 28th Matra in the Karpura (only the 26th and 27th in the Kumkuma) in each half is compulsory. The Yati in both the halves is after the 15th Matra and in practice even the 14th and the 15th Matras are represented by short letters for keeping a sort of balance between the concluding portions of three Matras in the two parts, caused by the presence of the Yati in each half. The third Dvipadi which our author defines is the Mauktikadama. Here the Yati after the 12th and the 20th Matra in each half which has 32 Matras 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 Svayambhu 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 Satpadi which has three lines of 12, 8 and 12 Matras 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 satpadi at KD. 2.30. It is also noteworthy that this same name Mauktikadama is given by Ratnasekhara in his Chandahkosa v. 6 to a Catuspadi which has 16 Matras in each of its four Padas and is virtually the same as cur Dvipadi, but where there is only one Yati at the 16th Matra instead of our two at the 12th and the 20th Matras, a Yamaka being also introduced at the point of the Yati. Yet it must be pointed out that Ratnasekhara's Mauktikadama is a Varna Vrita with 4 Madhyaguru Caturmatras (or Jaganas) in each Pada and must be traced to a similar Sanskrit metre noted by Hemacandra, at Chandonusasana 2.172. On the other hand, as seen from the illustrations of both our author and of Hemacandra, the Dvipadi Mauktikadama shows preference for the Adiguru and Sarvalaghu Caturmatras, apparently avoiding the Madhyaguru Caturmatra or the Jagana. 8. The name Ullala given to the first two Dvipadis is very interesting. Kavidarpana says that they belong to the Bandins or the bards; Hemacandra on Chandonusasana 7.3 mentions them as Ullalakas 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 Magadhika (metre) were

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savRttikaH kavidarpaNaH [ INTRODUCTION by this time extended to all bards irrespective of their home. Virahanka and even Svayambhu 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., Ullala, 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 Paddhatika 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 Catuspadi like the Pancananalalita 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 Dhruva, Dhruvaka or Ghatta, as our commentator tells us on KD. 2.30.6 and quotes from the Chandahkandali in support of it. Svayambhuchandas 7.1 and Hemacandra on Chandonusasana 7.57 further note that a Dvipadi gets this name Dhruva, only when it is thus employed for 'restrospective allusions, requests, plot-contents, or auspiciousness'. But otherwise, it is called merely a Dvipadi. It is clear, however, that though Svayambhu mentions this peculiarity of the Dvipadis, his treatment of them in chapter 6 begins with Laya and Bhramarapada which have 28 Matras in each of their two Padas and altogether drops the Kurkuma and the Karpura, the famous Ullalas of the Bandins. On the other hand, Hemacandra begins his Dvipadis in chapter 7 with these two, which are the shortest among the Dvipadis that can serve as the Dhruvas and which had evidently gained great popularity among the bards between the times of Svayambhu and Hemacandra, receiving a special name for themselves at their hands. In addition to such a use of these Ullalas as Dhruvas in a Sandhi or a Kadavaka of long narrative poems, Apabhramsa 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 Ullalas, namely the Karpura, while explaining the composition of a satpada at 1.118; but does not give any independent status to it. The 25 varieties of the Karpura Ullala mentioned by our commentator on KD. 2.3 are only secondarily hinted at by the Praksta Paingala, while giving the 71 Prastaras or kinds, in view of the presence of the short and long letters in each, at 1.120-123. Chandahkosa goes a step further and neglects even the name of the poor Ullala i.e., Karpura, though it virtually alludes to this Dvipadi while defining the composition of two strophic couplets, namely, Satpada and Rasakula, in yv. 12 and 29. It is again significant that both the Prakrta Paingala and the

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$$ 8-91 savRttikaH kavidarpaNaH Chandahkosa do not show any knowledge of the shorter Ullala, i.e., the Kumkuma. This may mean that out of the two Ullalas 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 Dhruva or as a strophe in couplets and triplets, but its favourite name or rather epithet, was completely forgotten. I think the term Ullala 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 Matra in each of its two Padas. 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 Ullala is employed by both the Prakrta Paingala I.146 and the Chandahkosa 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, Ullala 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 Doha which forms its first half, and a Kavya (whose stanza consists of four Padas of 24 Matras each), which forms its other half. It must have Ullala i.e., the decoration in the form of the repetition alluded to above. The commentator of Chandahkosa takes the word Ullalaka as another name of the Kavya a stanza of which contains 96 Matras; this is virtually also the explanation of one of the three commentators of the Prakrta 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'. Chandahkosa uses the same term Ullalaka in the same sense once more in the definition of a sister metre Kundalini, where the metre of the first stanza is Gatha instead of Doha, while that of the second is the same, i.e., the Kavya, as in the Kundalika. This Kundalini is unknown to the Praksta Paingala. 9. The next main division of metres according to the scheme of the Kavidarpana is the Catuspadi. Among these, the Gatha stands first and in vv. 4-8, a Gatha, which is the same as the Arya in Sanskrit, is defined together with all its kinds such as Pathya, Vipula and Capala. The commentator gives additional information about some more kinds of the Gatha, such as the 26, which begin with Kamala 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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xii savRttikaH kavidarpaNaH 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 Caturmatras. Hereafter in v. 9, there follow in succession the derivatives of the Gatha, namely, Giti, Upagiti, Udgiti and Skandhaka; in v. 10 the derivatives of the Giti, namely, Ripucchandas, Lalita, Bhadrika and Vicitra; in vv. 11-13, the remaining derivatives of the Gatha such as Gatha and others ending with Malagatha. The commentator mentions nine more derivatives of the Gath, the first of which is Jatiphala; the remaining 8 are but the extensions of the Jatiphala, secured by adding one Caturmatra each time before the last long letter of the first half of the Jatiphala. Their names begin with Dama and end with Maladama. In all these 17 derivatives of the Gatha, the second half is always the same as that of the Gatha. It is also noteworthy that all but three (Jatiphala, Gathini and Damini) have masculine names. Both our author and commentator seem to have followed very closely Hemacandra's Chandonusasana in giving these varieties. Virahanka, Vsttajatisamuccaya, 4.9-14 and 2.2-3 mentions only Giti, Upagiti, Skandhaka and Gitika, which last is the same as our author's Bhadrika; whereas Nanditadhya mentions Udgiti, Upagiti, Samkirna Skandhaka and Skandhaka at Gathalaksana, vv. 62-75, though some of these are given under different names. It is to be remembered that the Gatha together with its varieties and derivatives is a Catuspadi according to the author of the Kavidarpana, though he has not mentioned its "Pada' 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 Halayudha. Those two, namely, Halayudha and Hemacandra, clearly state that the mention of an Ardha in the definition of the Arya (i.e., the Gatha in Prakrit) indicates that the division into Padas 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 Janasrayi, though Jayakirti states at Chandonusasana, 5.3, that an Arya has four Padas. On the other hand, the common tendency among the Prakrit prosodists is to consider the Gatha as a metre of four Padas. Praksta Paingala 1.54, Gathalaksana, v. 16 and Chandahkosa v. 51, all mention the four Padas of the Gatha; yet Virahanka seems to favour the view of the Sanskrit prosodists at VJS. 4.35-36, where the 4th Caturmatra in each half of the Gatha is required to be a Samanta; i.e., a Jagana, or a Vipra or a Sarvalaghu Caturmatra as seen from the stanzas themselves which serve as illustrations. Strangely enough, Virahanka,

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$$ 9-10) savRttikaH kavidarpaNaH xili while defining a Gatha at VJS., 4.1-2, does not mention either a Pada or a Dala. Any way, that the author of the Kavidarpana considered Giti, which is only a derivative of the Gatha, 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 Dvadasa-padis, assuming in all the three cases that the Giti 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 catuspadim kulakena aha 'He defines the Catuspadi by a Kulaka'; the Kulaka here is a collection of five stanzas. 10. Having thus started with the Gatha, which is a sort of a Visama Catuspadi, 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 Prakarana. Among the Ardhasama Catuspadis, Dohaka plays an important part, yielding five different derivative metres, one of which is, strictly speaking, a Sama Catuspadi (Samdohaka in v. 16), mentioned here incidentally, owing to its connection with the Dohaka. Out of the rest Pancananalalita, Malayamaruta and Rasa (v. 14) are unknown to Virahanka. The first two are unknown even to Svayambhu, who, however, knows the Rasa and mentions it under the name Ravanamastaka at Svayambhuchandas, 6.14. The last among these Ardhasamas is Magadhika, which is only another name of the Vaitaliya, when it is composed in the Magadhi language according to Virahanka, VJS. 4.28; Kavidarpana does not lay down the condition of the language, but somehow tries to distinguish it from the Vaitaliya which is defined under the mixed metres in ch. 5 (v. 1), by mentioning only the Matras in the former, excluding the mention of the Aksara Gana which is prescribed for the latter. In short Magadhika is considered as a pure Matra Vstta 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 Matrasamaka group which are usually defined among the Sanskrit Matra Vsttas.? All these have four Caturmatra Ganas in each of their four equal Padas. Five more metres of the same length, i.e., having 16 Matras in each Pada, are further defined in vv. 21-22. As a matter of fact, we have only three such metres, namely, Muktavalika, Vadana and Paddhatika, whose constitution mutually differs only in respect of the Matra Ganas which are employed in them. Hemacandra mentions this last metre, i.e., Paddhatika, both among the Sanskrit and the Prakrit metres, but prescribes the restrictions as above only for 6. See his Chandonusasana, 3.62 (Jayadaman, p. 106). 7. See Jayadaman, Introduction, pp. 28-29. 8. See note on the passage.

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xiv - savRttikaH kavidarpaNaH ( INTRODUCTION the Sanskrit, but not for the Prakrit one. The remaining two metres of this group of five are Aaila and Madila; these are exactly identical with Vadana in their constitution, but Vadana has no rhyme, Adila has two different rhymes for the two halves, while Maaila has only one common rhyme for all the four Padas. Ten more Sama Catuspadis are next given in vv. 22-26; they are :-Khanda with 13 Matras, Madanavatara with 20, Galitaka and Rasayalaya with 21, Khanjaka and Rasaka with 23, Candralekha, Vastuvadana and Utsaha with 24 and lastly Dvipadi with 28 Matras in each of their four Padas.10 Regarding the names Galitaka, Khanjaka, Sirsaka and Rasa, the commentator quotes a conventional rule according to which 'All metres except Gatha, Dandaka and the like, are generally called Galitakas; all Galitakas are generally called Khanjakas when they have the Anuprasa and rhymed Padas. All Khanjakas when coupled with one, two or even three metrical stanzas, are called Sirsakas and, finally, all Matra Vittas (Jatis) may get the name Rasa'. Regarding the last, the commentator quotes an old authority, already quoted by Hemacandra, Chandonusasana 5. 3, which means :-'All Jatis are employed here in view of their constitution; Rasabandha is indeed an elixir among the assemblies of elderly persons'.11 The author wholly neglects the Antarasama and the Samkirna Catuspadis, but the commentator mentions them on v. 31 below while explaining the name Chaddanika and quotes from the Chandahkandali in support. An Antarasama has its 1st and 3rd, as also 2nd and 4th Padas equal and similar; while the Ardhasama has 1st and 2nd as well as 3rd and 4th Padas equal and similar. It will be seen that the Antarasama itself becomes the Ardhasama when its 2nd and 3rd Padas exchange their places; also that the terms are used in a slightly unusual sense. Antarasama is one, whose alternate Padas are equal, while Ardhasama is one whose Padas are equal in each Ardha. Ordinarily, the term Ardhasama is used for the so-called Antarasama, 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 Catuspadi, namely, the Antarasama and the Ardhasama, is of 55 kinds, according as one pair of their Padas (1st and 3rd in the Antarasama; 1st and 2nd in the 9. For the different significations of the words Adila and Madila, and the constitu tion of their metrical lines, see notes on the passages. 10. See Vrttajatisamuccaya, Introduction, para 5 for a discussion of the name Dvipadi as applied to a Catuspadi 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 nusasana, 4.40 com., 41 and 76; for the name Rasaka see note on the passage and on VJS., 4.37-38.

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$8 10-12 ] savRttikaH kavidarpaNaH XV Ardhasama) contains from 7 to 16 Matras and the other pair contains from 8 to 17 Matras 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 Matras and the second contains from 7 to 16. Their names begin with Sumanorama and are the same in the case of both the Antarasama and the Ardhasama Catuspadis. The names and full illustrations of all the 110 varieties of the Antarasama Catuspadis are given by Hemacandra at Chandonusasana 6. 19-20. The next Sutra (which, however, is not printed in bold type in the editions through oversight) states how the Antarasamas themselves become Ardhasamas, by an exchange of the 2nd and the 3rd Padas among themselves. 11. It is rather striking that the Kavidarpana dismisses the old Apabhramsa metre Matra in a couple of stanzas giving only a single variety of it containing 15, 11, 15, 11 and 15 Matras in its five Padas respectively It is true that the author calls it pracurabheda '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 Matra does not agree with that of Hemacandra, the latter having one Matra more in each of the 5 Padas. The four varieties of this Metre which are noted by Virahanka at VJS., 4.29-30 are still different. Virahanka 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 Matras respectively. It is his commentator who fills up the gap with the help of other treatises on the subject and from Virahanka's own defining stanzas, which also contain the illustrations. According to him the even Padas (2nd and 4th) of the four varieties respectively contain 11, 12, 13 and 14 Matras 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 Padas of this metre must be longer than the even ones (by 2 Matras according to Virahanka, and from 3 to 5 Matras according to Hemacandra and the author of the Kavidarpana). 12. A longer Dvipadi which shows a Yati first after the 8th, the 10th or the 12th Matra and then another Yati regularly after the next 8 Matrasthus dividing the Pada into three parts--in both the halves, has undoubtedly developed into a Satpadi 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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xvi savRttikaH kavidarpaNaH [INTRODUCTION 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 Satpadis points to the same conclusion. It is not the 3rd and the 4th Padas 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 Pada into three Padas. Kavidarpana gives six different kinds of the Satpadi, which he calls by the name Ghatta, in vv. 29-31 and remarks that there are many other divisions of the Satpadi. He also mentions the peculiar Anuprasa or Yamaka of this metre as explained above and remarks that the Satpadi gets an additional name Chaddanika 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 Satpadi receives two more names, Dhruva and Dhruvaka, 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 Chandonusasana 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 Chandonusasana. The first of these main varieties is Satpada-jati; its 3rd and 6th Padas may each contain from 10 to 17 Matras in them, thus giving rise to its 8 varieties, while the other four Padas contain only 7 Matras in each of them. The second main variety is Upa-jati and the third is Avajati. As in: Satpada-jati, so in Upajati and Avajati, the 3rd and the 6th Padas may contain from 10 to 17 Matras in them, thus giving rise to 8 sub-varieties of each of the two. But the remaining Padas, i.e., 1st, 2nd, 4th and 5th, contain 8 Matras in Upa-jati and 9 Matras in Ava-jati. The commentator further adds, following the Chandahkandali and Hemacandra, that like the Satpadi, 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 Dhruva, Dhruvaka or Ghatta like the Satpadi. But the additional name Chaddanika is given only to the Catuspadi and the Satpadi, but not to a Dvipadi, 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 Satpadi called Kirtidhavala, whose rhyme is peculiar since its 1st Pada 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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SS 11-12 1 agfach: anfactor: Hemacandra, mentioned in the definition nor noticed in the illustration. Chandonusasana 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 Padas each. The Dhavala of 8 Padas will be defined by our author under Astapadi according to his scheme. But the Dhavala of 4 Padas 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 Padas should be known from other bigger works. Hemacandra defines and illustrates all the three Dhavalas together with their varieties, (2 of Astapadi, 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 Utsaha, Hela, Vadana and Adila, when it is used for praising a great man under the image of a bull. Thus we have an Utsaha-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 UtsahaMangala, 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 Phullataka and Jhambataka; the former is not a separate metre, but a separate term used of metres that are used in praising deities. Thus any metre like Utsaha is to be called Phullataka (or perhaps Utsaha-Phullataka like Utsaha-Dhavala) when used in praising deities. A Jhambataka, however, is a separate Catuspadi metre, whose Pada contains 3 Caturmatras and 1 Dvimatra in it. There is no restriction about the nature of these Matra Ganas. Hemacandra, Chandonusasana 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: vaksyamana-gandhodakadhara eva ganavasat jham xvii

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xviii savRttikaH kavidarpaNaH [INTRODUCTION bataka-samjnam labhate. "The Gandhodakadhara itself, which will be described later, gets the name Jhambataka when it is used as a song (i.e., to be sung in some Tala and not merely to be recited like a Sloka)'. Svayambhu mentions the convention about the Dhavalas and the Mangalas at 4.36-41, besides defining an independent metre called Mangala, whose first 2 Padas contain a Sanmatra and 2 Caturmatras each, while the last 2 contain five Caturmatras each This Mangala is entirely different from the one given by Hemacandra at Chandonusasana 5.39. Svayambhu does not refer to either the Phullataka or the Jhambataka 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, Phullataka, 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 Satpadi and the second a Saptapadi metre. The Satpada is alternatively called Sardha-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 Chandonusasana 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 Kavidarpana. It would appear that the question turns upon the interpretation of the word Kavya 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 Chandahkosa 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 Chandahkosa calls it in CK. v. 13) metre is described as only a half Kavya (kavvaha addha; kavvapayajuyala). The two stanzas, v. 31 and v. 38, define two couplets Kundalika and Kundalini; 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 Gatha in the Kundalini. Each of these two couplets contains 8 Padas; and when the last 4 Padas in both of these are called half a Kavya, the inference is that the strophic couplet as a whole was called Kavya. But as said above Prakrta Paingala calls the Vastuvadana itself a Kavya 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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$$ 12-14 ] savRttikaH kavidarpaNaH xix I. 117, 120, and 148 where the name Kavya 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 Kavya 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 Vlttajatisamuccaya, p. V-VI. It is also worthy of note that the name Kavya is not given to a single stanza by any one except the Praksta Paingala. 14. The second couplet defined in v. 33 is Phulla, which is a Saptapadi, as it consists of a stanza in the Matra metre which has 5 Padas, and another in the Ullala 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 Chandonusasana 5.33. Rajasekhara also gives it at Chandahsekhara 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 Padas contain respectively 14, 12, 14, 12, 11, 10 or 12, 11, 10 or 12 Matras in them. Perhaps Hemacandra has borrowed from Rajasekhara'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 Astapadis, 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 Astapadi 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 Giti. As said above in para 9, Giti is to be considered as a Catuspadi. The fifth or the last Dvibhangi is called Vastu and is made up of a Matra and a Doha. It is thus a Navapadi and is also known as Radda.12 Hereafter, in v. 36, are defined in succession, a Dasapadi which is a couplet formed by a Dohaka and a Ghatta, an Ekadasapadi, and a Dvadasapadi, both of which are Tribhangis or Triplets, 12. Compare Vrttajatisamuccaya, 4.31; Hemacandra, Chandonusasana, 5.23; Ratnase khara, Chandahkosa v. 34 and Prakrta Paingala, I. 133-134.

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XX savRttikaH kavidarpaNaH [INTRODUCTION the first formed by a Vastu (which is itself a couplet consisting of a Matra and a Dohaka) and an Ullala, and the second by 2 Khandas followed by a Giti. This last again has received a specific name Dvipadikhanda and the illustration for it has been borrowed by our author from Sriharsa's Ratnavali Natika, Act I. It is difficult to say how the word Dvipadi has come to form part of the name of this Tribhangi, though the word Khanda in it is easy to understand. Perhaps, at one time a couplet formed by a Khanda and a Giti was called a Dvipadi, where the word Pada signified a metrical unit or a stanza, and not a line 13 One more Dvibhangi consisting of 2 Ghattas and a Tribhangi formed by a Dvipadi, a Khanda and a Giti, both the Dvibhangi and the Tribhangi being Dvadasapadis, and lastly a Caturbhangi which is a Sodasapadi made of 4 stanzas in the same metre like the Paddhatika, are defined in v. 37 of the second chapter. This Sodasapadi 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 Apabhramsa 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 Tala of 5, 6, 7 or 8 Matras, even when these metres are ordinarily metres of 4 lines.14 15. The third chapter of the Kavidarpana merely introduces the Varna Vsttas by enumerating three broad divisions, i.e., Sama, Ardhasama and Visama, as also the 26 subdivisions or Jatis of the first of these. A technical term, namely, Vstta is also prescribed here for the Varna Vrttas. Some older writers following the lead of Pingala's Chandassutra 5.1 have tried to use the term Vstta exclusively for the Varna Vsttas; they do not, however, employ any similar exclusive term for the Matra Vrttas and call them by the common name Chandas. It was probably Dandin, Kavyadarsa 1.11, who first gave the specific name Jati to them and this is then sought to be adopted by Halayudha on Pingala, Chandassutra 5.1. But this nomenclature is not scrupulously followed by any one, including Pingala himself. For he evidently understands even the Matra Vittas like the Vaitaliya and Matrasamaka by the word vitta in the Sutra (padah) yatha-vrtta-samaptir va (4.11), since they are divided into Padas, even if the Ary, 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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SSSS 14-15 1 savRttikaH kavidarpaNaH xxi sense a on 2.2 Ardhas and not Padas are excluded from it. Bharata does not define the Matra Vrttas separately, nor does he classify metres under three heads, namely, Sama, Ardhasama and Visama. But he certainly included Vanavasika, which he defines as a Matra Vrtta at 16.146, under Vrttas; this is clear from the word vrttajna occurring in the same stanza and also from the word Vrtta which he uses with reference to it at 16.151. Here at the latter place, he makes a distinction between the Vrttas and the Aryas; but at 16.168 again, he seems to use the word Vrtta in the of based on Matra or general metre, whether Varna. On the other hand, he calls the 26 classes of the Sama Varna Vrttas by the name Jati at 32.34-39. This is also done by Hemacandra in his commentary Chandonusasana (idanim ekaksaradyah sadvimchando-jatir aha) and 3.3 satyaksaravasanah (anustubhi astasarayam jatau). Jayadeva closely follows Pingala and even he seems to use the word Vrtta in a broad sense at JD. 4.29 and 8.3 ff., so as to include even the Matra Vrttas. His commentator Harsata actually uses the word Matra-Vrtta while explaining the Vaitaliya at JD. 4.15 (p. 15, 1. 10), and calls the metres of the Matrasamaka group by the name Vrtta while explaining JD. 4.24-29 (p. 17, 11. 6, 11). Harsata uses the word Matra-Vrtta again in his commentary on JD. 7.34 and 8.1. Virahanka, too, does not use the word Jati to signify the Matra Vrttas and the word Vrtta to signify Varna Vrttas exclusively, even though the title of his work, namely Vrtta-jati-samuccaya, may mislead one to think so. For, the word Jati occurring in the title of his work clearly means 'a class, a division' and nothing more. He himself uses the words Matra-Vrtta and Varna-Vrtta at VJS., 1.3 and 6.45, Matra-Vrtta alone at 4.65, 6.18, 35, 36, 37 and Vrtta 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 Vrtta and Jati in his commentary on Chandonusasana 1.11 (vrttam: prag matrachandobhyo yad abhidhasyate tad vrtta-samjnam jneyam; matra-chandamsi tu jatir iti prasiddhani). He also refers to the name Jati in the sense of Matra Vrttas only in his commentary on Chandonusasana 8.2; but he actually uses the awkward compound word Matra-Vrtta at Chandonusasana 8.15, which word is, strictly speaking, against the distinction which he tries to make between Vrtta and Jati. On the other hand, we have also seen above, how he uses the word Jati to signify a class of the Varna Vrttas like Ukta, Atyukta and others. Kedara, author of the Vrttaratnakara, does not refer to this distinction at any place and includes the Matra Vrttas under the term Vrtta occurring in the title of his work. At Vrttaratnakara 1.21, he accordingly promises

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xxii savRttikaH kavidarpaNaH [INTRODUCTION to give the definitions of all Vrttas, beginning with the Matra Vrttas in the 2nd Adhyaya. All this would show that in spite of the distinction suggested by Pingala and expressed by Dandin, the word Vstta is used indiscriminately to designate a Matra-chandas as well as a Varna-chandas, from the days of Pingala himself, even though Pingala, Jayadeva, Hemacandra and the author of the Kavidarpana try to restrict it to a Varnachandas only. Janasrayi, however, sticks to the distinction between Vitta and Jati, which it distinguishes at 5.1 as follows: Jati is that which though the same can yet belong to many different Chandases. Chandas is one of the 26 varieties beginning with 'Ukta' etc. and it differs with the difference of the number of letters in a Pada, so that one and the same Jati, though possessed of the same number of Matras, may yet possess different number of total letters and thus belong to different Chandases. On the other hand, a Vstta can belong to one Chandas alone, as it can have always the same number of letters. Ratnamanjusa does not allude to this distinction anywhere. Probably these efforts suggest an older tradition according to which the non-Vedic metres were called Vittas as distinguished from the Vedic metres which are always called Chandamsi, which is surely an older word often occurring in the Vedic literature. For a long time, it would appear that the Matra Vsttas were unknown to Sanskrit prosody, the unit Matra 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 Matra-Tala Vrttas, which presuppose a Kala Matra first and then a corresponding Varna Matra. A Varna Matra, no doubt, was known in the times of the Pratisakhyas, as representing the smallest syllabic quantity which can be pronounced in the shortest unit of time, i.e., a Kala Matra; but its use as a metrical unit must be regarded as subsequent to the introduction of the Arya into the fold of Sanskrit metres.15 To return to the contents of the 3rd chapter : In v. 3 of the chapter, Sesa Vsttas are mentioned as distinct from the Dandakas; but both these are those metres which contain more than 26 letters in each of their four Padas. There is, however, an important distinction between the Dandakas and the Sesa Vittas. The latter are just like the other Varna Vsttas, 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 Apabhramsa Metres III, para 11.

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3S 15-16 ] savRttikaH kavidarpaNaH there can be no doubt that the Dandaka was originally a Tala Vrtta 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 Bhavabhuti. It was sung in the Tala of 8 or 10 Matras according as the particular Aksara Gana contained 4 or 5 Matras in it.16 The Sesa Vrttas are merely hinted at by our author; but they are more fully described by Jayakirti at JK. 2.262-275; by Hemacandra at Chandonusasana 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 Kedara do not mention them at all. Ratnamanjusa mentions only the Aticchandas; but the Janasrayi mentions none at all. xxiii 16. Kavidarpana defines in the fourth chapter 109 Varna Vrttas of the Sama Catuspadi type including the Dandakas, 8 Ardhasama Catuspadis and all the four different groups of the Visama Catuspadis, 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 Catuspadis are distributed over 26 classes called Jatis which contain from 1 to 26 Aksaras in each Pada. The names of these 26 Jatis are given in chapter 3; they begin with Ukta and end with Utkrti. Among these, the class called Anustubh has 8 Aksaras in each Pada of the metres belonging to it. Kavidarpana defines 6 metres of this class and in Sutra 19 states that any other metre of this class should be called Vitana. The position of this Sutra 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 vaksyamanebhyo anya-sama-vrttam, which must be taken to mean that Vitana signifies any Sama Vrtta 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 vaksyamanac ca anyat sama-vrttam chando vitanasamjnam: 'Any metre other than those that are already defined and those that are yet to be defined is called Vitana'. Jayakirti in his Chandonusasana 2.67-68 considers Vitana as an alternative name for Citrapada; 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 savRttikaH kavidarpaNaH [INTRODUCTION and illustration of Vitana at JD. 5.5 and of Citrapada at JD. 6.3, in an identical metrical form (anyad ato hi vitanam; citrapadapi ca bhau gau). Against this Halayudha on Chandassutra 5.8 remarks : -'Since the whitedressed one (the "vetambara author Jayadeva) has said : Vitana is any metre other than these, (and then again) Citrapada 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 Vitana seems to be that this word was intended by him, like his predecessor and model Pingala, to be applicable to all Varna Vsttas whether Sama, Ardhasama or Visama,17a which were not of the Samanika or the Pramanika type. This meaning of the word Vitana as it seems to have been understood by Pingala and Jayadeva. was, however, forgotten and given up at the time of Kedara, Jayakirti and Hemacandra, all of whom treat Vitana as a proper name, along with the names Samanika and Pramanika. They mention all the three names among the metres of the Anustubh class and understand by the term Vitana any other Sama Vstta of the Anustubh class which is different from Samanika and Pramanika and which they have not defined. In this they have followed Halayudha, who in his commentary on Chandassutra 5.8 has clearly 17. See Jayadaman, Introduction p. 33. 17a. The word anustubhi occurring in Jayadeva's definition of the Samani is, how ever, puzzling. Jayadeva was probably prompted to use it here, in view of the immediately following Vaktra group of the Visama Vsttas, to which the word anustubh is really applicable. In Pingala's Chandassutra, the word anustubh occurs at the right place, though it is dragged backwards by Halayudha. On the other hand, if the word is taken, as it is, in the definition of Samani and also of Pramani and Vitana, as is done by Jayadeva's commentator Harsata, the term Vitana 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 Sutras 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 Samani and the Pramani in point of their la-ga-krama. Thus the term Vitana 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 Halayudha's criticism. At the same time it should be noted that Samanika and Pramanika are essentially Vrttas of the Sama type and if they are restricted to one particular class like the Anustubh, 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 Citrapada, 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 Vsttas by Pingala and Jayadeva.

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SS 16-17 ] savRttikaH kavidarpaNaH xxy said so: abhyam samani-pramanibnyam .anyad astaksarapadam chando vitanam nama : 'Any other metre having 8 Aksaras in its Pada, which is different from Samani and Pramani, is called Vitana'. Halayudha has: given 4 different illustrations of the Vitana, all of which have 8 Aksaras in their Padas and the order of the short and long letters in which is different from the one cbtaining in Samanika and Pramanika. It should also be noted how Halayudha has anticipated the word anustubh from Sutra 5.9 for interpreting Sutras 5.6-8, in order that this threefold classification into Samana, Pramana and Vitana of metres should be applicable only to the metres of the Anustubh class. This manipulation and interpretation of the word vitana by Halayudha, however, makes the signification of that word quite uncertain.18 For Kedara has defined only 6 metres of the Anustubh class including the Samanika and the Pramanika; so that according to him all those 9 metres defined by Hemacandra and all the 5 defined by Jayakirti, but not mentioned by Kedara, will have to be called Vitana. The same will be true in the case of Hemacandra and Jayakirti and thus the signification of the term Vitana becomes unsettled and. uncertain. Hemacandra gives 4 illustrations of the Vitana, of which he copies 3 from Halayudha; but one of these must be included under Naraca 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 Halayudha and missed the original signification of the word as intended by Pingala and understood by Jayadeva. 17. Other authors who treat the term Vitana as a common name, and not as a proper one belonging to a particular metre, are the authors of the Janasrayi and the Ratnamanjusa, both of whom are writers from South India. But the author of the Janasrayi mentions the threefold classification of metres into Samanika, Pramanika, and Vitana at the commencement of his treatment of all the Varna Vsttas like Pingala and Jayadeva; while the author of the Ratnamanjusa mentions it at the beginning of the Sama Varna Vsttas, after finishing the treatment of the Ardhasama and the Visama Varna Vrttas in earlier chapters. He clearly means thereby, that the name Vitana and the threefold classification applies only to the Sama Varna Vsttas 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 Vitana is to be applied to any metre beginning with Tanumadhya and ending with Bhujangavijrmbhita (i.e., to any 18. Compare teel:' na: a teraz la faucha 37454nevi madai

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Xxvi savRttikaH kavidarpaNaH ( INTRODUCTION Sama Varna Vstta). He also seems to mean that even the Matra Vrttas which are of the Sama Catuspadi type like Matrasamaka, Nrtyagati and Natacarana, are to be called by the name Vitana. On the other hand, the commentator of the Janasrayi seems to have held the view that the threefold classification applied only to the Sama Varna Vsttas, since he employs the Sama Varna Vsttas having 8, 6, 12 and 10 Aksaras in a Pada 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 Samanika and Pramanika as proper names of two metres of the Anustubh class and then defines Vitana in relation to them, shows that in actual practice he took Vitana 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 Varna Vitta. This is further borne out by the illustrations of Vitana which Hemacandra gives and which are all from the Anustubh class. In this connection I may also point out that according to Utpala, Vitana has ten Aksaras in each of its four Padas; they are made up of 3 Saganas and a long letter at the end.19 But according to Virahanka, VJS. 5.11, it is a metre of the Anustubh class having 8 letters in each Pada, made up of 2 Bhaganas and 2 long letters, (like the Citrapada of Jayadeva). To sum up then, it is evident that according to Pingala, Jayadeva and the Janasrayi the word Vitana signified any Varna Vstta, whether Sama, Ardhasama or Visama, if it differed from the Samanika and the Pramanika in the order of their short and long letters. It signified a similar Sama Varna Vrtta only, in the opinion of the Ratnamanjusa and perhaps also of the commentator of the Janasrayi. 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 Kedara, Jayakirti, Hemacandra, and the author of the Kavidarpana held that the word Vitana signified a similar metre, i.e., a metre which differed from Samanika and Pramanika, of only the Anustubh class, to which also the threefold classification of metres into Samanika, Pramanika and Vitana belongs. Virahanka may be regarded as the exponent of this last view which considers Vitana as a proper name. There is yet another word like Vitana, the history of whose signification is interesting. It is Upajati; this word is generally supposed to signify a metre which contains a mixture of the Padas of the Indravajra and the Upendravajra. But Hemacandra 2.156-157 and our 19. Compare trisagair api viddhi vitanam : Utpala on Behat Samhita, 103.46.

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$$ 17-18 ] savRttikaH kavidarpaNaH xxvii author (under his influence) at KD. 4.40 allow it even in the case of the following two metres, namely, Indravamsa 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 Padas mixed up to produce an Upajati. Halayudha too mentions this view in his commentary on Chandassutra 6.17. An Upajati resulting from the mixture of the Padas of the Indravajra and the Upendravajra is alternatively called Indramala according to Jayakirti 2.117, Ratnamanjusa 5.27 and Janasrayi 4.36. Similarly that Upajati which arises from a mixture of the Padas of the Vamsastha and 'Indravamsa is called Vamsamala according to Jayakirti, Chandonusasana 2.145 and Ratnamanjusa 6.6. 18. The fifth chapter of the Kavidarpana treats of the Ubhayachandas, i.e., mixed metres which are partly Varna Vrttas and partly Matra Vittas. They are 11 in number headed by the Vaitaliya. Sanskrit prosodists, including Hemacandra, define these metres under the Sanskrit Matra Vrttas, which have a few restrictions in respect of short and long letters.20 Out of the three groups of the Matra Vrttas, adopted by the Sanskrit prosodists, the author of the Kavidarpana has already defined two, namely, the Gatha group and the Matrasamaka group in the second chapter under the Catuspadi Matra 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 Jagana; yet he obviously does not consider them as mixed metres or Ubhayachandas, probably because, there is no employment of any positive Aksara 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 Vaitaliya group. When, however, the Vaitaliya is defined as a pure Matra Vitta under the name Magadhika, 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 Matra Gana. A Matra 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 Tala Vrttas, the Matra measures the time which a particular Gana ought to take in recitation, while in the pure Matra Vittas, 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 Matra 20. See Jayadaman, Introduction, p. 24.

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xxviii savRttikaH kavidarpaNaH [INTRODUCTION Vrttas, the distribution of the entire syllabic quantity of a metrical line into the Matra 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 Tala Vrttas the Matra Ganas have another function to perform. They must represent the groups of time-units or Kala-Matra which constitute and govern the Tala 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 Vaitaliya group from the other two groups of Matra Vittas, viz., the Gatha group and the Matrasamaka group, describing these latter under pure Matra Vittas in the second chapter. In the Vaitaliya group, there are three chief metres; they are 1. Vaitaliya; 2. Aupacchandasaka; 3 and Apatalika. The odd lines of a Vaitaliya are divisible into two parts, the first consisting of 6 Matras regardless of the position of a long letter in them. The second part consists of a Ragana 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 Matras at their commencement: A Vaitaliya 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 Apatalika, 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 Matras at the commencement of the even Padas 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 Matras in the even Padas are combined into a long letter, these three metres get the additional name of Pracyika; and when the 2nd and the 3rd out of the 6 Matras in their odd Padas are similarly represented by a long letter, they get the additional name Udicyika. When the long letter as directed above is used in both the odd and the even Padas of the three main metres, they get the appendage Pravrttaka affixed to their names. Thus we have three varieties of each of the Pracyika, the Udicyika and the Pravrttaka. In the same context, the author defines 2 more Sama Vsttas, each of which is sixfold. Thus we get 6 kinds of Aparantika, all the four Padas of which are respectively equivalent to the even Padas of the three principal metres and the three varieties of the Pracyika. Similarly, we have 6 kinds of Caruhasini, all the four Padas of which are respectively equal to the odd Padas 20a See Apabhransa Metres III, para 4 (p. 1067).

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$S 18 ] savRttikaH kavidarpaNaH xxix of the three chief metres and the three varieties of the Udicyika. One more variety called Daksinantika is defined by our author; it has the 2nd and the 3rd Matra combined into a long letter in all the Padas. This will be of 15 kinds as explained in the notes. Hemacandra defines three more metres under the Vaitaliya group; they are the Magadhi, which is exactly the same as our Magadhika defined at KD. 2.18; Pascimantika which is made up of the odd Padas of the Magadhi; and Upahasini which is made up of the even Padas 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 Matra Vitta, the total number of whose Matras is known. This really belongs to the sphere of the 4th Pratyaya or Laghukriya 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 Prastara and the Samkhya and these two, he explains only as connected with the Matra Vrttas.

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II (For Nanditadhya's Gathalaksana See Appendix I). 19. Nanditadhya's Gathalaksana is one of the oldest treatises on Prakrit metres. As its name indicates, it was originally composed for defining a Gatha 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 Nanditadhya uses this letter when it occurs at the beginning of a word, and this is quite in keeping with what Hemacandra says in his Sabdanusasana VIII. 1.228. Nanditadhya 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 Gatha and before commencing that of the derivatives of it. He divides a Gatha into 16 Anias, 13 of which are Caturmatras, 2 'are Dvimatras and 1 is Ekamatra (v. 7), but does not enumerate or define any Matra Ganas anywhere. Only incidentally, he mentions the five kinds of a Caturmatra in vv. 12-13, which are to be employed at the different Amsas of a Gatha. 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 Madanavatara in v. 76 are clearly borrowed from Virahanka's Vsttajatisamuccaya 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 Nanditadhya'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 Gatha alone, including probably also its derivative metres. For Nanditalhya 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, Paddhatika, Madanavatara, and Doha with the metres derived from it. Both the definitions and the illustrations, when they are given, are composed in the Apabhramsa 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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SS 19-20 1 savRttikaH kavidarpaNaH xxxi the impression which is left on the mind of the reader that Nanditadhya was a Jain monk. But even the first 74 stanzas do not all appear to be from Nanditadhya'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 Gatha; 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 Gatha, viz., Pathya, Vipula and Capala. 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 Giti, Udgiti, Samkirna and Gatha given in vv. 26-30 appear to be quite out of context and uncalled for. The first three are the derivatives of the Gatha 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 Nanditadhya. Lastly, v. 52 refers to these names, i.e., Giti, 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 Nanditadhya'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 Apabhramsa metres and particularly of his having defined and illustrated them in the Apabhramsa language itself. The second records the six varieties of the metres derived from the Gatha and this shows that his Gathalaksana 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 Gatha 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 Gatha and its derivatives. The illustrations of Pathya,

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xxxii savRttikaH kavidarpaNaH [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 Nanditadhya 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, Nanditadhya's Gathalaksana 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) Gatha 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 Gatha (vv. 45-47); (7) the method of finding out the total number of letters in a given Gatha and its name among the 26 varieties (vv. 53-55); and (9) lastly, the six metres derived from Gatha, with their illustrations (vv. 63-75). As regards the date of Nanditadhya, we have some indications; thus while illustrating the short o in Prakrit, Nanditadhya quotes a stanza from Rajasekhara's Karpuramanjari (II.49) in v. 56; and Hemacandra in his Chandonusasana (NSP. ed. p. 27, lines 15-17) seems to quote vv. 40-42 from Nanditadhya's Gathalaksana. These two indications, together with Nanditadhya's dislike for the Apabhramsa language, seem to fix his date somewhere about one thousand A.D.

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III (For Ratnasekhara's Chandahkosa See Appendix II.) 21. Chandahkosa 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 Gatha together with its varieties and the metres derived from it. In almost all the cases, including those of the Gatha, the defining stanza itself serves as an illustration of the metre which is defined in it. It is remarkable that the Chandahkosa is composed partly in the Prakrit and partly in the Apabhramsa 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 Apabhraiba 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 Apabhramsa poetry with contempt. There are two more allusions; one in v. 45 to Pingala and the other to Nagaraja, i.e., Pingala himself, in v. 4. But neither of these references can be verified either from the Chandassutra or from the Prakrta Paingala. The first of these two stanzas, i.e., v. 45, defines a Matra Vrtta called Hakka; this is, however, known to the Praksta Paingala as Catuspadi (I. 97). The other stanza, v. 4, defines a Varna Vitta called Somakranta; this is called Vidyunmala both in the Chandassutra 6.6. and the Praksta 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 payasio etc. From these it is obvious that these two were distinguished poet-prosodists, who wrote in the Apabhramsa language and had very likely composed manuals of Apabhramsa prosody, from which Ratnasekhara has quoted in his Chandahkosa. 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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xxxiv savRttikaH kavidarpaNaH [INTRODUCTION blance with corresponding stanzas in the Praksta 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. Chandahkosa, was a pupil of Vajrasenasuri and the successor of Hematilakasuri of the Nagapuriya Tapa Gaccha, as we know from the last stanza in the commentary on it, composed by Candrakirtisuri, successor of Rajaratna of the same, i.e., the Nagapuriya Tapa Gaccha. Candrakirti 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 Sripalacarita composed in Sam. 1428 and Gunasthanakramaroha with Vitti composed in Sam. 1447. The former is in Prakrit while the latter, both text and commentary, are in Sanskrit.21 According to Pattavali, 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. Praksta Paingala, which bears many verses in common with the Chandahkosa, 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 Chandassutra. These references appear to be of a general nature, i.e., to Pingala, as the originator of the Chandassastra and not to any particular work. But even in the case of six other stanzas which bear very close resemblance to those in the Prakrta 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, Praksta 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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$8 21-23 ] savRttikaH kavidarpaNaH 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 Prakrta 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 Praksta Paingala II.208, 1.170 and 1.146 respectively (as Fanindra, Nagaraja and Sukavibandhu). There are two more stanzas in the Chandahkosa, namely, 46 and 50, which bear a close verbal similarity with Prakata 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 Prakrta 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 Chandahkosa, 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 Praksta 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 Apabhramsa metres is not very methodical. Among the Prakrit metres he defines only the Gatha (in vv. 51-54), with its varieties like Pathya and its derivatives like Giti and others (in vv. 55-66). He mentions the 26 varieties of Gatha, together with their names, as also the 4 varieties which bear the names of the four castes and also the other main varieties, namely, Pathya, Vipula and Capala. In vv. 67-70, he defines in succession Vigatha22, Giti, Upagiti 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 Matra 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 Vigatha, which is possibly the clder one, is found even at Nanditadhya, Gathalaksana v. 62 and Praksta Paingala 1.66.

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xxxvi savRttikaH kavidarpaNaH [INTRODUCTION but otherwise, it does not figure anywhere else in the treatise. We are here reminded of Nanditadhya's equally obscure equation that a Matra is equivalent to a Karsa in point of weight, given in v. 47. Ratnasekhara employs the Apabhramsa 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 Apabhraisa poetry. He defines 45 metres in all in this part of the work, of which 14 are Varna Vrttas, 15 are Sama Catuspadi Matra Vsttas, 7 are Ardhasama Catuspadi Matra Vittas, 2 are Visama Catuspadi Matra.Vsttas and 7 are strophic couplets, both the constituent inetres of which are Matra Vsttas. 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 Ganas or Trikas appear singly. Thus in Somakranta a line contains 2 Ma-Ganas and 2 long letters; in Dodhaka, it has 4 Bha-Ganas; in Mauktikadama, 4 Ja-Ganas; in Totaka, 4 Sa-Ganas; in Bahula, 3 Na-Ganas; in Bhujangaprayata, 4 Ya-Ganas; in Kaminimohana (otherwise known as Madanavatara in Prakrit prosody), 4 Ra-Ganas; and in Madanakula, 4 Ta-Ganas in succession. It is, however, to be noted that when these Varna Vsttas are adopted in Prakrit and Apabhramsa 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 Tala 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 Tala Sangita (i.e., the music of time-regulated accent or stress) Here, for example, a long letter is replaced by two short ones in a YaGana (cau for co in v. 9), in a Ra-Gana (ai in aisohanam in v. 10), and in a Sa-Gana (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 Hakka metre in v. 45. We shall discuss this point a little later, in details. The next four Varna Vsttas which our author defines in vv. 14-16 and 44 are the two Naracas, the Somakanta and the Pancacamara, the Drumila and the Mehani. The first Naraca contains 8 pairs of short and long letters following each other in succession, while the second contains 10 such pairs. Drumila defined in v. 16, has 8 SaGanas coming one after another, while the Mehani, 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 Somakranta of v. 4. The next Varna Vrtta is the Hakka 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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$8 23-24 ] savRttikaH kavidarpaNaH xxxvii 5th Sa-Ganas have their 2 short letters replaced by a long one each. The last Varna Vstta defined in v. 46 is Naraca; it contains only 4 pairs of short and long letters following one another in succession. This Naraca is to be compared with the other two Naracas 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 Varna Vrttas which are defined here, only one kind of the Aksara Gana is employed throughout a line and this is due to the fact that such metres alone can contribute to the Tala Sangita, which is an important factor of popular poetry including that in the Apabhramsa language. 24. We shall now take up the Matra Vsttas, first the Sama Catuspadi among them, in the ascending order of the Matras which a Pada of these contains. Thus we have (1) Vijayaka (v. 19) which has 8 Matras distributed over 2 Caturmatras of any kind, in a Pada. (2) Ekavali (v. 47) has 10 Matras in a Pada divided into two pancamatras of any kind. This metre was definitely sung in the Tala of 10 Matras. (3) Laghu Catuspadi (v. 40) has 15 Matras in a Pada, the last 5 Matras consisting of a Pancamatra. (4) Adila (v. 41 ab) and (5) Madila (v. 41 cd) contain 16 Matras each in a Pada; they are generally divided into 4 Caturmatras of any kind, but in Adila all the four Padas have a common rhyme, while in the Madila the two halves have two separate rhymes. (6) Bhinna Madilla (v. 42) has similarly 16 Matras in a Pada, but among the 4 Caturmatras which constitute the Pada, a Ja-Gana or the Madhyaguru Caturmatra is to be avoided. Like Adila, this Bhinna Madilla too has one common rhyme for all the Padas. (7) Malati (v. 49) also contains 16 Matras; but these are to be mostly made up of Trimatras and Pancamatras, thus showing a short letter at intervals, compulsorily. There is one more metre which contains 16 Matras in a Pada; it is (8) Paddhatika (v. 36): This is the most popular metre of Apabhramsa narrative poetry. Its Pada contains 4 Caturmatras of any kind, the last being a Madhyaguru. (9) Abhanaka (v. 17; cf. also v. 29 first half) contains 21 Matras in a Pada; generally, any Caturmatra may be used, but a Pancamatra must be avoided and the last three Matras 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 Matras in a Pada; they are made up of 1 Sanmatra, 4 Caturmatras and 1 Dvimatra at the end. The commentator also mentions Rasakula 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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xxxviii savRttikA kavidarpaNaH [ INTRODUCTION appear that the metre was called Vastuka when composed in the Prakrit language, but when composed in the Apabhramsa or the Desi Bhasa it was called Rodaka. Rasakula is really the name of a strophic couplet mentioned below in v. 29. Kavidarpana 2.25 and Hemacandra, Chandonusasana 5.25 know this metre by the name Vastuvadana or Vastuka, while Praksta Paingala 1.109 calls it Kavya. (11) Gita (v. 18) also called Harigita at Praksta Paingala I.191, contains 28 Matras in a Pada. This metre is sung in a Tala of 7 Matras, the first stroke of the Tala being on the 3rd Matra in each Pada, which is thus divided into 4 Tala, Ganas of 7 Matras of each. These Tala Ganas are to be kept separate like the Matra 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 Matras 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 Matras in a Pada, distributed over 1 Sanmatra, 5 Caturmatras and 1 Dvimatra at the end.23 (13) Catuspadi (v. 37) contains 7 Caturmatras followed by a single Dvimatra at the end in each Pada; it has thus 30 Matras in all in a Pada. There appears to be no restriction about the nature of the Caturmatras that are to be employed in it. (14) Dandaka (v. 30) contains 32 Matras in each Pada and is evidently a song metre to be sung in the Tala of 8 Matras. A Pada contains 8 Caturmatras out of which the even ones must always be JaGanas or the Madhyaguru Caturmatras, while the odd ones may be any one of the remaining four Caturmatras. Like the other Dandakas this too may have been originally a dance metre. (15) Lastly, Padmavati (v. 50) contains also 32 Matras in a Pada, which are divided into eight Caturmatras, 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 Matra Vsttas of the Ardhasama Catuspadi type and only 2 of the Visama type. Among the former, Doha is the most prominent one; its odd and even lines respectively contain 13 and 11 Matras (vv. 21-24; vv. 31, 32, 34 first half). Saurastra or Sorattha as it is called in Prakrit, is an inverted Doha; it has 11 and 13 Matras respectively in its odd and even lines (v. 25). If five Matras are added at the end of the even Padas of a Doha, it is called Culika (v. 26) and if ten Matras are similarly added to the same Padas of the Doha, it is called Upaculika (v. 27). If the odd Padas of a Doha contain 15 instead of the usual 13 Matras, the even Padas being of the same i.e., their usual length, 23. See above Note No. 10.

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SS 24-25 ] savRttikaH kavidarpaNaH xxxix it is called Udgrahaka or Udgahaka (v. 28). This is the same as Samdohaka of KD. 2.16. The next Ardhasama Catuspadi is Ghatta, whose odd and even Padas respectively contain 18 and 13 Matras. As a matter of fact, this is clearly a satpadi Ghatta whose equal halves have three lines each, containing respectively, 10, 8 and 13 Matras in them. This can be judged from the Yati and Yamaka at the 10th Matra in the odd lines of the defining and illustrating stanza in the Chandahkosa, v. 43. For the same metre, cf. KD. 2.29. Ratnasekhara has defined one more Ardhasama Catuspadi, namely, Besara or Sphuta-Besara in v. 20. Its 1st and 2nd Padas contain 16 Matras each, while 3rd and 4th Padas have 15 Matras each. The two Visama Catuspadis which he defines are but a result of a combination of the lines of a Doha and a Gatha; thus a Veralaka (v. 33) has the first three lines of a Doha followed by the last line of a Gatha, which, by the way, is considered as a Catuspadi as at KD. 2.35-36. The second Visama Vstta is the Cudamani; its first half is that of a Doha and this is followed by the second half of the Gatha (v. 48). In addition to these simple Varna and Matra Vsttas, Ratnasekhara defines seven strophic metres all of which are Dvibhangis or couplets. Of these Sagpada (v. 12), also known as Kavya or Sardhacchandas to Hemacandra, Chandonusasana 4.79 com., Kavidarpana 2.33 and Praksta Paingala I.120, is made up of a stanza in the Vastu or Vastuvadana or Rodaka or Kavya24 metre coupled with an Ullala Dvipadi which has 28 Matras in each of its two Padas. The Ullala is again employed as the second constituent of another strophic metre called Rasakula (v. 29), the first being a stanza in the Abhanaka 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 Matra, called Radhaka by our author and another in the other famous Apabhramsa metre Doha. It is called Vastu by Ratnasekhara, (v. 34) and also by Kavidarpana, 2.35; but it is known as Radda to Virahanka, VJS. 4.31 and also to the Prakrta ngala I. 133 ff. Hemacandra knows both the names. It is possible that our author's Radhaka is another form of the name Radda, here given to the first constituent of the couplet which is known by that name.25 There are four more Dvibhangis defined by Ratnasekhara. They are: (1) Kun. dalika (v. 31), (2) Kundalini (v. 38); Candrayana (v. 32); and Candrayani (v. 39). These can be arranged in two pairs ; in the first formed by KundaJika and Kundalini, the second constituent metre is the Kavya which is the same as the Rodaka of v. 13, i.e., has 24 Matras in each Pada; but in the se 24. See above para 24, No. (10). 25. Like the name Dvipadi and Kavya; see para 13 above.

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savRttikaH kavidarpaNaH [INTRODUCTION cond pair formed by Candrayana and Candrayani, the second constituent is a stanza in the Kaminimohana metre defined in v. 10 and otherwise known as Madanavatara. As regards the first constituent metre in the two pairs, it is Doha in the Kundalika and Candrayana; but it is Gatha in the KundaJini and Candrayani, or in other words, the Doha gives a masculine and the Gatha, a feminine name to the couplet as a whole, in each case. 26. Ratnasekhara thus defines in his Chandahkosa 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 Apabhramsa language, or rather, languages. From this selection we may be permitted to make a few deductions and draw some tentative conclusions. Gatha, 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 Virahanka's Vrttajatisamuccaya. Along with the Gatha, however, two more metres, Ullala and Doha, have come to the forefront. Ullala seems to be an indigenous product of the land of the Magadhas, while Doha was universally adopted by the Apabhramsa poets. Virahanka does not mention the former; but even in the case of the latter, i.e., Doha, 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 Radda, also called Vastu. The Doha, however, came to have its varieties only later, but certainly before Svayambhu's times. That these two metres, the Gatha and the Doha, were equally popular at the time of Ratnasekhara can also be seen from the two other metres, Veralaka and Cudamani, which are a result of the combination of the Padas of the Gatha and the Doha. We have also seen how both were used as strophic metres for the composition of couplets, Gatha giving the feminine and Doha the masculine name to the couplet. From the Varna Vittas, Ratnasekhara has selected only 14, but almost all of them having a uniform rhythm produced by the repetition of the same Gana throughout a Pada. 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 Matra i.e., a KalaMatra as distinct from the Varna-Matra. The two units are indeed related; Kala-Matra is the smallest part of time taken by the pronunciation of a letter and Varna-Matra is that much quantity of a letter or even that whole letter, which can be pronounced in this Kala-Matra. It is thus that a short

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$26-27 ] savRttikaH kavidarpaNaH letter is said to represent or rather consist of, one Matra, i.e., VarnaMatra and a long letter, two Varna-Matras. 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 Vittas 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 Varna Vsttas is dependent upon the alternation or variation of short and long sounds. Very different from these two is the Tala 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 Kala-Matra. 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 Tala-Sangita, a line of a stanza is divisible into Tala-Ganas, just as a line of the Sanskrit Varna Vrttas is divisible into Aksara-Ganas or a lin Sanskrit Matra Vrttas is divisible into Matra-Ganas. Further, these TalaGanas have to be kept separate from each other by avoiding a long letter at their junction, like the Matra Ganas in the case of the Sanskrit Matra Vsttas. The question of keeping the Aksara-Ganas separate does not arise. because there is no possibility of their being mixed up; while it does arise in the case of the pure Matra Vittas, since the Matra-Ganas can be mixed up by combining the last Matra of the earlier Gana with the first Matra of a later Gana into a long letter. Thus, for example, the whole rhythm of a Gatha will be disturbed if a long letter is used for the 4th and the 5th, or the 8th and the 9th Matras, together. But if such a mixture of the Matra Ganas is avoided, any letters, whether short or long, may be used anywhere in the line of a Gatha, barring of course, the exceptions which are mentioned in the definition itself. Similarly, the Tala-Ganas must be kept separate by avoiding a long letter at the junction of these. The Matra-Ganas are usually mentioned as five in number and respectively contain 2, 3, 4, 5 and 6 Matras in them, as said at Kavidarpana 1.2. The Tala-Ganas, 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 Kala-Matras in them, or perhaps, 6, 7, 8 and 10 KalaMatras in them. These Kala-Matras in the Tala Vsttas may be filled up by

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xlii 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 Tala-Ganas forms a musical unit as it were and the Matra on which the stroke of the Tala falls must not in any case be combined into a long letter with its predecessor, since the stroke of the Tala cannot be made to accompany the 2nd of the two Kala-Matras represented by the corresponding Varna-Matra of a long letter. If, on the other hand, the stroke indicating the pause of the Tala were to accompany the first Matra of the long letter, the Tala will be disturbed, since the stroke of the Tala 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 Tala will be a little too late. Beyond this rule of avoiding a long letter at the junction of two Tala-Ganas, the Apabhramsa 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-Gana, which if properly pronounced would not be contained in it. The Apabhramsa 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 Apabhramsa 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 Tala in the lines of the song; conventional pronunciation of letters and words may be set aside when necessary and sometimes the Kala-Matras required for a particular Tala-Gana 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-Matras. 28. Among the metres defined by Ratnasekhara many are amenable to the Tala of 8 Matras, which is of very common occurrence in Apabhramsa poetry. Thus Somakranta (v. 4), Dodhaka (v. 5), Mauktikadama

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&$ 27-28 ) i aafai fa at: xliii (v. 6), and Totaka (v.7), all of which are based on the Aksara Ganas having four Matras in each of them, are to be sung in this Tala of 8 Matras. Other metres which are amenable to the same Tala are Sagpada (v. 12), Drumila (v. 16), Vijayaka (v. 19), Dandaka (v. 30), Paddhatika (v. 36), Aaila and Madila (v. 41), Bhinna Madilla (v. 42), Ghatta (v. 43), Hakka (v. 45), Pramani (v. 46) and Padmavati (v. 50). Those that are amenable to the Tala of 5 or 10 Matras are Bhujangaprayata, Kaminimohana and Madanakula (vv 9-11) which have in them Aksara Ganas of 5 Matras each. Even the Ekavali (v. 47) is to be sung in this same Tala. The two Naracas in vv. 14 and 15 are to be sung in the Tala of 6 Matras and the same is true of the third Naraca in v. 46. The only metre in this collection which is to be sung in the Tala of 7 Matras is Gita (v. 18). It is very significant that Ratnasekhara hardly mentions any of the pure Matra Vsttas which owed their origin to the unconscious efforts of the educated versifiers26 and which are described by Hemacandra at Chandonusasana 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 Nandisena'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 Rsabha-Vira Stava, which is composed in very close imitation of Nandisena's hymn by Santicandra and which is published by W. Schubring along with it at ZII. Vol. II. In the Ajita-Santi Stava Nandisena 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 Nandisena must have written. Nor are there any among them which may be described as Tala Vrttas, i.e., Vrttas 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 Bhasuraka (v. 30) is made of 2 stanzas, the first being an Ardhasama Catuspadi Matra Vrtta (with 9 and 12 Matras in the odd and even Padas respectively) and the other, a Sama Catuspadi Matra Vrtta, whose Pada contains 16 Matras 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 Matra Ganas 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 Vrtta called Dodhaka, whose Pada contains 3 Bhaganas 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 Matra Vrtta called Rasa as defined at Vrttajatisamuccaya, 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 Padas 1 Caturmatra followed by 1 Pancamatra, 27. Eight of them are Varna Vrttas, six are Sama Catuspadi Matra Vrttas, four are Ardhasama Catuspadi Matra Vrttas, six are Visama Matra Vrttas and one is a strophic metre, a couplet. 28. This is quite a common feature of Prakrta poetry, when a Sanskrit Varna Vrtta is employed in it more for its value as a song metre than for anything else.

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SSSS 29-30 1 savRttikaH kavidarpaNaH while its even Padas contain 3 Caturmatras each. It also shows the peculiar rhyme of the 1st with the 4th and the 2nd with the 3rd Pada. Further, according to Jinaprabha's scansion we must read ganehi for ganehim in iine 2; but the corresponding Matra Gana in Santicandra's Rsabha-Vira Stava is a Pancamatra, indicating that Santicandra at least reads ganehim (i.e., with the last letter being considered as long). Similarly, the reading panamiyassa, 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 Matras respectively instead of 10 and 12 of Schubring, in its odd and even Padas.29 In the 2nd stanza we have a common rhyme for all the Padas except the 1st one. Santicandra has obviously corrected Nandisena and has employed one common rhyme for all the Padas. Santicandra's treatment of this metre shows that he did not consider it to be a Varna Vrtta, but took it only as a Matra Vrtta. xiv 30. Among the remaining 24 the following eight are Varna Vrttas of the Sama Catuspadi type:-1. Sloka (v. 3); 2. Alinganaka (v. 5); 3. Sopa. naka (v. 8); 4. Khidyitaka (v. 17), later known as Vamsapatrapatita; 5. Vidyudvilasita (v. 21); 6. Ksiptaka (vv. 24, 25), which is the same as the later Rathoddhata; 7. Dipaka Adila (v. 26), which is the same as the later Svagata; and 8. Nanditaka (v. 29). The 1st, i.e., Sloka, is well known and the definition which Jinaprabha quotes is almost the same as the one found at Nanditadhya's Gathalaksana, v. 91. The 2nd, i.e., Alinganaka, has 6 Saganas (IIS) in each Pada. The Tarunivadanendu of KD. 4.87 is almost identical with this, but it contains a long letter at the end of each Pada in addition to the 6 Saganas. But the metre is more akin to the Totaka (VJS. 5.27) and the Bhramaravali (VJS. 4.61), which respectively contain 4 and 5 Saganas only, in each of their Padas. As regards the 3rd, the Sopanaka, it is interesting to note how Virahanka at VJS., 4.77-78, defines a strophic couplet called Sopanaka; its 2nd constituent is a Gatha, 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 Padas have 2 Pancamatras or 10 Matras each; in the first line he reads thuyavandiyayassa, which, however, is not well supported by manuscript evidence. Besides the corresponding Pada of Santicandra is Jinamarudevo and contains only 9 Matras 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 Vamsapatrapatita 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 Padas, but the Nanditaka has an additional long letter at the end of each Pada. There are no corresponding metres defined either by Pingala or his followers. The 7th is the Ksiptaka which is used in vv. 24 and 25; as a Varna Vrtta this is the same as the later Rathoddhata, but the Ksiptaka in v. 24 is considered by Jinaprabha as a Matra Vrtta, while that in v. 25 is described by him as Varna Vrtta containing the Aksara Ganas 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 Ksiptaka, possessing a common rhyme for all the 4 Padas. When considered as a Matra Vrtta the description would be correct; but the evident Varna Sangita in it shows that it is nothing but the later Svagata having the Aksara Ganas ra, na, bha, ga, ga in its Padas, where, however, the usual freedom enjoyed by the Prakrit poets of replacing a long letter by 2 short ones is quite evident in Padas 1 and 4. I consider the names Khittaya and Divaya (Ksiptaka 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 Vrttas known later as Rathoddhata and Svagata. 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, Vrttajatisamuccaya, 4.32, 33, 34; Chandahkosa, v. 41; Svayambhuchandas, 4.29. 31. Nandisena employs six Matra Vrttas of the Sama Catuspadi type, where in some cases, however, there is a partial restriction about the use of long letters at certain places. Thus he employs 1. Kisalayamala in v. 19 whose Padas contain 27 Matras each, where we have first, 5 Caturmatras 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 Kamalekha at Chandonusasana 4.59 and Virahanka's Malati at Vrttajatisamuccaya 3.35; but there is a slight difference at the end of the Pada. The last 7 Matras in the Kamalekha and the Malati are made up of a Madhyalaghu Pancamatra (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 Adila; it seems to have been used as a common name for many different metres, like the names Galitaka, Khanjaka and Rasaka. Also see JBBRAS., N. S. Vol. 19, 1943, p. 29, last four lines, and Bhayani, Introduction to Sandesa Rasaka (Singhe Jain Series, Bombay, 1945), p. 51.

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$8 30-32 ) savRttikaH kavidarpaNaH xlvii matra, i.e., a Jagana, a short letter and a long letter following it at the end. 2. Sumukha, which is used for v. 20, has 13 Matras in each Pada, the last 3 being made up by a short and a long letter in succession. The first 10 Matras are represented by 2 Pancamatras of any kind, though Jinaprabha prescribes different Matra Ganas for the different Padas for' no obvious reasons, mechanically scanning them as in many other cases. This metre entirely agrees with Hemacandra's Upakhanda and Sundara Galitaka, at Chandonusasana 4.46 and 4.28, or with Virahanka's Jyotsna and Hamsini at Vittajatisamuccaya 3.3 and 4.72. 3. Ratnamala, which is used in v. 23, . has 32 Matras in each Pada, distributed over 8 Caturmatras of which the last must consist of two long letters. The first 7 Caturmatras may be of any kind in theory; but actually Nandisena has employed a Bhagana32 or the Adiguru all through in the last three Padas and also for the Caturmatras in the uneven places in the first Pada, while those in the even places of this Pada are regularly represented by two long letters. The Latakusuma of KD. 4.93 and the Sangata of VJS. 3.34 are similar to our Ratnamala, which, however, has one long letter more at the end of each Pada. 4. Lalitaka, which is used for v. 32, contains a Trimatra, followed by 4 Caturmatras and a long letter at the end, thus having 21 Matras in each Pada. 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 Pancamatras which are required by the Galitaka, are not kept separate.33 5. The Vanavasika of v. 33 and 6. Aparantika of v. 34 are well known metres; the first belongs to the Matrasamaka group and has the 9th and the 12th of its 16 Matras in each Pada represented by a short letter. The second, i.e., the Aparantika, is a derivative of the Vaitaliya, but is a Sama Catuspadi, all. its Padas being identical in form with the even Padas of the Vaitaliya.34 32. The Ardhasama Matra Vsttas which are employed by Nandisena in all. The 1st of these is the Magadhika which is used for two namely, the 4th and the 6th. Its definition is quoted by Jinaprabha from the Kavidarpana, 2.18. Our Magadhika is exactly the same as the Vaitaliya in its constitution; but sometimes, 2 short letters are substituted for the long ones (which are compulsory for the Vaitaliya) in the 32. In the 3rd Pada, 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 Visama Vstta, see below para 33. 34. See KD. 2.20 and 5.7. Both these metres are generally defined among the Sanskrit Matra Vfttas; see Jayadaman, p. 157, No. 7 and p. 158, No. 17.

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xlviii savRttikA kavidarSaNaH [INTRODUCTION Magadhika when it is employed in Prakrit poetry. See notes on the passage in the Kavidarpana. The second Ardhasama metre is the Kusumalata 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 Kusumalataglha at Chandonusasana 6.19.57, is nearly identical with our Kusumalata; but the former contains 1 Matra less in each Pada, i.e., 15 in stead of 16 in the odd Padas and 17 in stead of 18 in the even ones. The third Ardhasama metre employed by Nandisena is the Bhujangaparirangita in v. 16. Its odd and even Padas respectively contain 12 and 14 Matras. The former are made up by a Pancamatra, a Caturmatra, a short and a long letter in succession, while in the latter one Matra is added in the beginning after the 1st Gana and another before the last long letter. All the four Padas have one common rhyme. The fourth and the last Ardhasama is the Citraksara used for v. 27. This metre is unlike the other Ardhasamas; here the 1st and the 4th Padas 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 santicandra. Padas 1 and 4 each contain 5 Caturmatras followed by 2 long letters, while Padas 2 and 3 have each 6 Caturmatras 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 Padas, which are otherwise exactly identical with the other two. In point of rhythm this metre reminds us of the Ratnamala 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 Ratnamala, this has happened only once, i.e., in the 3rd Gana of the 3rd Pada. This kind of the Ardhasama is rather rare. 33. We shall now discuss the six Visama Vrttas of the Matra Vstta class, which are employed by Nandisena. The first among them is the well known Gatha; this has been used in vv. 1 and 2, as also for vv. 35, 36 and 37. It would appear that Nandisena considered Gatha 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 Padas in vv. 2, 35, 36 and 37. Rhyme indeed is not a characteristic of the Gatha, which is merely a Prakritized form of the Sanskrit Arya. But as Nandisena has employed rhyme prominently in his Prakrit poem, he has used it also for the Gatha. Gatha must be considered as a Visama Vrtta, whether we consider it as a Dvipadi

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88 32-33 ] savRttikaH kavidarpaNaH or a Catuspadi. The second Visama Vstta is the Sangataka used for v. 7; its first 3 Padas 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 Pada. According to the mechanical scansion, we get 4 Pancamatras having all short letters and a long letter at the end in Padas 1 to 3; while in the 4th, we have 2 Pancamatras, 2 Caturmatras, 1 Pancamatra and a long letter at the end. Jinaprabha says that all the Pancamatras in Pada 4 consist of short letters; but he does not say anything about Caturmatras. 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 Matras or 1 short and 1 long letter being intentionally added in the last Pada. The 3rd Visama Vstta employed by Nandisena in v. 10 is Rasalubdhaka. Here the 2nd and the 4th Padas are equal and similar ; they contain 3 Caturmatras, a short letter and a long one in succession, i.e. 15 Matras each; but the 1st and the 3rd are not similar and equal. The 1st Pada contains 2 Caturmatras, followed by 1 sh long letters, while the 3rd Pada has 3 full caturmatras followed by two short and one long letters at the end. Thus we get 11, 15, 12, and 15 Matras in the four Padas respectively. This Vaisamya too, is intentional; otherwise it would have been a regular Ardhasama metre. The next, the 4th Visama Vrtta is the Rasanandita employed in v. 12. Here the 1st and the 2nd Padas have 3 Caurmatras each, of which the last is a Sagana. The 3rd and the 4th Padas 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 Matras respectively in the 4 Padas. It is to be noted that in the last metre, i.e. the Rasalubdhaka, the number of Matras was larger in the second half of the stanza; here, on the other hand, it is smaller. Both have the appendage rasa in common as the first part of their names.33 The 5th Visama Vrtta is Citralekha which is employed in v. 13. The 1st and the 2nd Padas of this metre are equal and similar; they contain a Pancamatra, a Caturmatra, a Pancamatra, two Caturmatras and a Sagana in succession. The 3rd Pada has one Caturmatra more immediately before the Sagana, while the 4th has a single short letter at the same place. We have thus 26 Matras in the 1st and the 2nd; 30 in the 3rd, but only 27 in the 4th. Mark, however, how the concluding portion of 12 Matras has the same rhythm in all the Padas. 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 Ullala, for which see note on KD. 2.21-22 and Introduction, para 8. ction, pahe Apila an that it has

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savRttikaH kavidarpaNaH [INTRODUCTION parts, each consisting of 4 short letters followed by 1 long letter. Here, too, the Vaisamya is quite intentional. Hemacandra's Citralekha at Chandonusasana 4.71 is a Sama Catuspadi, each Pada having 26 Matras in it like the first two Padas of our metre, though the number of the Matras is differently made up there (5, 4, 4, 4, 4, 5). The last or the 6th Visama Vstta employed by Nandisena is Lalitaka in v. 18. In this metre, the first 3 Padas are equal and similar; they contain 4 Caturmatras followed by a short and then a long letter at the end. On the other hand, the 4th Pada contains a Pancamatra in place of the 2nd Caturmatra, but otherwise, it is exactly similar to the first three. Among the Sama Catuspadi Matra Vrttas, we have another Lalitaka in v. 32; its Padas contain 1 Tri. matra followed by 4 Caturmatras and a long letter at the end. It has thus 21 Matras in each Pada, while the present Lalitaka36 has only 19. 34. Besides these 24 single and 1 strophic metres, we find that Nandisena has employed three different kinds of what the ms. calls Naraca (in vv. 14, 28 and 31) and three different kinds of what it calls Vestaka (in vv. 9, 11 and 22). Naraca and Vestaka are both of them rhythmic kinds of prose, undivided into Padas. 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 Vestaka is really speaking not a metre; it does not con tain any definite number of Matra or Varna Ganas, or of short and long letters, but is full of Anuprasa 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 Naraca nor the Vestaka is divided into Padas and Jinaprabha's scansion of these is purely mechanical.88 A word about the Vainamya in these Visama 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 Virahanka, Vrttajatisamuccaya, 4.89-105 (and notes), Hemacandra, Chandonusasana 4.17-40 and Kavidarpana, 2.23 commentary. Could Lalitaka be an older name of the Galitaka? It seems to be suggestive of the sound effect like Adila. 37. Naraca appears to be a name given to those metres which contain a regular succession of short and long letters, coming one after another. See Chandahkosa, 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 Camara or Panca-camara. Do the names suggest the peculiar movement of the metre caused by the alternation of short and long letters ? 38. The Vestaka is supposed by earlier scholars to consist of Caturmatra Ganas 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 Vestakas will show that here and there Pancamatras, too,

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88 33-35 ] savRttikA kavidarpaNaH 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 Vittas 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 Caturmatra or a Pancamatra Gana for the composition of a line. The range of variation is not against such an assumption and Virahanka has actually defined some seven Dvipadis, which he calls Ganasama, where such an option about a Caturmatra and a Pancamatra is permitted, at Vsttajatisamuccaya 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 Rajasthana Puratana Granthamala. 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 (Kavidarpana) 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 Uddesa). 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 Uddesa 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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kavidarpaNa, tADapatrIya prati, dvitIyoddezya samAptisUcaka patrako pratikRti .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 kavidarpaNa, tAr3apatrIya prati, dvitIya patra, prathama pAva Senter ARRIERFEREARRIDERRIERE KARENDEDEEMAILERLEARNERBIRDERER HPIREDjnabysite6untyqHITAUDIHE ASI MiralarduasmirsinestumeRET UDRIEBED h et. AMBARMERPUTREPETREENA DELEDICINEERICADDur Dulala UP Dibela [ kavidarpaNa rAjasthAna purAtana granthamAlA ]

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rAjasthAna purAtana granthamAlA ] ka vikAghrAdinAriya pranatanadinAmii kAla maMDavagaDa mAnaniya gadara unAhAnakIkarAgyacedyAda darzaNAzaniyama-2 prAdAdadyaparA nayA mana kamalukamA grAmasatiziviDiyAmA nITI ma rikAmapatimanividyarika kavidarpaNa, tAr3apatrIya prati, madhyagata pRSTha 52 kI pratikRti - dRSTavya mudrita pRSTha 38-36 [ kavidarpaNa

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rAjasthAna purAtana granthamAlA ] [ kavidarpaNa KawolanalagAyAasaasugaryA liEiMEntryAmuERels bAlagAyakAvyAkaraviMdaretavA divinimayama" balapuddhAmATA samastotalADalamAlakAlikAma SagarmnA avasaramhaguruhaTIma kAgadaERTAL nimAndArApamAnavAmadhAralamaaja anAvatAramAnavalAsunita MaturdindianRHIERSPIRTISEMES SHREERKareenESUSMRLD SONSESSERDurneasRBARIL 417 sianimarjasti aasthanfraryana kAhania balayakAmana yAyaliEimraana SHASmahAminAmivikAsa mIvalayasyakapariNayAyAviraddhayamasanamA : vidarpaNa, tADapatrIya prati, upAntya patrakI pratikRti a saramigateGEET Puams HELPEPHERDEare: SIN HELHIERuraIGAREsta ANERaaeeEMERIBERStesDAINIATE kavidarpaNa, tADapatrIya prati antima patrakI pratikRti

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savRttike kavidarpaNa prthmodeshH| N. B. Portions included within rectangular brackets are added by the editor. [paNamia arihaMtaguruM vocchAmi aNuggahAtthamabuhANaM / iha pAiabhAsAe chaMdaM tu tihA jahAsatthaM // 1 // praNamyAIntaM guruM vakSye'nugrahArthamabudhAnAm / iha prAkRtabhASayA chandastrividhaM yathAzAstram // 1 // ] --sIti cenna / yataH sarvamevArhadupajhaM jagati zAstraM yadAha sunizcitaM naH paratantrayuktiSu sphuranti yAH kAzcana sUktasaMpadaH / tavaiva tAH pUrvamahArNavoddhRtA jagatpramANaM jinavAkyavigruSaH // 1 // gurustviSTo vidyAdharmAdyAcAryo'dhikRtastu jayadevAdiH / kiM vakSye candanAhlAdanAcchandaH padyam / jAtAvekavacanam / tadvidhA / vaidikaM laukikaM ca / tatra kAvyAnupayogitvAdvaidikamupekSya laukikamAdRtam / tattu tihatti tridhA / mAtrAvarNobhayabhedAt / mAtrAcchando varNacchanda ubhayacchanda ityarthaH / mAtrAcchandaH kuGkamAdi / varNacchanda uktAdi / ubhayacchando vaitAlIyAdi / yacchUraH zaMbhuM natvA giramanu tataH piGgalaM nAganAthaM varNya mAtrAprabhavamubhayaM vaidikaM laukikaM ca / zUro byAsAnnavagaNagaNaM lakSaNAbhinnalakSyaM chandazchandonipuNahRdayAnandadAyi bravIti // 1 // kiM svabuddhayA / netyAha / yathAzAstraM prAcyacchandonusArAt / yadyevaM prAcyaireva paryAptaM kimanena prayAsenetyAha / anugrahArthamupakArahetorabudhAnAM strIbAlabAlizAnAmata eva sarvopakAriprAkRtabhASayA prasiddhopayogikatipayacchandorUpasAroddhAroyam / mAtrAcchandasi ca sukhapratipattyarthaM gAthAcchandasA sodAharaNaM lakSaNamuktamitarayostu lAghavArtha lakSyalakSaNAbhyAmupanyAsa iti // 1 // tatra mAtrAgaNAnAha neyA mattAcchaMde duticaupaMcachakalA gaNA pNc| dutipaMcaaTThaterasabheillA kacaTatapanAmA // 2 // [jJeyA mAtrAcchandasi dvitricatuHpaJcaSaTkalA gaNAH paJca / dvitripazcASTatrayodazabhedavantaH kacaTatapanAmAnaH // 2 // ]

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- savRttike kavidarpaNe [prathamoddeze mAtrAcchandasi kacaTatapanAmAnaH paJca gaNA jJeyAH / te ca yathAsaMkhyaM dvitricatuHpaJcaSaTkalAH dvitripaJcASTatrayodazabhedavantaH / 'AlvillollAlavantamantatteramaNAmato'riti (he0 8.2.159) vataH sthAne illaH / kalA tanmAtrA / dvikalo dvibhedaH kagaNaH II; S; trikalastribhedazcagaNaH IS; SI; III; catuSkala: paJcabhedaSTagaNaH SS; IIS; ISI; SII; IIII; paJcakaloSTabhedastagaNaH ISS; SIS; IIIS; SSI; IISI; ISII; SIII; IIIII; SaTkalastrayodazabhedaH pagaNaH SSS; IISS; ISIS; SIIS; IIIIS; ISSI; SISI; IIISI; SSII; IISII; ISIII; SIIII; IIIIII // 2 // varNagaNAnAha vanacchaMde uNa huMti scmuhmjjhaNtgurulhunno| kamaso manA bhayA taha jarA satA nAma aTTha tige // 3 // [varNacchandasi punarbhavanti sarvamukhamadhyAntagurulaghavaH / kramazo manau bhayau tathA jarau satau nAmASTa trikAH // 3 // ] varNacchandasi punarbhavanti gaNAH / kiMsaMjJAH / manau bhayau jarau satau nAma / kiMkiMrUpau / sarvamukhamadhyAntagurulaghavaH kamaso yathAkrama korthaH / sarvagurulaghU manau / mukhagurulaghU bhayau / madhyagurulaghU jarau / antagurulaghU satau / lAghavena lakSaNaM nirvaktuM dvaudvAvuktau 'mayarasabhajatana' iti mUlakramazca lacitaH / sarvepi te katItyAha / aSTa / caturgurvAdInAmapi mA bhUnmAdisaMjJA iti niyamArthamAha-tigatti / trikAstrayaH pramANameSAmiti trikAH / prAkRtatvAt yasthAne ga uktaH / manA ityAdiSu dvivacanasya bahuvacanaM jas / tahatti cchandaHpUraNe / sarveSAM nyAsaH SSS maH / III nH| SII bhaH / ISS yH| ISI jH| SIS rH| IIS sH| SSI taH / ubhayacchandastu mAtrAvarNacchandaHsaMkara iti na tatra pRthaggaNA iti // 3 // gurulavatrAha dIhaM sabiMdu vaMjaNavisaggasaMjogaparamiha dumattaM / vaMkaM guru iyaraM lahu vA pAyaMte imaMpi guru // 4 // [dIrgha sabindu vyaJjanavisargasaMyogaparamiha dvimAtram / vakraM gurvitaralaghu vA pAdAnta idamapi guru // 4 // ] dIrgha AIUReaioaurUpam / sabindu sAnusvAram / vyaJjanavisargasaMyogAH pare yasmAttat vyaJjanaparaM visargaparaM saMyogaparamakSaramiha cchandasi gurusaMjJaM jJeyam / visargapadAt jihvAmUlIyopadhmAnIyAvapi / tadAdezatvAttayoH / tacca guru dvimAtraM prastAre tu vakra 5 ukArAkRti sthApyam / itaradguroviparItaM hrasvamabindukamavyaJjanavisargasaMyogaparaM mAtrikaM prastAre Rju I laghusaMjJam / atrApavAdamAha vA--pAdAnte vartamAnamidamapi laghvapi guru jJeyam / veti vyvsthitvibhaassaa| tena samAnikAdau pAdAnte yo laghurvihitaH sa na guruH / vaMzasthakAdau ca pAdAnte laghorna gurutvaM yadAha vaMzasthakAdicaraNAntanivezitasya gatvaM laghornahi tathA zrutizarmadAyi /

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pa. 3-6; TI. pa. 2-6] vRtti kavidarpaNe zroturvasantatilakAdipadAntavarti lo gatvamatra vihitaM vibudhairyathA tat // 2 // // 4 // dIrghasabindusaMyogaparANAM sArdhagItyA gurutvApavAdaM zeSArdhena tu pAdalakSma saMjJAzcAha - eoIhiM payae uhuMhiMhaM lahU avanbhaMse / vA payaaMte vaMjaNagayaeo uNa payassa majjhevi // 5 // illuNhapamuhavaNNANa puvvilA no gurU jahAdiTThe / turiyaMso avisese pAo; caMdAisannamegAI // 6 // [ebhohiM prAkRte; uhuMhiMhaM laghavo'pabhraMze / vA padAnte, vyaJjanagata 'eo' punaH padasya madhyepi // 5 // ila-ha-pramukhavarNAnAM pUrvasthA na guravo yathAdRSTam / turIyAMzo'vizeSe pAdazcandrAdisaMjJamekAdi // 6 // ] AdyagItau ' vA payaaMte' 'laDDu ' tti sarvatra yojyam / tena eoiMhiM ityete pAyayazabdasya 'vAgyayotkhAtAdAvadAta' (he 0 8.1.67) iti hrasvatve payae prAkRtabhASAyAM padAnte vartamAnA laghavo vA syuryathA takkAlaM Nikkiva tIi tujjha virahAu jAI jAyAiM / tIraMti tAiM na duhAI diyahakoDIhiM vi kaheuM // 3 // [ tatkAlaM niSkRpa tasyAstava virahAdyAni jAtAni / tIryante tAni na duHkhAni divasakoTibhirapi kathayitum // 3 // ] uhuMhiM ityete cApabhraMzabhASAyAM padAnte laghavo vA syuryathA uggamu tarhi marumaggaDaha / tasahuM pasaMsauM tAhaM // pahiyAM hiyaDA uttarahaM / jammuvi jAhaM na cchAhaM // 4 // vyaJjaneSu kAdiSu gatau sthitau na tu kevalau ' eo' ityetau punarapabhraMze padAnte padamadhyepi laghU vA syAtAM yathA-- katthavi bhulai suru (ra) guruvi / kahIM guAluvi hoi pagiu || ekaMtiNa kui sabvaguNu / ahavA nigguNu loi na diTThau // 5 // 3 [ kutrApi skhalati suragururapi / kadA gopAlopi bhavati prakRSTaH // bakAntena kopi sarvaguNaH / athavA nirguNo loke na dRSTaH // 5 // ] tathArthA prAkRte 'illa-ha' ityeteSAM varNAnAM pUrvasminbhavA 'DillaDullau bhava' (he0 8.2.163) iti ille vidyA pUrvasthA laghavo guravo na syuryathA parilhasiyapaMkataNhAdAhaduhA vIyarAya sahasati / jAyamha daMsaNe tumha nAha nhAyavva amayadrahe // 6 //

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savRttike kavidarpaNe [prathamoddeze [parisitapaGkatRSNAdAhadu:khA: vItarAga sahaseti / jAtA vayaM darzane yuSmAkaM nAtha snAtA ivAmRtadrahe // 6 // ] pramukhazabdAtsaMskRte hAdisaMgraho 'jahAdiThTha 'miti padaM cAnuyojyam / tena yathAdRSTaM lakSyAnurodhAt saMskRte hrAdipUrvagA na guravo yathA ___ spRSTaM tvayetyapahriyaH khalu kIrtayanti // 7 // tathA tava hriyApahriyo mama hIrabhUcchazigrahepi drutaM na dhRtA ttH|| bahalabhrAmaramecakatAmasaM mama priye va sameSyati ttpunH||8|| dhanaM pradAnena zrutena vidyAm // 9 // lIlAsitAbjamuta darpaNamAtapatraM kiM dantapatramatha kiM zukamauliratnam / kiM cAmaraM tilakabindurathendubimbametaddivo nidbhutadIpti mude na kasya // 10 // iti / turyazcaturtho bhAgazchandasaH pAdAkhyaH / kiM sarvatra / netyAha / AvizeSe sAmAnyAbhidhAne / dvipadIpaJcapadyAdiSu tu dvitIyAdyaMzopi pAdaH / anena AzAstrasamApteH pAdAdhikAraH sUcitaH / evaM chandodhikAropi / tathA lokAJcandrAdisaMjJamekAdi jJeyam / tathA hyekazcandrAdiH, dvau netrAdI, trayosgnyAdyAzcatvAro vedAdyAH paJca bhUtAdyAH SaD rasAdyAH saptAzcAdyA aSTa vasvAdyA nava grahAdyA daza digAdyA ekAdaza rudrAdyA dvAdaza sUryAdyAstrayodaza vizvAdyAzcaturdaza manvAdyAH paJcadaza tithyAdyAH SoDaza nRpAdyAH evaM zabdA api // 5 // 6 // yati yugmenAha suisuhaviraI a jaI sA pAyaMtaMmi hoi savvatta / niyameNa siloyaddhe tipamuhachinnappayaMte ya // 7 // payamajjhevi hu puvvAparabhAyA.egavannayA jai no| navara imA kAyavvA payamajjhajaI na pAyaMte // 8 // [zrutisukhaviratizca yatiH sA pAdAnte bhavati sarvatra / niyamena zlokArdhe tripramukhacchinnapadAnte ca // 7 // padamadhyepi khalu pUrvAparabhAgau ekavarNako yadi na / kevalamiyaM kartavyA padamadhyayatirna pAdAnte // 8 // ] zruti]sukhahetutvAtsukhA zarmakRt / sA ca sA viratizca vizrAntiH zrutisukhaviratiryatisaMjJA jnyeyaa| sA kelyAha / pAdAnte bhavati / kIdRze / sarvatra luptavibhaktike cAluptavibhaktike ca / yathA namaH kalimalastomabadhnasabrahmacAriNe // 11 // paradoSapurISANi vicinvantaH pade pade / bhramantyuccairbhaSantazca pizunAH zunakA iva // 12 // na tvevaM yathA

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pa. 7-8; TI. pa. 7-23] savRttike kavidarpaNe kulInAH sarasAH saurbhydnturitdingmukhaaH| nAnandayanti kaM candanadrumA iva sajanAH // 13 // seti sarvatrAnuvRttaM tena sA niyamena vizeSeNa pAdadvayAnte syAt / atra ca saMdhikAryAbhAvaH spaSTavibhaktitvaM ca niyamo yathA notsAhaM kurvate chekAH prazaMsAbhiratadvidAm / andhaiH stuteSu citreSu prakarSaH ko hi zilpinaH // 14 // atrAndhairityasya pUrvamakAreNa saMdhirna kAryaH / spaSTavibhaktitvaM cAtraiva / na tvevaM yathA amandavedanotpAdirAgAdigadamaNDalI mUlocchedamahAvaidyamAdyaM jinamupAsmahe // 15 // na kevalaM pAdAntazlokArdhayostripramukhacchinnapadAnte ca / trayaH pramukhAH eSAM caturAdInAM taizchinnasya vibhaktasya padasya vibhaktyantasya cAnte sA syAt / ihApi luptAluptavibhaktike iti jJeyam / yathA uttuGgastanakalazadvayAnatAGgI / lolAkSI vipulanitambazAlinI ca // 16 // trayANAM madhye na kvApi chandasi viratiriti tripramukhetyuktam / na ca padAnta eva kiMtu 'payamajhevihu'tti padamadhyepi kvacit tryAdau sA syAt / 'hu'ravyayaM nizcayaparam / padasya khaNDyamAnasya pUrvo'parazca bhAgazcedanekAkSarastadevAyaM yatinizcayo yathA rathA ramyA airAvaNavijayinI vAraNapadA // 17 // kUjatkoyaSTikolAhalamukharabhuvaH prAntakAntAradezAH // 18 // na tvevaM yathA etAsAM rAjati sumanasAM dAma kaNThAvalambi // 19 // padamadhyayatimapavadati / navaraM kevalArthetyavyayam / padamadhyayatiH padAnte naiva / niyamAnna kAryA / yathA praNamata bhavabandhaklezanAzAya nArA yaNacaraNasarojadvandvamAnandahetum // 20 // etadarthasaMvAdizlokau yathA yatiH sarvatra pAdAnte zlokArdhe tu vizeSataH / vyAdicchinnapadAnte ca luptAluptavibhaktike // 21 // kvacittu padamadhyepi gakArAdau yatirbhavet / yatipUrvAparau bhAgau na syAtAmekavarNakau // 22 // idaM ca zrutisukhaviratizceti cakArAjJeyam * pUrvAntavatsvaraH saMdhau kvacideva parAdivat / 23 (puu0)| yoyaM pUrvAparayorekAdezaH svaraH saMdhau kriyate sa kvacitpUrvavatsyAt / kvacitparAdivatsyAt / ubhayAdezatvAt / yathA pitroH putraH pituzca mAtuzca bhavati / tatra pUrvAntavadbhAvo yathA

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savRttike kavidarpaNe [prathamoddeze TI. pa. 24-31 syAdasthAnopagatayamunAsaMgamenAbhirAmA // 24 // parAdidbhAvo yathA . skandhe vindhyAdribuddhathA nikaSati mahiSasyAhitosUnakArSIt // 25 // atra hi svarasya parAdivadbhAve vyaJjanamapi tadbhaktatvAttadvat / * draSTavyo yaticintAyAM yAdyAdezaH parAdivat // 23 (u0) // yavAdyAdezaH parAdivadRSTo yathA- . tamolIDhAni bhuvanAnyavyAdbhavyAya bhaaskrH| unmAdivAdikumudeSvAsyamudrAM dadajinaH // 26 // * nityaM prAkpadasaMbaddhAzcAdayaH prAkpadAntavat // 27 (puu0)|| cAdibhyaH prAg yatirna kAryA yathA svAdu svacchaMca salilamidaM prItaye kasya na syAt // 28 // * pareNa nityasaMbaddhAH prAdayazca parAdivat // 27 (u0)|| prAdibhyaH parA yatina kAryA / yathA- .. duHkhaM me prakSipati hRdaye duHsahastvadviyogaH // 29 // kiM cAnirdiSTayatikepi chandasi yatiH zrutisukhaiva kAryA / na tvevaM yathA doSanicayadhAmno mukhamanoharasya pariNAmaviSamasya / tasya zazimukhi-viSayasukharasasya patatu kulizaM zIrSe // 30 // kecittUktAdiSu yatiniyamaM na manyante / yatsvayaMbhUH ___ jayadevapiMgalA sakkayaMmi ducciya jaI samicchanti / maMDavvabharahakAsavaseyavapamuhA na icchanti // 31 // [jayadevapiGgalau saMskRte dvAveva yati samicchanti / mANDavyabharatakAzyapasaitavapramukhA necchanti // 31 // ] asyAstvartho yathA--uktAdyaM saMskRtacchando ripucchandAdyaM prAkRtacchanda utsAhAdyamapabhraMzaM cchandaH uktam / prAyomISAM tattadbhASAsu nibandhAt / tatra prAkRtApabhraMzacchandasoH sarvasaMmataiva yatiH / saMskRta-. cchandasi tu jayadevapiGgalAvevecchato yatiM mANDavyabharatakAzyapasaitavAdayastu necchanti / tato yadbhagnayati saMskRtacchando dRzyate tanmatena tatpramANamiha tu zAstre na saMskRtAdipaddhatyA chndHsNdrbhH| kiMtu lAghavArthaM vizRGkhala iti // 7 // 8 // iti zrIkavidarpaNacchandovRttau prthmoddeshH|

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dvitiiyodeshH| mAtrAcchando'dhunA prAptaM chandojAtibhiH saMgRhNannAha ekArasajAIo mattAcchaMde huvaMti eyaao| bicausarachamuNivasunavadazahararavisolasapaitti // 1 // [ekAdazajAtayo mAtrAcchandasi bhavantyetAH / dvicatuHzaraSaNmunivasunavadazahararaviSoDazapadya iti // 1 // ] ekAdaza jAtayo mAtrAcchandasi bhavantyetAH ityanantaroktAH dvicatuHzaraSaNmunivasunavadazahararaviSoDazapadyAkhyAH / padIpadaM pratyekaM jJeyam / dvipadI catuSpadI paJcapadI SaTpadI saptapadI aSTapadI navapadI dazapadI ekAdazapadI dvAdazapadI SoDazapadItyarthaH / iti viviktArtho mAtrAcchandaHsaMgrahArthaH / jAtInAmitthaM vivakte(?)yaM kalpanetyarthaH / natvevaM kaviDaM pho(?)rasti / navedamazAstrIyam / paJcapadISaTpadyaSTapadInAM zAstre vyaktoktatvAt / saptapadInavapadIdazapadyekAdazapadIdvAdazapadInAM dvibhaGgItribhaGgItvAt / SoDazapadyAH kaDavakatvAt / tathA prAyaH sAnuprAsA etA iti // 1 // tAsu dvipadI yugmenAha kadugaM To kadugalahU kadugaM To kadugadulahuNo dosu / pAesu kuMkumo; taha kappUro egalaghubuDho // 2 // pannarasakalAhiM jaI, ee ullAlayatti baMdINa / taM muttiyadAmaM jattha aTuTA; bArasaTTha jaI // 3 // [kadvikaM TaH kadvikaM laghuH kadvikaM TaH kadvika dvau laghU dvayoH / pAdayoH kukamaH; tathA karpUra ekalaghuvRddhaH // 2 // paJcadazakalAbhiryatiretAvullAlakAviti bandInAm / tanmauktikadAma yatrASTa TA dvAdazoSTamazca yatiH // 3 // ] dvau dvimAtrAvekazcaturmAtro dvau dvimAtrAveko laghurtI dvimAtrAvekazcaturmAtro dvau dvimAtrau dvau laghU dvayoH pAdayoH kuGkamo dvipdii| 'Ta' iti siddhe 'ka'dvikanirdezo jagaNanirAsArthaH / tahatti / tathA kuGkamavadeva karpUro dvipadI / kiMtvekalaghuvRddhaH ante laghunAdhika ityarthaH / paJcadazakalAbhiranayoH pratyeka pAdadvaye yatiretAvullAlakAviti bandInAM bhASAsu prasiddhAvityarthAjJeyam / karpUrakazca kaizcillaghuSTakAdArabhya dvidvilaghuvRddhayA paJcaviMzatidhA prokto yathA vAho boho vaggo baMdhU bANo gao varo veso| veNU vaNo variThTho vibuho balio balo vihao // 1 // kAmo buho visAlo viMdo vihuro vihU vasU viraho / vilao tahA ya visao ullAlA paMcaviMsatti // 2 //

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savRttike kavidarpaNe [dvitIyoddeze ahalahuviraiyAo paDhamA ullAlayaMmi chaMdami / lahuehiM dohiM dohiM huMti ime vaDhamANehiM // 3 // [aSTalaghuviracitAtprathamAdullAlake chandasi / laghubhyAM dvAbhyAM dvAbhyAM bhavantIme varddhamAnAbhyAm // 3 // ] mauktikadAma tu gatArtham / anuprAsaH pAdadvayasyArthAdeveti noktaH // udA0-surakuMbhikuMbhasiMdUrabharu hridisikuNkummNddnnu| pasaicchi picchi joikkhu jimva bAlAyavu tamakhaMDaNu // 3.1 // kuNkumo| [surakummikumbhasindUrabharo haridikkuGkumamaNDanam / . prasRtAkSi prekSasva jyotiSka iva bAlAtapastamaHkhaNDanaH // 3.1 // ] udA0-AyaMbalolaloyaNajuyala ullAlaya jIviyamayaNa / kappUradhavala sohai salilakelikAli kAmiNivayaNa // 3.2 // kappUro / [AtAmralolalocanayugalaM AAlakaM jIvitamadanam / karpUradhavalaM zobhate salilakelikAle kAminIvadanam // 3.2 // ] ullAlayatti 'udodvAI' (he0 8.1.82) ityAdrAderuti ullam / alakaM pratItam / udA0--saMkalabaMdhasahoyara sohira muttiyadAmanivesamaNohara / vammahanivapAyaDanihikalasa kavaNu na hu mohai taruNipayohara // 3.3 // muttiyadAmaM / [zRGkhalAbandhasahodaraH zobhamAna: mauktikadAmanivezamanoharaH / manmathanRpaprakaTanidhikalazaH kaM na khalu mohayati taruNIpayodharaH // 3.3 // ] spaSTam / evaM catuHSaSTibhedAste tu vistarabhayAnnoktAH // 3 // dvipadIprakaraNam / atha catuSpadI kulakenAha muniTA guru tattha na jo visame chaTTe u majjhakA paDhame / bIe u dalaMmi lahU chaTe sesaM samaM gAthA // 4 // [muniTA guruH, tatra na jo viSame; SaSThe madhyakau; prathame / dvitIye tu dale laghuH SaSThe; zeSaM samaM gAthA // 4 // ] sapta catuHkalA guruzca prathame dale ardhe / atrApavAdaH / tatthatti / tatra teSu saptaTeSu viSame sthAne prathame tRtIye pazcame saptame na jutti na jagaNaH / zeSAzcatvAraH syuH / SaSThe punarmajhakatti madhye kagaNo gururlaghudvayaM ca yayostau madhyako madhyaguruH sarvalaghuH (ISI; III) / zUraparibhASeyaM pUjyaprayuktA sarvetyarthAjJayA / dvitIye tu dale SaSTho laghurekaH / zeSaM samaM pUrvArdhavat yasyAM sA gAthA syAt / dalagrahaNAdasyAM na pAdavyavasthA / tena 'dvIpAdanyasmAdapi' ityAdau gaNatrayAnte laghona gurutvam / kecidihApi pAdamudrAmAdriyante yatrilocanadAsaH-'vRttAnAmAryAdInAM ca caturtho bhAgaH pAda iha gRhyate' iti / saMskRte tu gAthaivAryAkhyA yathA-- lAvaNyasalilasaMkuladhanakucamaNDalakamaNDaluvilAsam / sutanormadanamahAmunitapovanaM yauvanaM jayati // 4 // // 4 //

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pa. 4-7] savRttike kavidarpaNe duiyA chaTe paDhamAu sattame lAu kuNaha uvlidle| nalahuMmi paMcame paDhamayAu iha taladale viraiM // 5 // [dvitIyAt SaSThe prathamAtsaptame lAtkuruta uparidale / nalaghau paJcame prathamAdiha taladale viratim // 5 // ] 'iha 'tti gAthAcchandasi uparidale pUrvArdhe SaSThe gaNe 'nalaDaMmi' tti nagaNazca laghuzca nalaghustasminnalaghau caturlaghau sati dvitIyAt 'lAu' laghorArabhya viratiM kurut| SaSThanalaghorAdyalaghau yatirityarthaH / 'lAu'tti 'nalahuMmi' tti ca sarvatra yojyam / tatra saptame nalaghau prathamAllaghorArabhya kuruta / SaSThagaNAnte yatirityarthaH / tathA taladale dvitIyArdhe pazcame nalaghau sati prathamakAllaghorArabhya viratiM kuruta / caturthagaNAnte ytirityrthH| mAtrAcchandasyapi lAghavArtha 'ja''la'gaNaprayogaH / iyaM prAcInagAthA lAghavArtha lakSyalakSaNayuktA kRtA // 5 // gAhAgaNabheyaparupparaguNaNe aTrakoDi aha lkkho| ekUNavIsa; vIsa ya sahassa se bheyaparisaMkhA // 6 // [gAthAgaNabhedaparasparaguNane aSTau koTayo'tha lakSAH / ekonaviMzatiH, viMzatizca sahasrANi bhasyA bhedaparisaMkhyA // 6 // ] . gAthAyAM daladvaye gaNabhedAnAM TagaNavikalpAnAM parasparaguNane anyonyaghAte aSTau koTya ekonaviMzatirlakSA viMzatizca sahasrANi 'se' asyA gAthAyAH prastArabhedaparisaMkhyA syAt / vedaM tadetadoDasAmbhyAM sesimau' (he08.3.81) iti idamaH se aadeshH| koDI lakkhutti luptavibhaktike pade tu 'aMto'thAdiSu zabdeSu na pUrvagaH' iti sarvatra neyamityakSarArtho bhAvArthastu pUrvArdhe prathame TagaNe bhedAzcatvAro yathA SS; IIS; SII; IIII; dvitIye paJca SS, IIS; SII; ISI; IIII; tRtIye catvAraH SS; IIS; SII; IIII; caturthe paJca SS; IIS; SII; ISI; IIII; paJcame catvAraH SS; IIS; SII; IIII; SaSThe dvau ISI; IIII; saptame catvAraH SS; IIS; SII; IIII; aSTame gururekaH / eteSAmanyonyaghAte dvAdaza sahasrANi aSTau zatAni / evaM talArdhapi / navaraM SaSThe laghunyeko vikalponyonyaghAte SaTsahasrANi catvAri zatAni / daladvayatADane ythoktsNkhyeti| atiprasiddhatvAdgAthAyAH prastArasaMkhyoktA / zeSANAmapyuktavakSyamANAnAmanayA dizA jJeyA // 6 // daladugamuhe tigaNajai gAhA patthA; tayannahA viulA / cavalA guruparikhittehiM duiyaturiehiM jagaNehiM // 7 // [daladvikamukhe trigaNayatirgAthA pathyA; tadanyathA vipulaa| capalA guruparikSiptaiH dvitIyaturIyairjagaNaiH // 7 // ] daladvike mukhe Adau triSu gaNeSu yatiryasyAH sA gAthaiva pathyAkhyA / 'tayannaha'tti tasyAH pathyAyA anyathA gaNatrayamullaGghya yatiryasyAH [sA] vipulAkhyA / ubhayorguruNA parikSiptAbhyAM veSTitAbhyAM dvitIyacaturthAbhyAM jagaNAbhyAM viziSTA vipulAkhyA // 7 // viulA cavalA ya tihA savvamuhaniyaMbabheyao neyaa| annevi bahU bheyA kehivi gAhAi bhannanti // 8 //

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savRttike kavidarpaNe [dvitIyoddeze [vipulA capalA ca tridhA sarvamukhanitambabhedato jnyeyaa|| anyepi bahavo bhedAH kaizcidapi gAthAyA bhaNyante // 8 // ] . ___ tAsu tisRSu pathyAdiSu vipulAcapale tridhA jJeyA (ye)| sarvamukhanitambabhedAt / sarvavipulA mukhavipulA nitambavipulA / sarvacapalA mukhacapalA nitmbcpletyrthH| dvayorardhayorvipulA sarvavipulA / pUrvArdhe vipulA mukhavipulA / parArdhe vipulA nitambavipulA / evaM capalApi / pathyAtrivipulAyoge cedaM capalAtrayaM dvAdazadhA / tathAhi / pathyAsarvacapalA 1 sarvavipulAsarvacapalA 2 mukhavipulAsarvacapalA 3. nitambavipulAsarvacapalA 4 pathyAmukhacapalA 5 sarvavipulAmukhacapalA 6 mukhavipulAmukhacapalA 7 nitambavipulAmukhacapalA 8 pathyAnitambacapalA 9 sarvavipulAnitambacapalA 10 mukhavipulAnitambacapalA 11 nitambavipulAnitambacapalA 12 evaM pathyAbhedenaikena vipulAbhedastribhizcapalAbhedaiaudazabhiH SoDaza bhedaaH| tathAnyepi bahavo bhedAH kamalAbrAhmaNyAdyA gADhAdyAzca kaizcidAcAryairgAthAyA bhaNyante tadyathA kamalA laliyA lIlA juNhA raMbhA ya mAgahI lcchii| vijjUmAlA haMsI sasilehA janhavI suddhI // 5 // kAlI kumarI mehA siddhI riddhI ya kumuiNI dharaNI / jakkhI vINA vANI gaMdhanvI maMjarI gorI // 6 // kamalA tihi lahuehiM laliyA paMcehi evmaaiio| bihiM bihiM vaDhuMtehiM kameNa sesAu jAyaMti // 7 // [kamalA tribhilaghubhilalitA paJcabhirevamAdyaH / dvAbhyAM dvAbhyAM vardhamAnAbhyAM krameNa zeSA jAyante // 7 // 1 tathA savvagurU baMbhaNiyA paDhamaddhagurUhiM khattiNI hoI / vaisI pacchaddhagurUhiM suddiyA savvalahuehiM // 8 // [sarvagururbrAhmaNI prathamAgurubhiH kSatriyA bhavati / vaizyA pazcArdhagurubhiH zUdrI sarvalaghubhiH // 8 // ] tathA gADhA agADhagADhA daragADhA saralagADhiyA taha ya / kaja-saja-bhaja-phaja-maiyA gAhAo huMti jahasaMkhaM // 9 // [gADhA agADhagADhA daragADhA saralagADhA tathA ca / kaja-saja-bhaja-phaja-mayyo gAthA bhavanti yathAsaMkhyam // 9 // AsAmarthaH / trilaghurgAthA kamalA / tata ekaikaM gurubhedena dvidvilaghuvRddhayA zeSAH paJcaviMzatiH sarvAzca SaDviMzatiriti / brAhmaNyAdyAH pratItArthAH / kramAt kajamayI gADhA / sajamayI agADhagADhA / bhajamayI daragADhA / phajamayI saralagADhA / tanmatena kaH sarvaguruH TaH / saH antyaguruH TaH / bhaH AdiguruH TaH / phaH sarvalaghuH TaH / jastu madhyaguruH TaH sarvatra yojyaH // 8 //

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pa. 8.1-6. TI. pa. 5-9] savRttike kavidarpaNe udA0-kalamalayadAhamucchA viMchuyaDaMkubva dei pddhmNpi| pacchAvi jaNa haNaMto acchai suciraMpi piaviraho // 8.1 // pacchA / / [cittakSobhadAhamUrchA vRzcikadaMza iva dadAti prathamamapi / / pazcAdapi janaM man bhavati suciramapi priyavirahaH // 8.1 // ] " 'kalamalaya'tti cittakSobham / 'vicchuya' tti vRzcike 'zceJcurvA' iti (he0 8.2.16) iti JcurAdezaH // 8.1 // udA0-gujaravilayANa sahAvavimalaviulANaNANa sakalaMko / vaMko ya kuNai bhavaNaMmi kuMbhadAsattaNaM caMdo // 8.2 // viulA / _ [gurjaravanitAnAM svabhAvavimalavipulAnanAnAM sakalaGkaH / / vakrazca karoti bhavane kumbhadAsatvaM candraH // 8.2 // 'vanitAyAH vilayA' (he0 8.2.128) iti vilayAdezaH / saMskRto vAyaM zabda iti kecit // 8.2 // udA0-kaTuravaasaMkhahayadhaMkhapamuhaviulAulaMmi mrudese| ho kIsa haMsa mAnasanivAsadullaliya pattosi // 8.3 // muhaviulA / [kaTuravAsaMkhyahatadhvAGgapramukhavikulAkule marudeze / ho kasmAddhaMsa mAnasanivAsadurlalita prAptosi // 8.3 // 'viulAulaMmi'tti vInAM pakSiNAM kulairAkule // 8.3 // udA0-girimAliyavva bAlA varorupAyA niyaMbaviulA ya / uttuMgapayoharapihiyapihulavacchA ya harai maNaM // 8.4 // niyaMbaviulA / [girimAlikeva bAlA varorupAdA nitambavipulA ca / __ uttuGgapayodharapihitapRthulavakSAH(vRkSA] ca harati manaH // 8.4 // ekatra varamurupAdaM pakSe varA uravo vipulAH pAdAH prAntAcalA ysyaaH| ekatra payodharAbhyAM pihitaM pRthulaM 'vaccha'tti vakSaH uraH / pakSe payodharaiH pihitAH 'vaccha'tti 'cho akSyAdau' (he0 8.2.17) iti vRkSAH ysyaaH|| 8.4 // udA0-na chamacchamanti jesiM maNAI lIlAhiM lolanayaNANa / tesiM muNINa pAe namAmi niccaM acavalANa // 8.5 // cavalA / [na vyAkulIbhavanti yeSAM manAMsi lIlAbhilAlanayanAnAm / . teSAM munInAM pAdAnnamAmi nityamacapalAnAm // 8.5 // ] spaSTA // 8.5 // udA0-ammo mahANubhAvehiM mattapaMkayamuhI bhamuhacavalA / jehiM sayaMciya chaDDiya chaliyA lacchI namo tesiM // 8.6 // muhacavalA / [ammo mahAnumAvaiH mattapaGkajamukhI bhrUcapalA / yaiH svayameva tyaktvA chalitA lakSmInamastebhyaH // 8.6 // ].

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12 savRtti kavidarpaNe [ dvitIyoddeze 'ammo harSe' ( he0 8.2.208 ) / 'bhamuha 'tti ArSatvAt / prAkRtalakSaNe tu 'bhruvo mayA DamayA ' iti (he0 8.2.167) mayA bhumayetyeva syAt / 'dIrghahasvau mitho vRttau ' ( he0 8.1.4 ) iti bhamuhAzabdasya hrasvatvam // 8.6 // udA0 - jANa saittaM katthai na diThThapAyaM niyaMbacavalANa / lalitA yathA-- nArINa tANa kajaMmi citta uttammasi kimevaM // 8.7 // // niyaMvacavalA // zleSe bavayoraikyam [ niyaM va = nitamba or nityameva ] // 8.7 // vyAsabhIrutvAccapalAmUla bhedatrayamevodAhRtaM bhagavatA / vineyAnugrahArthe kamalAdyudAhRtIrdarzayeH-- kamalA yathA * lIlA yathA [ yAsAM satItvaM kutrApi na dRSTaprAyaM nitambacapalAnAm / nArINAM tAsAM kArye citta uttAmyasi kimevam // 8.7 // ] * jyotsnA yathA-- amvo juttaM jaM te tADijjaMte payoharA kaMte / vigdhaM diMtA ucca nibbhiccAliMgaNe niddhaM // 10 // [ ammo yuktaM yatte tADyete payodharau kAnte / vighnaM dadatau uccaM nirbhIkAliGgane snigdham // 10 // ] patto vAsAratto na so nisaMso tahAvi saMpatto / tAre pANA katto tumheM jatto na patthANe // 11 // [ prAptA varSArAtriH, nAsI nRzaMsastathApi saMprAptaH / tat re prANAH kuto yuSmAkaM yatlo na prasthAne // 11 // ] geyaM bAlA tUlA tevAlaM (?) caMdimA caussAlaM / ikiMpi amulaM kiM puNa sabvANa samavAo // 12 // [ geyaM bAlA tUlI tAmbUlazcandrikA catuHzAlam / ekaikamapyamUlyaM kiM punaH sarveSAM samavAyaH // 12 // appANaM vannato pimmaM pimmujjhiesu baMdhaMto / nikkAraNaM hasaMto vayaMsa loe hasijjesi // 13 // [ AtmAnaM varNayan prema premojjhiteSu badhnan / niSkAraNaM hasanvayasya loke hasyase // 13 // ] * This is a mistake; stanza 13 contains 7 short letters and is an example of lIlA, while stanza 12 contains 9 short letters and is an example of jyotsnA. I have, however, retained the order of verses as it is in the Ms.

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paM. 8.7; TI. pa. 10-20] savRttike kavidarpaNe rambhA yathA tuha nidde nissImA AyakviviyaDhimA imA kAvi / dUrAu vallahaM dullahapi jaM amha ANesi // 14 // [tava nidre niHsImA AkarSaNavidagdhatA iyaM kApi / dUrAdvallabhaM durlabhamapi yadasmAkamAnayasi // 14 // 3 mAgadhI yathA paccAloyaNasaMkA mukkA saMgIyadaMsaNaM khittaM / gAmaMgaNAu gahavaisuyaM jahicchaM niyacchati // 15 // . [pratyAlocanazaGkA muktA saMgItadarzanaM kSiptam / grAmAGganA gRhapatisutaM yathecchaM niyacchanti // 15 // ] lakSmI yathA accaMtanigdhiNeNavi ciMtAduHkhANa kAraNaM cittaM / avahariyaM gacchaMteNa teNa ikkaM kayaM sukayaM // 16 // [anyantanighRNenApi cintAduHkhAnAM kAraNaM cittam / apahRtaM; gacchatA tenaikaM kRtaM sukRtam // 16 // ] vidyut yathA .appubvo naNu gimho kovi imo mAmi piyymviogo| vaha(9)ti jaMmi davA navaraM vivasA nisAovi // 17 // [apUrvo nanu grISmaH kopyayaM mAtulAni priyatamaviyogaH / vardhante yasmindagdhAH kevalaM vivazA nizA api // 17 // ] mAlA yathA ya(No) diThAI viyaMbhaMti teNa diThAI puNa nilukkaMti / sahi aNuvaisikkhiyacorImaggAI nayaNAI // 18 // [na dRSTAni vijRmbhanti tena dRSTAni punarnilIyante / sakhi anupadiSTazikSitacauryamArgANi nayanAni // 18 // ] haMsI yathA . uvari sujaMtiyadiDhahArarajjuNo sajiyA jayaM jeu| jaMtovalavva kaMdappajaMtavAheNa tuha sihiNA // 19 // [upari suyantritadRDhahArarajjU sajjitau jagajjetum / yantrotpalAviva kandarpayantravAhena tava stanau // 19 // ]

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dvivIyoddeze lavRttike kavidarpaNe zazilekhA yathA clcelNclaNtrdrdaaviyikkuurumuulaao| parisikirIu purao haraMti ahiyaM mayacchIo // 20 // [calaccailAJcalAntasdaradarzitaikorumUlAH / pariSvaSkitAH purato harantyadhikaM mRgAkSyaH // 20 // jAnhavI yathA vammahasahiyasaNAhaM aNavikkhiyasAmibhiccavavahAraM / vivihaNahaMkaM mihuNassa mohaNaM jayai jujhaM va // 21 // [manmathasahAyasanAthamanapekSitasvAmibhRtyavyavahAram / vividhanakhAI mithunasya mohanaM jayati yuddhamiva // 21 // zuddhiryathA jaNamaNamaggesu suheNa vahai kaMdappasArahisaNAho / thorehiM tuha kisoyari sihiNakisorehiM rAyaraho // 22 // [janamanomArgeSu sukhena udyate kandarpasArathisanAthaH / sthUlAbhyAM tava kRzodara stanakizorAbhyAM rAgarathaH // 22 // kAlI yathA kalamalayadalo raNaraNayapallavo dehadAhagucchillo / gahilattaNakusamo virahabhUruho phalai maraNeNa // 23 // [cittakSobhadalo raNaraNakapallavo dehadAhagucchilaH / / ahilatvakusamo virahabhUruhaH phalati maraNena // 23 // ] kumArI yathA annunnamaMgaghaDaNAghaNamuvahANIkaikkabAhulayaM / avarabhuyA aviralavihiyakaMThagahaNaM suyai mihuNaM // 24 // [anyonyamaGgaghaTanAghanamupadhAnIkRtaikabAhulatam / / aparabhujenAviralavihitakaNThagrahaNaM svapiti mithunam // 24 // medhA yathA saraseNa pavaraparimalaghaNeNa maNahAriNA mahaggheNa / maccai sarae NavavesataruNisu(sa)raeNa mayaNakarI // 25 // [sarasena pravaraparimaladhanena manohAriNA mahAryeNa / mAdyati zaradi navaveSataruNisarakeNa madanakarI // 25 // siddhI yathA (siddhiryathA) daiyaNahaMkusasarasanvarNakie kacuMo muhavaDubva / tuha suyaNu mayaNamayagalakuMbhayaDe sahai sihiNabhare // 26 //

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5.8; thI. pa. 21-32] savRttike kavidarpaNe [dayitanakhAGkuzasarasavraNAGkite kaJcuko mukhapaTa iva / tava mutanu madanamadakalakumbhataTe zobhate stanabhare // 26 // RddhiryathA bahalaMdhatamasaghorA rayaNI chaNatuhiNakarasaNAhAvi / piyasahi maNaharapiyavayaNavirahaviyaNAvihuriyANa // 27 // [bahalAndhatamoghorA rajanI kSaNatuhinakarasanAthApi / priyasakhi manoharapriyavadanavirahavedanAvidhuritAnAm // 27 // kumudinI yathA aNuhavasarasANaM viya aNuivapariNAmaparamamahurANa / ayi hiyaya visayauvasamasuhANa uya aMtaraM gahaNaM // 28 // [anubhavasarasAnAmivAnubhavapariNAmaparamamadhurANAm / ayi hRdaya viSaya-upazamasukhAnAM pazyAntaraM gahanam // 28 // dharaNI yathA suyaNu tuya vayaNarayaNiyarakiraNahaThahariyavisamatamapasare / nehakkhayAya jai jalai jalau dIvo raiharaMmi // 29 // [satanu tava vadanarajanikarakiraNahaThahRtaviSamatamaHprasare / snehakSayAya yadi jvalati, jvalatu dIpo ratigRhe // 29 // yakSI yathA susilaThaviMTamaragayamaNimayasirakalasavilasirasirIyA / mayaNanivasibiravarajamalaguDDurA suyaNu tuha sihiNA // 30 // [suzliSTavRntamarakatamaNimayaziraHkalazavilasacchIko / madananRpazibiravarayamalaguNThako sutanu tava stanau // 30 // vINA yathA na suyai na rasai na jimai na hasai na ya lalai navi ya ullvii| sA diyahaM varai ruyai navaraM tuha virahaduhavihurA // 31 // [na svapiti na rasati na bhuGkte na hasati na ca lalati nApi colapati / sA divasaM vRNvatI roditi kevalaM tava virahaduHkhavidhurA // 31 // ] vANI yathA thuimuhalavivihabuhanivahamasalaulavihiyabahalahalavolaM / paricarai kovi muNirayaNasUrigurucaraNasarasirahaM // 32 // [stutimukharavividhabudhanivahabhramarakulavihitabahalakalakalam / paricarati kopi muniratnasUrigurucaraNasarasiruham // 32 //

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savRttike kavidarpaNe .... [dvitIyoddeze gandharvI yathA kuNasi tumamaNisamaNuvamasuhaDimahayapamuhariunivainivahe / samaraMmi amaravahu ruiyaramaNajaNalAharahasamuham // 33 // - [karoSi tvamanizamanupamasubhaTatvahatapramukharipunRpatinivahe / samare amaravadhUH rucitaramaNajanalAbhahRSTamukhIH // 33 // ] maJjarI yathA jayapalayapavaNaharataiyanayaNaghaNajalaNajaNiyausiNaguNa / virahiyaNamahaha hayasasi dhuvamasaraNamavirayaM dahasi // 34 // [jagatpralayapravaNaharatRtIyanayanaghanajvalanajanitoSNatAguNa / virahijanamahaha hatazazin dhruvamazaraNamavirataM dahasi // 34 // ] gaurI yathA alahuduhalaharilahiragahirabhavajalahivalayataraNakhamaM / jiNavarapavayaNapavahaNamaNusara jai mahasi suhavihavaM // 35 // [alaghuduHkhalaharIyutagambhIrabhavajaladhivalayataraNakSamam / jinavarapravacanapravahaNamanusara yadIcchasi zubhavibhavam // 35 // ] kamalaiva gurusaMkhyAvivakSayA brAhmaNI / pAdaliptasUreryathA gajaMte khe mehA phullA nIvA paNacciyA moraa| naho caMdulloo vAsAratto halA patto // 36 // [garjante khe meghAH phullA nIpAH praNatitA mayUrAH / naSTazcandrAloko varSArAtriH sakhi prAptA // 36 // ] kSatriyA yathA saMsArAsArattaM ajjo jANAmi kAmatattaM ca / visumarai ramaNimaNukhaNamavi hayamaNamahaha nahu tahavi // 37 // [saMsArAsAratvamajjo jAnAmi kAmatattvaM ca / vismarati ramaNImanukSaNamapi hatamana: ahaha na khalu tathApi // 37 // ] vazyA yathA taruNiyaNamabhayamayamiva ayi virahiya jamiha muNasi hayahiyaya / niHsaMdehaM taM te ghoraM hAlAhalaM ceyaM // 38 // [taruNijanamamRtamayAmiva ayi virahita yadiha jAnAsi hatahRdaya / niHsaMdehaM tatte ghoraM hAlAhalaM caitat // 38 // ]

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pa. 9; TI. paM. 33-44] savRttike kavidarpaNe zUdrI yathA ayi abuhahiyaya kimu visamavisayarasavivasamaNisamavi bhamasi / muya kumai sasamauvasamapariNaisuhamaNahamaNuhavasu // 39 // [ayi abudhahRdaya kimu viSamaviSayarasavivazamanizamApa bhramasi / muJca kumatiM sazamopazamapariNatisukhamanaghamanubhava // 39 // ] gADhA yathA dihe tumaMmi savvuttamaMmi ANaMdasiMdirA dihI / toyaMjalIu deivva deva danvavatthUNa // 40 // [dRSTe tvayi sarvottame AnandasyandinI dRSTiH / toyAJjalIdadAtIva deva draSTavyavastubhyaH // 40 // ] agADhagADhA yathA jariNo ghayaM va vasiNo viyaddhRtaruNA vivAgaahiyaMti / paradArasaMgamasuhaM nikAmasarasaMpi na mahaMti // 41 / / [jvariNo ghRtamiva vazino vidagdhataruNA vipAkAhitamiti / paradArasaMgamamukhaM nikAmasarasamapi necchanti // 41 // ] daragADhA yathA sArayasasIvi suMdari na pAvae tuha muhovamANapayaM / teNavi hayassa tA kamalayassa kA uNa gaI havau // 42 // [zAradazazI api sundari na prApnoti tava mukhopamAnapadam / tenApi hatasya tatkamalasya kA punargatirbhavatu // 42 // saralagADhA manorathasya yathA mahamahai lacchimayakuDayanIvaparimalabhareNa ghnnsmo| aibharayapIyasurasurahiyaMva varataruNimuhakamalaM // 43 // [prabhavati lakSmImayakuTajanIpaparimalabhareNa ghanasamayaH / atibharapItasurAsurabhIkRtamiva varataruNImukhakamalam // 43 // ] gAhAi muhadaladugaM gII taladaladugaM tu uvagII / vaccAse uggII gIicciya khaMdhamaTThamaTe // 9 // [gAthAyA mukhadaladvikaM gItiH, taladaladvikaM tUpagItiH / vyatyAse udgItirgItireva skandhamaSTamaTe // 9 // ] 'gAhAi 'tti sarvatra yojyam / gAthAyA mukhadaladvikaM gItiH / pazcApi SaSThe madhyake ityarthaH / gAthAyAstaladaladvikaM punarupagItiH / pUrvArdhapi SaSTho laghurityarthaH / gAthAyA dalayorvyatyAse viparyaye

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savRttike kavidarpaNe [dvitIyoddeze udgiitiH| pUrvArdhe aparArdhamaparArdhe pUrvArdhamityarthaH / evaM tisropi gItayaH pathyAvipulAcapalAbhedasaMyogeSoDazaSoDazabhedAH syustataH sarvAgreNa gAthAnAM catuHSaSTibhedAH / yadAha ekaiva bhavati pathyA tisro vipulaasttshctsrstaaH| capalAbhedaistribhirapi bhinnA iti SoDazAryAH syuH // 44 // gItInAM trayamitthaM pratyekaM SoDazaprakAraM syAt / sAkalyenAryANAmime vikalpAzcatuHSaSTiH // 45 // tathA gItirevASTamasya guroH sthAne TagaNe kRte skandham / AryAgItiriti piGgalaH / laghucatuSkAt dvidvilaghuvRddhayA cedaM skandhamekonatriMzadvidhaM yathA-'pimmo zallo pANI pahio pauro parAyaNo paramo' ityAdigAthAtrayam / tathA daladvayepi SaSThe laghAvupaskandham / prathamAdhai SaSThe laghAvutsvandham / antyArdhe SaSThe laghAvavaskandham / pUrvArdhe skandhamaparArdhe gItistathA pUrvArdhe gItiraparArdhe skandhakamiti saMkIrNaskandhamapi skandhopalakSaNAjJeyam // 9 // udA0-jaugolavva vibhijaMti itthiAggIi saMgayA bahave / tIivi kaNayaMpiva je u NimmalA te puNo jae viralA // 9.1 // [jatugolA iva vibhidyante stryagninA saMgatA bahavaH / tasyAmapi kanakamiva ye tu nirmalAste punarjagati viralAH / / 9.1 // ] . 'kaNayaMpiva 'tti 'miva piva viva vva va via ivArthe vA' (he0 8.2.182) iti vivasthAne pivaH // 9.1 // udA0-uva gIIi kuraMguvva mohio sasimuhIi jnno| hammai vammahavAheNa niddayaM puMkhiyasareNa // 9.2 // [pazya gItyA kuraGga iva mohitaH zazimukhyA janaH / hanyate manmathavyAdhena nirdayaM pukhitazareNa // 9.2 // ] 'uya' ityavyayaM pazyetyarthe / upagItipakSe tu 'kagacajatadapayavAM prAyo luk' (he08.1. 177) iti paluk / po va iti tu prAyikam / 'hammai 'tti 'hankhanontyasya' (he0 8.4.244) iti mmaH // 9.2 // udA0--kijjai tIi tuha guNuggIiviNoo virhduHkhe| luppai bAhuppIleNa navara varaIi bhakkhaNaM kaMTho // 9.3 // [kriyate tayA tava guNodgItivinodo virhdukhe|| lumpati bASpotpIDena kevalaM varAkyA bhakSaNaM kaNThaH // 9.3 // -- 'varaIi 'tti varAkyAH / 'svarANAM svarA' (he. 8.4.238) iti hrasvaH // 9.3 // udA0-athiraji jivva vihayA ua paccakhaM dhayA iva pvnnphyaa| ajarAmaruvva vavaharai jIvaloo tahAvi hA saahsio||9.4||

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vRtti kavidarpaNe [ asthirA eva jIva vibhavAH pazya pratyakSaM dhvajA iva pavanaprahatAH / ajarAmara iva vyavaharati jIvalokastathApi hA sAhasikaH / / 9.4 / / spaSTam / sarvagItiskandhabhedodAharaNAni vyAsabhayAnnoktAni / 9.4 // gIivisesA cauro riuchaMdAI ihatthi avarevi / gAhapamuhA ya gAhAi aTTabheyA jao bhaNiyam // 10 // 1. 9-13; TI. pa. 44-45] [ gItivizeSAzcatvAro ripucchandAyA iha santyaparepi / gAhapramukhAzca gAthAyA aSTa bhedA yato bhaNitam // 10 // ] gItervizeSAzcatvAro ripucchandAdhA iha prakaraNe aparepi 'asthi 'tti santi ' asthistyAdinA ' (he0 8*3*148) iti atthiH / gAthapramukhA gAthAyA aSTabhedAH santi / cakArAjjAtIphalaM navamam / yato bhaNitaM zAstrAntare // 10 // gIi riucchaMdA sattamaMmi tagaNe, taijjae laliyA / . duhiM bhaddiyA, vicittA jahicchatagaNA viNA chaThThe // 11 // gAhA muhadala aMtimagurupacchA dunna dunna TagaNANa / buDhI kamA gAho uggAha - vigAha- avagAhA // 12 // saMgAhI uvagAho ya gAhiNI aha jahicchavihiyAe / dudugaNavibuDhI mAlAgAho mahAchaMdo // 13 // [ gItiH ripucchandAH saptame tagaNe, tRtIye lalitA / dvAbhyAM bhadrikA, vicitrA yathecchatagaNA vinA SaSTham // 11 // gAthA mukhadalAntimaguroH pazcAd dvayordvayoSTagaNayoH / vRddhyA kramAt gAtha udgAthavigAthAvagAthAH // 12 // saMgAtha upagAthazca gAthinI atha yathecchavihitayA / dvidvigaNavivRddhayA, mAlAgAtho mahAchandaH // 13 // ] AdyagAthAyA 'gIi 'tti sarvatra yojyam / gItireva saptame tagaNe paJcamAtre ripucchandAH / gItireva tRtIye tagaNe lalitA / gItireva dvayostRtIyasaptamatagaNayorbhadrikA / gItireva SaSThagaNaM vinA yathecchaM tagaNairvicitrA / tathA gAthAyA mukhadale antimasya guroH pazcAdekaTagaNavRddhayA jAtiphalamanuktamapi jJeyam / dvayordvayoSTagaNayorvRddhyA kramAt gAtha-udgAtha-vigAtha - avagAthAH saMgAtha upagAthazca gAyanIti syuH| aSTabhiSTagaNairjAtiphalaM navabhirgAtha ekAdazabhirudvAthastrayodazabhirvigAthaH paJcadazabhiravagAthaH saptadazabhiH saMgAthaH ekonaviMzatyopagAtha ekatriMzatyA gAthinItyarthaH / atha yathecchaM vihitayA na tu pramitayA dvidvigaNavivRddhayA mAlAgAyo mahAcchandaH syAt / amitaTagaNatvAccAsya mahAzabdaH / sarveSu caiteSu jAtiphalAdiSUttarArdhaM gAthA eva // 11 - 13 //

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savRttike kavidarpaNe [dvitIyoddeze ripucchandA yathA piyatakare kaDilaM kaLate vevirIi navoDhAe / ramaNavalattheNa kao kiMkiNisatyeNa kalayalo mahallo // 46 // [ priyataskare kaTivastraM karSati vepamAnAyA navoDhAyAH / ramaNaparyastena kRtaH kiGkiNIsArthena kalakalo mahAn // 46 // ] lalitA yathA jaha maggo pulaijjae sANaMdaM pAusassa va piyassa / taha sarayAi-riUNaM va vayaMsi kiM iyarayANa vi jaNANa // 47 // [yathA mArgaH pralokyate sAnandaM prAvRSa iva priyasya / tathA zaradAdi-RtUnAmiva sakhi kiM itareSAmapi janAnAm // 47 // ] bhadrikA yathA lakhkhai lakkheNa daiassa daMsaNaM saMgamo uNa koDIe / vayaNaM koDAkoDIi amullamAliMgaNaM tu halA ikkaM // 48 // [lakSyate lakSaNa dayitasya darzanaM, saMgamaH punaH koTyA / vacanaM koTAkoTyA, amUlyamAliGgAnaM tu sakhi ekam // 48 // ] vicitrA yathA ruio na dIsai jae jaNo aha dIsae tA na hoi nehillo / nidhovi dullahucciya vihaDae laddhovi mAmi kiM kuNimo // 49 // [rucito na dRzyate jagati jano'tha dRzyate tadA na bhavati snigdhaH / snigdhopi durlabha eva, vighaTate labdhopi mAtulAni kiM kurmaH // 49 // ] jAtiphalaM yathA jo jassa kae ghaDio saMghaDai sudUragovi tasseva jaNo / bajhaMti vijhavaNasaMbhavAvi rAyaMgaNe kariNo // 50 // [yo yasya kRte ghaTitaH saMghaTati sudUragopi tasyaiva janaH / badhyante vindhyavanasaMbhavA api rAjAGgaNe kariNaH // 50 // ] gAtho yathA daie dAviyavippiyasaevi sukulaMgaNANa sabbhAvanibbharaM pimmaM / pAehi ya tADiyAu vi raviNA viyasaMti naliNIo // 51 // [dayite darzitavipriyazatepi sukulAGganAnAM sadbhAvanirbharaM prema / pAdazca tADitA api raviNA vikasanti nalinyaH // 51 // ].

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pa. 11-13; TI. pa. 46-56] savRttike kavidarpaNe udgAtho yathAavirAmajalirauddAmadaiyavicchohahuyavahucchaliya dhUmariMcholidUmiyAiM va / aNavarayaM ceva jharaMti pahiyaghariNINa nayaNAI // 52 // [avirAmajvalitoddAmadayitavirahahutavahocchalita ___ dhUmasamUhadUnAnIva / anavarataM caiva jharanti pathikagRhiNInAM nayanAni // 52 // ] vigAtho yathA sarahasaNamaMtasAmaMtamolidippaMtamauDarayaNAlikiraNa kacchuriyacaraNajuyalassa siddharAyassa / mahamahai kovi mAhappaparimalo bhuvaNavalayaMmi // 53 // [sarabhasanamatsAmantamaulidIpyamAnamukuTaratnAlikiraNa kacchuritacaraNayugalasya siddharAjasya / prasarati kopi mAhAtmyaparimalo bhuvanavalaye // 53 // ] avagAtho yathAtelukkacaMdagujjaranariMdajayasiMhaevanippaddhavAyamANasatalAya gaMbhIraganbhanibbharanivAsadullaliyaM / siridhammasUrimunirAyapAyapaumaM namasAmi // 54 // [trailokyacandragurjaranarendrajayasiMhadevaniHpratyavAya (?) mAnasa taDAgagaMbhIragarbhanirbharanivAsadurlalitam / zrIdharmasUrimunirAjapAdapamaM namAmi // 54 // ] saMgAyo yathA piyamaraNasoyaroyaMtadINaNipputtanAridhaNacAyakittisaMbhArabhariya____ bhuvaNaMtarAla bhUvAlatilaya sirikumaravAla kiM bhaNimo / natthi na Asi Na hohI tuha tullo bhUvaI bhuvaNe // 55 // [priyamaraNazokarudaddInaniSputranArIdhanatyAgakIrtisaMbhArabharitabhuvanAntarAla bhUpAlatilaka zrIkumArapAla kiM bhaNAmaH / nAsti nAsInna bhaviSyati tava tulyo bhUpatirbhuvane // 55 // ] upagAtho yathA tuha sumuhi muhaM sasimaNDalaM ca nimmaviya dovi rammAiM nUNa niuNeNa sArakalaNAya teNa kamalAsaNeNa koUhalAu tuliyAI; tesu tujjha muhaM / garuyaMti mahIi gayaM iyaraM tu nahuMmi lahuyaMti // 56 //

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savRttike kavidarpaNe [dvitIyoddeze [tava sumukhi mukhaM zazimaNDalaM ca nirmAya Tepi ramye nUnaM nipuNena sArakalanAya tena kamalAsanena kautUhalAttulite; tayostava mukham / / gurviti mahIM gatamiratattu nabhasi laghukamiti // 56 // ] gAthinI yathA calavaliracavalakimikucchaNijjavigarAlauggaduggaMdharaMdhabIbhaccha yANacammAvaNaddhaghaNaruhiramaMsasaMbaddhaahikUDANa kUDamAroviyaM hayAsehiM / nAriniyaMbANa kaIhiM kiMpi haddhI mahagyattaM // 57 / / [caladvalanazIlacapala kRmikutsanIyavikarAlogradurgandharandhrabIbhatsamAnacauvanaddhaghanarudhiramAMsasaMbaddhAsthikUTAnAM kUTamAropitaM htaashaiH| nArInitambAnA kavibhiH kimapi hA dhik mahArghatvam // 57 // ] mAlAgAtho yathA bhiDaNujjhaDaNi sakayagrahANi dahAharANi ghaNadhAyaghummighorANi naharapaharucchalaMtaruhirANi kheyapagalaMtaseyabiMdUNi payaDauddhasiyaromakUvANi maNiyatumulANi luliyaavayaMsakusumauvvaMtareNupaDalANi kaNirakaMkaNakalApatUrAravANi vAyAlavivihakelIvihaMgabaMdiNa amaMdahalavolabahulavaliyarasANi maulipphuraMtadhUmolilolatUlappaIvanArayavisesasaMbhuki(dhukka)jujjhapasarANi / rAyaMdhamihuNamohaNaraNANi NivigdhamagdhaMtu // 58 // [ mIlane sakacagrahANi daSTAdharANi ghanaghAtapUrNitaghorANi nakharaprahArocchaladrudhirANi khedapragalatsvedabindUni prakaToddhvastaromakUpANi maNitatumulAni lulitAvataMsakusumodvAntareNupaTalAni kaNakaGkaNakalApatUryAravANi vAcAlavividhakelIvihaMgabandInAmamandakolAhalabahulavardhitarasAni maulisphuraddhamAlilolacUlapradIpanAradavizeSasaMdhukSitayuddhaprasarANi // rAgAndhamithunamohanaraNAni nirvighnaM rAjantAm // 58 // ] evaM jAtiphalamukhadalAntyaguroH pUrve dvidviTagaNavRddhayA krameNa dAmoddAmavidAmAvadAmasaMdAmopadAmadAminImAlAdAmA aSTau jJeyAH // 11-13 // paMcANaNalaliyA ravidisAhiM navadasahiM malayamAruyayaM / rAso u sattaterasahiM visamasamapayakalAhiM kamA // 14 // [paJcAnanalalitA ravidizAbhirnavadazamirmalayamArutam / rAsastu saptatrayodazabhirviSamasamapAdakalAbhiH kramAt // 14 // ] viSamayoH prathamatRtIyayoH samayordvitIyacaturthayoH pAdayoH kalAbhiH kramAta dvAdazadazasaMkhyAbhiH pazcAnanalalitA, navadazasaMkhyAbhirmalayamArutakaM, rAsastu punaH saptatrayodazasaMkhyAbhiH // 14 //

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savRtti kavidarpaNe udA0 - paMcANaNalaliyAI / bhayabhibhalaloyaNu // pa. 14-16; TI. pa. 56-58] sumarivi ajavi ranne / tarhi trAsai mRgagaNu // 141 // paMcAnanalaliyA | paJcAnanalalitAni / bhayavihvalalocanaH // smRtvAdyApyaraNye / tatra trasyati mRgagaNaH // 14*1 // udA0 - tattI sIyalI / melAvA kehA // dhaNa utAvalI / priya maMdasiNehA // 142 // malayamAruyayaM kassavi / [ taptazatilayoH / melanaM kIdRzam // gRhiNyutsukA / priyo mandasnehaH // 14:2 || malayamArutaM kasyApi ] udA0 - nahi nihAlivi / samunnayaghaNu dhaNanirAsu / pahiu pAusi / karai sAsihi jiGkumAsu // 14-3 // rAso / [ nabhasi nibhAlaya / samunnatadhanaM gRhiNInirAzaH // pathikaH prAvRSi / karoti zvAsairjyeSThamAsam // 14.3 // ] spaSTAni / navaraM 'dhaNa 'tti priyA // 14.3 // terasaekkArasahiM nu dohao eya samapae aMte / gurulahuNo kuNa, aha viNimaeNa avadohao eso // 15 // [ trayodazaikAdazabhistu dohaka etasya samapAdayorante / gurulaghu kuru; atha vinimayenAvadohaka eSaH // 15 // ] viSamasamapadakalAbhiH kramAt trayodazaikAdazasaMkhyAbhiH punardohakaH / atrAmnAyaH / etasya dohakasya samapAde dvitIye turye cAnte gurulaghu kuru / ekAdazakalAsu aSTakordhvaM gurulaghubhyAmeva mAtrAtrayaM pUrayetyarthaH / atha vinimayena viSamasamAGghrivyatyayenaiSa dohaka evAvadohakaH // 15 // udA0 - ji nara niraggala galagalaha / muggala jaMgalu khaMti // prANiha doha ahaha / bahu duha ihi buDuMti // 151 // dohabho / [ ye narA nirargalA XXX / mUrkhA jAGgalaM khAdanti / te prANinAM drohakA ahaha / bahuduHkhe iha majjanti // 15.1 // ] 'muggala 'tti mUrkhAH // 15.1 // udA0 - phulaMdhuya dhAvaMti / sahi saharisa sahayAravaNI // koilaravi maggati / pAava dohaya mahusamaI // 15.2 // avadoho | [ bhramarA dhAvanti / sakhi saharSa sahakAravane // kokilaraveNa mArgayante / pAdapA dohadAnmadhusamaye // 15.2 // ] phullaMghuyA bhramarAH / pAdapA dohadAnmArganti / / 15.2 // uvadohayamegakalAUNehiM kalAdugAhiehiM tu / saMdohayamasamehiM dohayapAehiM pabhaNanti // 16 //

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savRttike kavidarpaNe [dvitIyoddeze [upadohakamekakalAhInAbhyAM kalAdvikAdhikAbhyAM tu / saMdohakamasamAbhyAM dohakapAdAbhyAM prabhaNanti // 16 // ] dohakaviSamAnibhyAmekakalAhInAbhyAmupadohakaM kalAdvikAdhikAbhyAM punaH saMdohakaM prAhurvRddhAH // 16 // udA0-jujjhiya bhAu ya do haya / gayarahabhaDasaMjutta / bharahabAhubali suvvaI / avaraha kittiya matta // 16.1 // uvdoho| [yodhitau bhrAtarau ca dvau haya- / gajarathabhaTasaMyuktau / bharatabAhubalI zrUyate / apareSAM kiyatI mAtrA // 16.1 // ] bhrAtaro dvau / hayagajetyAdi // 16.1 // udA0-na kalaI duhasaMdoha avirala / paratiyalAlasamuddha / maMjara daMDu ki dikkhai uvari / daddhaDha duddhaha luddha // 16.2 // sNdoho| [na kalayati duHkhasaMdohamAvaralaM / parastrIlAlaso mugdhaH / mArjAro daNDaM kiM pazyatyupari / dagdho dugdhasya lubdhaH // 16.2 // ] 'maMjara 'tti 'mArjArasya maMjaravaMjarau' (he0 8.2.132) iti mArjAraH // 16.2 // terasakalehiM pAehiM hoi uddohao asesehiM / cUDAladohao samapAyaMtakaraNa tagaNeNa // 17 // [ayodazakalaiH paadairbhvtyuddohko'shessaiH| / cUDAladohakaH samapAdAntakRtena tagaNena // 17 // ] pUrvArdhe kaMvyaM (!) / samapAdayorante ekAdazakalovaM kRtena paJcamAtreNa cUDAladohakaH syAt / cUDA tagaNalakSaNAsyAstItyarthaH // 17 // udA0--kumai ji mairai karaI rai / naraiM ti veyaraNihi naihiM / ruMdarauddohayataDihiM / lulahi pUyalohiyamaihi // 17.1 // udohbho| [kumatiyoM madirAyAM karoti ratiM / narakesau vaitaraNyAM nadyAm / vistIrNaraudrobhayataTyAm / patati pUyalohitamayyAm // 17.1 // ] rundarodraubhayataTyAm 'lulahiM 'ti patati // 17.1 // udA0-suhi acchaMtaha mANusaha / vihivasi kui kuggAhu cahudRi / jiNi jasu nAsai jaNu hasai / maNi avaNai taNi dAhu payadRi // 17.2 // cUDAladohao jinnsiNhsuuriss| [zubhe satAM manuSyANAm / vidhivazAtkopi kugraha Apatati / yena yazo nazyati jano hasati / manasyavanatistanau dAha: pravartate // 17.2 // ] visamesu dunni TagaNA samesu po To tao dusuvi jattha / lahuo kagaNo lahuo kagaNo taM muNaha mAgahiyaM // 18 //

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pa0 16-20] savRttike kavidarpaNe [viSamayodvauM TagaNau samayoH paSTastato dvayorapi ytr| laghuH kagaNo laghuH kagaNastAM jAnIta mAgadhikAm // 18 // ] viSamayojhai caturmAtrau samayoH pAdayorekaH SaNmAtraH ekazcaturmAtrastato dvayorapi pAdayorlaghukaH kagaNo laghukaH kagaNo yatra tAM mAgadhikAM 'muNaha 'tti 'jJo jANamuNau' (he0 8.4.7) iti jAnIta / lakalakatti siddhe lahuo ityAdi sUtravaicitryArtham // 18 // udA0--kimicchaha juvaisaMgamaM / jANatAvi jaNA jiNAgamaM // samaNo kila kuulvaalo| mAgahiyAi kao duhAlao // 18.1 // maaghiyaa| [kimicchatha yuvatisaMgama / jAnantopi janA jinAgamam / / zramaNaH kila kulavAlaka: / mAgadhikayA kRto duHkhAlayaH // 18.1 / / ] kilelyAptoktau / kulavAlako vratI / mAgadhikAkhyA vezyA / tatkathA caamnaaygmyaa||18.1|| TA cauro jo Na muhe gurucciyaMtillao lahU nvmo| mattAsamayaM; paMcamaaTThamalahuNo u visiloo // 19 // [TAzcatvAro jo na mukhe gururevAntimo lghurnvmH| mAtrAsamakaM; paJcamASTamau laghU tu vizlokaH // 19 // ] catvArazcaturmAtrAsteSvAdau na jagaNaH / ante bhava iti Dille (he08.2.163) aMtillo antyo gurureva navamo laghurmAtrAsamakam / paJcamASTamau laghU punarvizlokaH / zeSamupacitrAM yAvanmAtrAsamakavat // 19 // udA0--nigamijjaMtaM visummttaa-| samayaM mannahi [abuhA sttaa| na uNo kAliNa nigamijaMtaM / appANaM ciMtahi nibhaMtaM // 10 // mattAsamayaM / [nigamyamAnaM viSayonmattA: samayaM manyante abudhAH saktAH // ] na punaH kAlena nigamyamAnam / AtmAnaM cintayanti nibhrAntam // 19.1 // unmattA pahilAH / samayaM kAlam / nibhaMtaM bhrAntihInam // 19.1 // udA0--niccuvi navaM karevi siloyaM / Avajjivi navanavapahuloyaM // jahi kijjai uyaraha pUraNayaM / taM paMDiyattamiha AyukhayaM // 19.2 // visiloU / [nityamapi navaM kRtvA zlokam / AvarNya navanavaprabhulokam / / yadi kriyate udarasya pUraNam / tatpaNDitatvamihAyuHkSayam // 19.2 / / ] cittA navamovi hu, vANavAsiyA navamabArasA lahuNo // navamagurU uvacittA; pAyAulayaM imANa pAehiM // 20 // [citrA navamopi khalu vAnavAsikA navamadvAdazau laghU / navamagururupacitrA; pAdAkulakameteSAM pAdaiH // 20 // ] navamo laghuH / apizabdAtpaJcamASTamau laghU citraa| hurnishcye| navamadvAdazau laghU vAnavAsikA /

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savRttike kavidarpaNe [dvitIyoddeze navamo gururupacitrA / eSAM mAtrAsamakAdInAM pAdairbaddhaM pAdAkulakam / tacca dvikatrikacatuSkasaMyogabhedAtpaJcaSaSTividhaM yadAha dvijAtijA vikalpAH syustriMzattriMzattrijAtijAH / caturjAtibhavAH paJca paJcaSaSTiritIritAH // 59 // pranthagauravabhayAnna vivRtAH // 20 // udA0-je jammaha amuNiyapimmarasA / je mUlaha akaliyavirahadasA // phrisvisaayvimukkcittaa| dhanna ti muNivara vimalacarittA // 20.1 // cittaa| [ye janmano'zAtapremarasAH / ye mUlAdakalitavirahadazAH / / praharSaviSAdavimuktacittAH / dhanyAste munivarA vimalacaritrAH / / 20.1 // ] spaSTA // 201 // udA0--paI piyaThANAu bhaMsiyAo / deva niyakivANavAsiyAo // taggayasalilaMsuehi annisN| riunivasirIu ruyaMtiva bhisaM // 20.2 // [tvayA priyasthAnAdbhazitAH deva nijakRpANavAsitAH // tadgatasalilAzrubhinityaM ripunRpazriyo rudantIva bhRzam / / 20.2 // ] 'paI 'tti tvayA priyasthAnAtsahavAsAdbhazitA deva svakhaDne parAzraye vAsitAH / asigatajalAzrubhinityaM ripunRpazriyo rudantIva bhRzam // 2002 // udA0-uya cittAlihiyAvi hu bAlA / saMmohai pIyAviva hAlA // paccakkhaM puNa diTThA kira saa| hAlAhalamiva mArai sahasA // 20.3 // uvacittA / [pazya citrAlikhitApi khalu bAlA / saMmohayati pIteva hAlA // . pratyakSaM punadRSTA kila sA / hAlAhalamiva mArayatI sahasA // 20.3 // ] spaSTA // 20.3 // udA0-caMdujoo caMdaNalevo / kuvalayasijjA kamalukkhevo // dAhiNamAruyau ya kappUraM / ahiyaM virahe Dahai sarIraM // 20.4 // pAyAkulayaM kssvi| [candrodyotazcandanalepaH / kuvalayazayyA kamalotkSepaH // dakSiNamArutazca karpUraH / adhikaM virahe dahati zarIram // 20.4 // ] kamalokSepaH padmadalopavIjanam / karpUraM vIrye zItalam / yadAha kaTutiktoSNamaguru snigdhaM vAtakaphApaham / tiktaM surabhi zItaM ca karpUraM laghu lekhanamiti // 60 // // 20.4 // cau cA TagaNo muttAvaliyA poTadugakA puNo vayaNaM // taM causu aMtajamiyaM maDilA pAesu dusu dusu a aDilA // 21 //

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paM0 20-22; TI0 59-60] savRttike kavidarpaNe 27 [catvAraH cAH TagaNo muktAvalikA; paTadvikakAH punarvadanam / ___ taccatuva'ntayamitaM maDilA pAdayordvayordvayozvADilA // 21 // ] catvArastrimAtrA ekazcatutriI muktAvalikA / ekaH SaNmAtrI dvau caturmAtrAveko dvimAtraH punarvadanam / tadeva caturvapi pAdeSvante yamakitaM maDilA / dvayordvayoH pAdayoH punaraDilA // 21 // udA0-na suyai na hasai na hu sA jaMpai / suhaya taruNi tuha virahe saMpai / kelinnhaannbhoynnvihivise| kevalamuttA valiyaMsasae // 21.1 // muttaavliyaa| [na svapiti na hasati na khalu sA jalpati / subhaga taruNI tava virahe saMprati / kelisnAnabhojanavidhiviSaye / kevalamuktA valitaM zvasiti // 21.1 // ] kevalamuktA satI valiyaM atyarthaM zvasiti // 21.1 // udA0-jau tuha tihuyaNanAha nihAliu / tau maI helaha(i) duhu avheliu| jau tuha pavayaNu pAviu sAmiya / tau maha pUriya sayalavi kAmiya // 21.2 // vayaNaM / [yadA tvaM tribhuvananAtha nibhAlitaH / tadA mayA helayA du:khamavahelitam / yadA tava pravacanaM prAptaM svAmin / tadA mama pUritaM sakalamapi kAmitam / / 21.2 // ] udA0-ciramaDilahaM bhavaranni asattha[haM] / je AsAsaya dhammiyasatthahaM / paNamaha muNiyajiNAgamasatthahaM / tAha~ guruha~ tihuyaNavi pasatthahaM // 21.3 // [maDilA / [ciramaTanazIlAnAM bhavAraNye'svasthAnAM / ye AzvAsakA dhArmikasArthAnAm / / praNamata jJAtajinAgamazAstrebhyaH / tebhyo gurubhyastrivabhunepi prazastebhyaH / / 21.3 / / ] ciramaTanazIlAnAM bhavAraNye azva(svosthAnAM ye AzvAsakA dhArmikasArthAnAM praNamata jJAtajinAgamazAstrebhyastebhyo gurubhyastribhuvanepi prazastebhyaH / 'aDilaha 'tti aTituM zIlameSAmiti / 'tacchIlAdyarthasyera' (he0 8.2.145) iti aDira iti siddhe 'rasya lo vA' (he0 8.2.326) iti latvam // 21.3 // udA0-niaDi layahaM pariaDahiM silImuha / mayaNi nisiya sasisilaha silImuha // tuha virahAnali susiyavasaMtaha / pahiya pavesuvi visamu vasaMtaha // 21.4 // addilaa| [nikaTe latAnAM paryaTanti zilImukhAH / madanena nizAtAH zazizilAyAM zilImukhAH // tava virahAnale zuSkavasAntrasya / pathika pravezopi viSamo vasantasya / / 24.4 / / ] nikaTe latAnAM kusumasaurabhAtparyaTanti bhramarAH / madanena nizAtAH zazizilAyAM zarAH / tava virahAnalazuSkavasAntrasya he pathika pravezopi viSamo vasantasya dUre prakarSaH // 21.4 // paddhaDiyA TacaukkaM carame Te majjhakA, na visame jo| TadugaM tagaNo khaNDaM; cau tA mayaNAvayArutti // 22 //

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savRttike kavidarpaNe . [dvitIyoddeze [paddhaTikA TacatuSkaM carame Te madhyako, na viSame jaH / TadugaM tagaNaH khaNDaM, catvArastA madanAvatAra iti // 22 // ] caturmAtracatuSkaM paddhaTikA / tatrAntye caturmAtre madhyakAveva / na ca viSame jgnnH| tathA dvau caturmAtrAvekaH paJcamAtraH khaNDam / tathA catvAraH paJcamAtrA madanAvatAraH / iti zabdaH prakArArthaH etatprakArANi chandAMsi sUcayati / ekaH SaNmAtrazcatvAraH samA madhyakAzcaturmAtrA helaa| ajAH samAH paJca caturmAtrAH ekaH pnycmaatrodhikaakssraa| dvau trimAtrau trayazcaturmAtrA ekastrimAtro maJjirI / SaTpaJcacatustridvimAtrA aravindamiti paddhaTikAprakArANi / ekaH SaNmAtra ekazcaturmAtra ekastrimAtra upakhaNDam / ekaH SaNmAtro dvau caturmAtrau khaNDiteti khaNDaprakArANi / etat trayamavalambakAkhyaM jJeyam / paJcaSaTsaptASTanavapaJcamAtrANi kramAt madhukarI-navakokilA-kAmalIlA-sutArA-vasantotsavAkhyAni madanAvatAraprakArANi // 22 // udA0-dhannaha uddAmapraNAmaraMgi / bhAlathali paDisaMketa cNgi| gurusamudrasUri payanakkhu kaMti / kappaMddhaDiAi tulaM vahaMti // 22.1 // pddhddiyaa| [dhanyAnAmuddAmapraNAmaraGge / bhAlasthale pratisaMkrAntA sundarI / guroH samudrasUreH padanakhakAntiH / kalpavRkSasya tulAM vahati // 22.1 // 1 'nakkhu'tti dvitIyaturyayorupari pUrvaH (he0 8.2.90) iti dvitIyopari prathamaH // 22.1 // udA0--veri ya kesarisarahao / sAhiya Tha khaMDa bhrho| kayasaMjamo mahAraho / subvai cakkIvi bharaho // 22.2 // khaMDaM / [vairiNau kesarizarabhau / kathito hi khaNDo bharataH / kRtasaMyamo mahArathaH / zrUyate cayapi bharataH // 22.2 // ] spaSTam // 22.2 // udA0--rosagurugirisavisamacchimucchaMtae palayajalaNaMmi gayaNaMmi gacchaMtae / tami tammaMtaraivayaNanaliNe khaNe ko khamo huja mayaNAvayArakkhaNe // 22.3 // [mynnaavyaaro|] [roSagurugirizaviSamAkSiNi mUrcchati pralayajvalane gaganaM gacchati / tasmistAmyadrativadananAline kSaNe kaH kSamo bhavenmadanApadArakSaNe // 22.3 // ] tAmyadrativadananaline kSaNe kaH kSamo bhavenmadanApadArakSaNe api tu na kopi / helAdhikAkSarAdIni svayamudAhAryANi // 22.3 // 1 Is it kappajjhaDiAi ? jhaDiA (cf. Marathi jhADa) is rendered by me as vRkSa. 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 paddhatikA. The Prakrita Paingala, however, gives it as pajjhaTikA. See Bib. liotheca Indica edition, p. 217.

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savRtti ke kavidarpaNe tadugaM dugaM cagaNo galiyayamaha cadugaTatigacagaNagurU / khaMjayamaha TagaNapaMcagalahagurU rAsayaM hoI // 23 // 022-23.2; TI0 pa0 61] [ tadvikaM dvikaM cagaNo galitakamatha cadvikaTatrikaca gaNaguravaH / khaJjakamatha TagaNapaJcakalaghuguravo rAsakaM bhavati // 23 // ] iha hi gAthAdaNDakAdivarjaM sarvacchandAMsi yamakitAMhINi sAmAnyena galitakAni / sarvagalitakAni sAnuprAsANi yamakitAMhINi sAmAnyena khaJjakAni / sarvakhaJjakAni ekena dvAbhyAM tribhirvA chandobhirdIrghIkRtAni sAmAnyena zIrSakANi / sarvA api jAtayaH sAmAnyena rAsakam / yadAha -- savvA vi jAIo pattthAvavaseNa ittha bajjhati / rAsAbaMdho nUNaM rasAyaNaM buDhDhaguTThIsu // 61 // vizeSAttu dvau paJcamAtrau dvau caturmAtrAvekastrimAtro galitakam / yamakitAMhi tvAmnAnAdbhUribhedaM cedam / atha dvau trimAtrau trayazcaturmAtrA ekastrimAtro gururiti khaJjakam / idamapi bahuvidham / atha paJca caturmAtrA laghurguruzca rAsakam / etadapyanekadhA / zIrSakANi tvagre dvibhaGgItribhaGgIbhyAM vakSyati // 23 // udA0 - ghaNapayaTTa piyasaMkaha muhi sAsihi sahiya gaMDaphalagi sahuM pANihaM dhavalima Aruhiya / galiya aMjali sahuM nayaNaha vibbhrama laliya tuhuM piyasahi virahAnali bahuviha laMghaliya // 23.1 // galiyayaM / [ ghanapravRttA priyasaMkathA mukhe zvAsaiH saha auses saha pANinA dhavalimA ArUDhaH / galita: azrujalena saha nayanayorvibhramo lalita: tvaM priyasakhi virahAnalena bahuvidhaM trAsitA // 23.1] spaSTam // 23*1 // udA0 - uggaseNataNayAi milAyaMtavayaNAe pabalabahalabAhapavAhajharaMtanayaNAe / caivi jaMtu ujjaMti rUvajiyanalakUbaro saccavio savilakkhaM jayai jiNavaro // 23.2 // khaMjayaM / [ ugrasenatanayayA mlAyamAnavadanayA prabala bahalabASpapravAhajharannayanayA | tyaktvA gacchannujjayantaM rUpajitanalakUbara : 29 pratyakSIkRtaH savilakSaM jayati nebhijinavaraH // 232 // ] 'sacca viu 'tti dRSTaH // 23.2 //

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30 savRttike kavidarpaNe dvitIyoddeze udA0-paNayajaNakapparukkhasarisaM payatAmarasaM jANa namaMti surA sayayaM kymnnukkrisN| kevlnnaannpiivpyaasiysylvisyaa| te jiNaNAhA tumhaM kuNaMtu bhaI sayA // 23.3 // [praNatajanakalpavRkSasadRzaM padatAmarasaM yeSAM namanti surAH satataM kRtamanautkarSam / kevalajJAnapradIpaprakAzitasakalaviSayA ste jinanAthA yuSmAkaM kurvantu bhadraM sadA // 23.3 ] // 23 // sA caMdalehiyA po TacaukkaM ko ya jattha; aha duvaI / po paMca TA gurU tattha majjhakA paDhamapaMcamaTA // 24 // [sA candralekhA paH TacatuSkaM kazca yatra; atha dvipadI / paH paJcaTAH gurustatra madhyako prathamapaJcamaTau // 24 // ] yatraikaH SaNmAtrazcatvArazcaturmAtrA eko dvimAtrazca sA candralekhikA / atha sA dvipadI yatraikaH SaNmAtraH paJca caturmAtrA eko guruH / 'tattha 'tti teSu paJcasu caturmAtreSu madhyakau prathamapaJcamau // 24 // - udA0-bahalaMdhArapaDalamayamayamayapaMkacaccie nahadevaMbhi paurataratArayakusumaaccie / jAmiNidhammiNIi o aMkadurehadurehiyA keyaidoNiyavva Aroviya caMdalehiyA // 24.1 // [cNdlehiyaa]| [ bahalAndhArapaTalamRgamadamayapaGkacarcite nabhodeve pracurataratArakAkusumArcite / yAminIdharmiNyA o aGkadvirapharAjitA ketakidroNikevAropitA candralekhikA / / 24.1 / / ] o ityavyayaM sUcanAyAm / yadAha-o sUcanApazcAttApe (he0 8.2.203) / ketakIdroNiketi ketakIdalaM hi droNAkRti syAt // 24.1 // udA0-ghoraaNorapAraaMdhArayapaMkucchaMgabuDayaM kavivi kaThiNaaMkakiNakalio haDhiNa viloyagaDyaM / caMduvaillu jemva o saddali nahakacchaMmi nibbharaM tArayaniyarakiraNaukkeratiNaMkura carai aiciraM // 24.2 // duvii| [ghorAnAyanantAndhArapaGkotsaGganimagnaM kRSTvA kaThiNAGkakiNakalito haThena vilokaratham / candravRSabho nanu zAdvale nabhaHkacche nirbhara tArakAnikarakiraNotkaratRNAGkurAMzcaratyaticiram / / 24.2 / /

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50 23.3-25.1; TI0 50 62-65] savRttike kavidarpaNe ___ 'ukkera 'tti utkaraH / 'valyutkaraparyantAzcarye vA' (he0 8.1.58) / tathA dvipadyeva guruNaikenAdhikA AranAlam / upAntyalaghunA punarUnA kAmalekhA / te apyevamudAhArye // 24.2 // rAsAvalayaM po ajaTagaNo po to ya; vatthuvayaNe tu / pagaNo ajaTo majjhakaTagaNo ajaTo ya pagaNo ya // 25 // [rAsAvalayaM paH ajaTagaNaH paH tazca; vastuvadane tu / pagaNo ajaTo majjhakaTagaNo ajaTazca pagaNazca // 25 // ] ___ ekaH SaNmAtra eko jagaNarahitazcaturmAtraH ekaH SaNmAtra ekaH paJcamAtrazca rAsAvalayam / vastuvadane tvekaH SaNmAtra eko jagaNarahitazcaturmAtra eko madhyakazcaturmAtra eko jagaNarahitazcaturmAtra ekaH SaNmAtrazca / vastukamityanye / laghuSoDazakAd dvidvilaghuvRddhayA cedamekacatvAriMzadvidham / yadAha vaMso vitto bAlo bAho vAmo balAhao viMdo / viddho viso visAlo visArao vAsaro veso // 62 // tuMgo riMgo bhiMgo bhiMgAro bhIsaNo bhavo bhAlo / bhaddo bhaggo bhaTTo bhIrU tatto bhaDo bhasalo // 63 // alao valao malao maMjIro mayamayo mao maannii| mahaNo masiNo maulo maho muho maihavo muhalo // 64 // ee nAmanibaddhA cauvIsakalA havaMti vatthuvayA / solahalahuAu lahUhiM vaDhamANehiM dodohiM // 65 // [ete nAmanibaddhAH catuviMzatikalA bhavanti vastuvadanAH / SoDazalaghukAlaghubhyAM vardhamAnAbhyAM dvAbhyAM dvAbhyAm // 65 // ] rAsAvalayapUrvArdhaM vastuvadanakottarArdhaM yadvA vastuvadanapUrvArdha rAsAvalayottarArdhamiti dvidhApi saMkIrNAkhyaM chandaH // 25 // udA0-DhakkapaDahapaDupaDiravamuharAsAvalau bahubalabahaliyahalavolAulasuranilau / tuha AgamaNu niyavi niva bhayabhiMbhalanayaNu niya vi niyaMbiNi caivi palAiu veriyaNu // 25.1 // [rAsAvalao] / [DhakkApaTahapaTupratiravamukharAzAvalayaM bahubalabahalitakalakalAkulasuranilayam / tavAgamanaM dRSTvA nRpa bhayavihvalalocana: nijAmapi nitambinIM tyaktvA palAyito vairijanaH / / 25.1 // ] 'muharAsAvalau'tti mukharitadikcakram / 'halavolu 'tti kalakalaH / 'niyavi 'tti dRSTvA / 'niyavi 'tti nijA api // 25.1 //

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32 savRttike kavidarpaNe [dvitIyoddeze udA0- kaya vayaMsi duhudAhu dehi jakkaMguccoDaNu ___uNhu sAsu muhi mhurahrrsamyviluuddnnu| aMsusitthu thaNavatthu vayaNu vicchAu nihAlaha dullahavallahavippalaMbhu kimva vahaliu vAlaha // 25.2 // vatthuvayaNaM / [ kRtA vayasye du:khadAhA dehe candanacarcA uSNaH zvAso mukhe madhurAdhararasAmRtaviloDanaH / azrasiktaM stanavastraM vadanaM vicchAyaM nibhAlayata __ durlabhavallabhavipralambhaH kimiva bahalIkRto bAlAyAH / / 25.2 // ] 'cakkaMgi 'tti candanam // 25.2 // rasaTA ucchAho taiyapaMcamA majjhakA ajA sesaa| iha caupaIsu pAyaM visamasamapayANa aNupAso // 26 // [rasaTAH utsAhastRtIyapaJcamau madhyako ajA zeSAH / iha catuSpadISu prAyo viSamasamapAdayoranuprAsaH // 26 // ] SaT caturmAtrA utsAhaH / atrApavAdaH / tRtIyapaJcamau madhyakau / jagaNarahitAH zeSAH / ihaitAsu gAthAvarja catuSpadISu viSamasamayoH pAdayoranuprAsaH / prAyograhaNAtpaJcAnanalalitAdau samapAdayoriti // 26 // udA0-no vIraha maMDalaggi laggai na vasai sAyari no khillai mahumahauri na ya viyarai kamalAyari / vesAyaNasihiNi navi lasai karidasaNi na pasarai lacchi thirattaNu purisaha ucchAhi pari jai karai // 26.1 ||ucchaaho / [na vIrANAM maNDalAye lagati na vasati sAgare na khelati madhumathanorasi na ca vicarati kamalAkare / vezyAjanastane nApi lasati karidazane na prasarati lakSmIH sthiratvaM puruSasyotsAhe tu jagati karoti // 26.1 // ] spaSTaH // 26.1 // (iti) catuSpadIprakaraNam // atha pnycpdii| tagaNadugaTagaNalahuNo paDhamataiyapaMcamesu caraNesu / TA Navari taiyapaMcamapAesuM majjhakacceya // 27 // duiyaturiesu TadugaM co ya imA tipyriypuvvddhaa| taiyappaMcamapayaaNupAsA mattA paurabheyA // 28 // [tagaNadvikaTagaNalaghavaH prathamatRtIyapaJcameSu caraNeSu / Tau kevalaM tRtIyapaJcamapAdayormadhyakAveva // 27 //

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pa. 25.2-31; TI0 50 66-68] savRttikaH kavidarpaNaH dvitIyaturyayoSTadvikaM cazveyaM tripAdaracitapUrvArdhA / tRtIyapaJcamapadAnuprAsA mAtrA pracurabhedA // 28 // ] prathamatRtIyapaJcameSvaMhiSu dvau paJcamAtrAvekazcaturmAtra eko laghuH kevalaM tRtIyapazcamapAdayo? caturmAtrau tau madhyakAveva / dvitIyacaturthapAdayoau caturmAtrAvekastrimAtra evaM paJcapAdA yasyAmiyaM pAdatrayakRtapUrvArdhA arthAtpAdadvayakRtottarArdhA tRtIyapaJcamapAdayoH sAnuprAsA pracurabhedA mAtrA nAma paJcapadI // 27 // 28 // ___ udA0-mahamahUsavamuhi vittu matta / phulaMdhuyabhaMgurihi / guMdibharihi mAyaMda jhaMpiya / piyamAhavi muNimuNivi / muNivi kiMpi jhANAu kaMpiya // 28.1 // [mattA] / [madhumadhUtsavamukhe vRtto matta- / bhRGgabhaGgurai- / maarIbharairmAkanda AcchAditaH // priyamAdhavyA muNamuNAyya / munayaH kimapi dhyAnAtkampitAH / / 28.1 // ] . 'gudi 'tti maJjarI / 'piyamAhavi 'tti kokilA // 'paurabheya'tti bhaNanAnmattavAlikA 1 madhukarikA 2 mattavilAsinI 3 mattakariNI 4 bahurUpeti 5 saMjJA asyA bhedA jJeyAH / yadavocacchandaHkandalyAma mattacciya uccai mattavAliyA duiyaturiyacaraNesu / paDhamaTagaNaMmi tagaNe kayaMmi jugavaM ajugavaM vA // 66 // samacaraNaNihaNaTagaNe te yujya kameNa mattamahuariyA / [iya] mattavilAsiniyA sihisarapayamuhadutesu duTA // 67 // mattakariNIvi evaM sihisarapAesu TaMmi jai tagaNo / eyAsiM mattAINa saMkaro hoi bahurUvA // 68 // [mAtraivocyate mattabAlikA dvitIyaturIyacaraNayoH / prathamaTagaNe tagaNe kRte yugapadayugapadvA // 66 // samacaraNanidhanaTagaNe tau yojayitvA krameNa mattamadhukarikA / iti mattavilAsinI zikhizarapadamukhadvitayoH viTau // 67 // mattakariNyapyevaM zikhizarapAdayoH Te yadi tagaNo / etAsAM mAtrANAM saMkaro bhavati bahurUpA / / 68 // ] AsAmudAharaNAni granthAntarAjjJeyAni / paJcapadIprakaraNam // 28.1 // atha SaTpadI dasaaTTaterasahiM vA iha bArasaaTTaterasahiM ahvaa| aTThegArasahiM va dasaTaekArasahiM vAvi // 29 // bArasaaDhegArasahiM vA ravivasuravi(vI)hiM ya kalAhiM / tisu tisu paesu kamaso dalajuyale bahuvihA pattA // 30 //

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34 savRttikaH kavidarpaNaH esA kaDavayaniha chaDuNiyA ittha paDhamabihuyANa / tayachaTTaANa [ya] cautthapaMcamANaM ca aNupAso // 31 // [dazASTatrayodazabhirvA iha dvAdazASTatrayodazabhirathavA / aSTASTakAdazabhirvA dazASTaikAdazabhirvApi // 29 // dvAdazASTaikAdazabhirvA ravivasuravibhirvA kalAbhiH / triSu triSu pAdeSu kramazo dalayugale bahuvidhA ghattA // 30 // eSA kaDavaka nidhane chaDDuNikAtra prathamadvitIyayoH / tRtIyaSaSThayozca caturthapaJcamayozcAnuprAsaH // 31 // ] [ dvitIyoddeze ' iha 'tti asmiMzchandasi dazASTatrayodazAdikalA yathAsaMkhyaM klRptatritripAda ghaTitArdhadvayA bahuvidhA dhattA nAma SaTpadI | vakSyamANasya saMdhermukhe kaDavakasya tvante dhruvamiyaM kAryaiva / dhruvA dhruva saMjJAdvayepi eSA kaDavakAnte prakrAntArthasya bhaGgyantareNAbhidhAne chaDaNiketi turyanAmApi / ' ittha 'tti asyAM ghattAyAM prathamadvitIyayostRtIyaSaSThayozcaturtha paJcamayoH pAdayoranuprAsaH // 29-31 // udA0 - maNi mANasamuddhaya / bappuDa mahaya (muddhaya) / je jiNiMda tuha nahu Namiya / duhasaMghattAviya / kusamaya bhAviya / te nara niru bhavi ciru bhamiya // 30.1 // [ghattA ] / [ manasi mAnasamuddhatAH / mUrkhA varAkAH / ye jinendra tvAM na praNatAH // duHkhasaMghatApitAH / kusamayabhAvitAH / te narAH khalu bhave ciraM bhrAntAH // 30.1 // ] 'saMghattAviya'tti 'samAse vA' (he 8.2.97) iti dvitvam / 'bappuDu 'ti zIghrAditvAdvarAkasya bappuDaiH / 'niru 'tti nizcayArthe avyayam // 30.1 // udA0 - jaya jiNasAsaNaNaMdana (Na) / vaNahariyaMdaNa / nimmalajasacaMdaNamalaya / gurukulagaNadivAyara / guNamaNisAyara / tilayasUri gaNaharatilaya // 30.2 // mahibharasesaha / bhImanaresaha / jau vajjiya jayaDhakka / tau riuvaggaha / bhayabharabhaggaha / hiyaDai paDiya dhasakka // 30.3 // bhagna aiyArihiM / ikkapahArihiM / samari sayaMbharirAu / ghaNaraNakuDDAlaha | kumarappAlaha / tiNi maNi bhaiu visAu // 30.4 // [ jayajinazAsananandana - | vanaharicandana / nirmalayazazcandanamalaya | gurukulagaganadivAkara | guNamaNisAgara / tilakasUre gaNadharatilaka // 30.2 // mahIbharazeSasya / bhImanarezasya / yadA vAdyate jayaDhakkA // . tadA ripuvargasya / bhayabharabhagnasya / hRdaye patitA bhItiH // 30.3 // bhamnoticAribhi- | rekaprahAreNa / samare zAkaMbharIrAjaH / ghaNaraNakautukavataH / kumArapAlasya / tena manasi bhakto viSAdaH (1) // 30.4 // ] 1 The reference is to 0 8. 4, 422; but the actual word kavuDa occurs under 8. 4. 387.

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1. 30.1-6; TI. pa. 71-74] savRttikaH kavidarpaNaH 'kuDDAlaha'tti / zIghrAditvAt / kautukasya kuTuM tata Alazca // 30.4 // udA0-dali mahiyalu rilaMtaha / tuha callaMtaha / dIsahi jaya jyviir| kaTTha amittaha cittihiM / tiNa puNa daMtihiM / gahiNinayaNihiM nIra // 30.5 // [dalena mahItalamalaMkurvANasya / tava calataH / dRzyate jaya jagadvIra // kaSTA amitrANAM citte / tRNaM punardante / gRhiNInayaneSu nIram // 30.5 // ] 'kaTThati kASThAni kaSTAni ca // 30.5 // udA0-dIsahi suMDa gayANaNi / kavvai kaiyaNi / jUyacaDaNa siri nibbhara / mAraNa jaiparipA(vA)rai / rajji tahArai / kumaranariMda kivAyara // 30.6 // * [dRzyate zuNDA gajAnane / kAvyAni kavijane / yUkApatanaM zirasi nirbharam // mAraNaM yatiparivAre (?) / rAjye tava / kumAranarendra kRpAkara // 30.6 // ] 'suMDa'tti madirAH karikarAzca / 'kava 'tti kavyAni kAvyAni c| dyUtapatanAni yUkApatanAni ca / diGmAtramidaM ghattASaTkam / evaM saptakalAdyaiH saptadazakalAntaiH pAdaistulyairatulyaistulyAtulyairvA tribhistribhirbaddhArdhadvayAnekadhA vidagdhagoSTIgariSThA ghattA / kiMca tRtIyaSaSThapAdayordazAdayo mAtrA ekaikavRddhayA yAvatsaptadaza; zeSAnicatuSke tu saptaiva yatra sA SaTpadajAti ma SaTpadI / dazAdInAM saptadazAntAnAmaSTavidhatvAdaSTadhA / saptasthAne aSTamAtrAzcettadA saivopajAti ma SaTpadI pUrvavadaSTadhA / aSTasthAne nava cet tadAvajAti ma SaTpadI prAgvadaSTadhA / evaM SaTpadajAtyupajAtyavajAtInAM pratyekamaSTavidhatvAccaturviMzatidhA SaTpadI / yadavocacchandaHkandalyAm jIi kalAu dasAI sattarasaMtA ya sihirasapaesu / sesesu satta chapaI sA chapaI nAma ahavihA // 71 // iya ahahi uvajAI sattahANe kalAhi aTTavihA / navahi puNo avajAI evaM cauvIsahA chapaI // 72 // [yasyAH kalAH dazAdayaH saptadazAntAzca zikhirasapadayoH / zeSesu sapta SaTpadI sA SaTpadI nAmASTavidhA // 71 / / iti aSTabhirupajAti: saptasthAne kalAbhiraSTavidhA / navabhiH punaravajAtiH evaM caturviMzatividhA SaTpadI / / 72 // ] catuSpadIdvipadyAvapi dhruvAdhruvakaghattAsaMjJe jJeye / te api saMdhimukhe kaDavakAnte dhruvaM kArye / kevalaM kaDavakAnte catuSpadyeva chaDaNikAkhyA na dvipadI / yacchandaHkandalI kaDavayanivaho saMdhI paddhaDiyAIhiM cauhiM puNa kaDavaM / saMdhimuhe kaDavaMte dhuvA ca dhuvayaM ca ghattA vA // 73 // sA tivihA chapaI caupaI ya dupaI ya tAsu puNa dunni / chacauppaIo kaDavayanihaNe chaDDuNiyanAmAvi // 74 / / * Both 30.5 and 30.6 are fine examples of zliSTaparisaMkhyA .

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36 savRttikaH kavidarpaNaH [ kaDavakanivahaH saMdhi: paddhatikAdibhizcaturbhiH punaH kaDavam / saMdhimukhe kaDavAnte dhruvA ca dhruvakaM ca ghattA vA // 73 // sA trividhA SaTpadI catuSpadI ca dvipadI ca tAsu punarde / SaTcatuSpadyo kaDavaka nidhane chaDDaNikAnAmnyAvapi // 74 // ] tathAntarasamArdhasamA saMkIrNA sarvasamA ceti caturdhA catuHpadI / yacchandaH kandalI - aha caupaIo cauhA havaMti antarasamA tahaddhasamA / saMkinnA savvasamA ya tAsu tAvaMtarasamAo || 75 // visame segA segA sattAI sola jAva patteyaM / aTThAI jA satarasa segA segA same mattA // 76 // caMpayakusumAiNAmiyAo jAIo huMti paNavannA / disigahava suhayara sasarasAyara sihiNayaNacaMda bheehiM // 77 // eAocciya sumaNoramAinAmAo vaccae muNaha | evaM dahuttarasayaM caupaI aMtarasamAo || 78 // aMtarasamayacciya duiyataiyapAyANa viNimayaMmi kae / addhasamA ya dahuttarasayasaMkhA tehiM NAmehiM // 79 // duhi tihi cauhivi visarisapAehi vimissiyAo saMkinnA / savvasamAoM puNa sarIsaehiM savvehiM pAehiM // 80 // [ atha catuSpadyazcaturdhA bhavanti antarasamAH tathArdhasamAH / saMkIrNAH sarvasamAzca; tAsu tAvadantarasamAH // 75 // viSame saikA : saikAH saptAdayaH SoDaza yAvatpratyekam / bhaSTAdayo yAvatsaptadaza saikAH saikAH same mAtrAH // 76 // campakakusumAdinAmnyo jAtayo bhavanti paJcapaJcAzat / diggrahavasuhayarasazarasAgarazikhinayanacandrabhedaiH // 77 // etA eva sumanoramAdinAmnIH vyatyaye jAnIta | evaM dazottarazataM catuSpadyaH antarasamAH // 78 // ardhasamAnAmeva dvitIyatRtIyapAdayoH vinimaye kRte / ardhasamAzca dazottarazatasaMkhyAH taiH [eva] nAmabhiH // 79 // [ dvitIyoddeze dvAbhyAM tribhizcaturbhirapi visadRzapAdaiH vimizritAH saMkIrNAH / sarvasamAH punaH sadRzaiH sarvaiH pAdaiH // 80 // ] kuGkumAdyAstuH catuHSaSTidhA dvipadI / tayoH paJcAnanalalitAmalayamArutakadohakApadohakAcAH katicidantarasamAcatuSpadIbhedAH kuGkamAdyAzca katicidadvipadIbhedAH paJcAnanalalitA ca bahuzaH saMdhimukheSu prayuktA dRzyate // 29 // 30 // 31 //

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5.32; TI. pa. 75-84] savRttikaH kavidarpaNaH papakA TadugaM papaTA kameNa muhaNihaNadalapayatigesu / kittidhavalaM dalajuge paDhamataijjANa aNupAso // 32 // yadAha [ papakASTadugaM papaTAH krameNa mukhanidhanadalapadatrikeSu / kIrtidhavalaM dalayuge prathamatRtIyayoranuprAsaH // 32 // ] dhavalavyAjAdyena cchandasA pumAn varNyate taddhavalam / tacca tridhA / aSTapAt SaTpAccatuSpAt / dhavalamiheNa supurisA vannijjai jeNa teNa so dhavalo / valova hoi tiviho aTThapau cchappaDa ccauppAo // 81 // [ dhavalamiSeNa supuruSo varNyate yena tena sa dhavalaH / dhavalopi bhavati trividhaH aSTapAd SaTpAd catuSpAd // 81 // ] tatrASTapadazrIdhavalamaSTapadyAM vakSyati / SaTpadastu ayaM yathA / kramAnmukhadale prathameMhau dvau SaNmAtrAveko dvimAtro dvitIyAMhau tu dvau caturmAtrau tRtIye tu dvau SaNmAtrAvekazcaturmAtraH / evaM dvitIyadalAMhritrayepi yasya tatkIrtidhavalaM chandaH / daladvayepyasya pratyekaM AdyatRtIyapAdayoranuprAsaH // udA0 - desaNaguNagavvihiM gajjau / maJcau nANihiM / pavalavAyabhaDavAihiM bhajjau / parikittidhavaliyasayaladhara / jasaghosasUri / tuha samavaDa Na lahahi kiMci gaNadhara // 32.1 // [ dezanAguNagarveNa garjita: / matto jJAnena / prabalavAgbhaTavAdibhirbhaktaH // parikIrtidhavalitasakaladharo / yazoghoSasUre / 37 tvatsamo na labhyate kopi gaNadharaH || 32.1 // ] ' samavaDa 'tti samatulAMvaDazabdAH saMmitArthAH / catuSpadazca guNadhavalAdiH / sa ca mahApranthebhyo jJeyaH / dhavalopalakSaNAnmaGgalArtha saMbaddhaM chando maGgalam / yadAhu:-- utsAhahelAvadanADilAdyairyadgIyate maGgalavAci kiMcit / tadrUpakANAmabhidhAnapUrva chandovido maGgalamAnamanti // 82 // tathA - taireva dhavalavyAjAtpuruSaH stUyate yadA / tadvadeva tadAneko dhavalopyabhidhIyate // 83 // 1 korthaH / yenaivotsAhAdinA maGgaladhavalabhASAgAne kRte tannAmAdye maGgaladhavale / tathAhi / utsAhamaGgalam / helAmaGgalam / vadanamaGgalam / aDilAmaGgalam || AdizabdAt rAsAvalayamaGgalaM dohakamaGgalAdi ca jJeyam / evaM utsAhadhatralAdyapi vAcyam / kiMca yenaivotsAhAdinA devo gIyate tatphullaDakam / tathA caturmAtrAtrimeko dvimAtro yatrAMhicatuSTaye yasya kasyacidgAne jhamTakam / yacchandaH kandalI ucchAivayaNa helAdohayapamuhe hiM gijjae puriso / jehiMciya dhavalamiseNa tannAmamuccae bhavalaM // 84 //

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savRttikaH kabidarpaNaH yanmaMgalAvi tannAmamuccae maMgalatthasaMbaddhaM / phulaDayaM suragANe jhaMbaTayaM TatigakA gANe // 85 // [ utsAhavadanahelAdo hakapramukhairgIyate puruSaH / yaireva dhavalamiSeNa tannAmocyate dhavalam // 84 // yanmaGgalAdapi tannAmocyate maGgalArthasaMbaddham / phulaDakaM suragAne jhambaTakaM TatrikakAH gAne // 85 // ] iti // 32 // vatthuvayaNAi ullAlasaMjuyaM chappayaM daviDhachaMdaM / kavvaM vA; aha mattA ullAlayasaMgayA phulaM // 33 // [ vastuvadanAdi ullAlasaMyutaM SaTpadaM sArdhacchandaH / kAvyaM vA; atha mAtrA ullAlakasaMgatA phulam // 33 // ] vastuvadanamAdiryasya rAsAvalaya saMkIrNa kavadanAdichandaH samUhasya tat uchAlakena kuGkumena karpUraNa ca saMpRktaM chandaH SaTpadAkhyaM sArdhacchandaH saMjJaM kAvyasaMjJaM vA jJeyam / yadAha-- i vatthuA hiTThe ullAlA chaMdayaMmi kijjati / divaDacchaMda yachappayakavvAiM tAiM vuccati // 86 // [ yadi vastukAnAmadhaH ullAlA chandasi kriyante / sArthacchandaH SaTpadakAvyAni tAnyucyante // 86 // ] udA0 - piccha ppaosi samaggapihiyagaya gaMgaNamaggaha gahira majjJamujjhaMtaloyaloya NaUsavaggaha / taladippaMtapaIvapaMti nimmalamaNiviMdaha [ dvitIyoddeze uDDAmapatamatimiraniyarauddAma samuddaha // sasikhaMDu laharihelulasira viyaDasippa saMpuDasamu / pasayaccha taralatArayanivahu najjhai ghaNu pheNuggamu // 33.1 // [ chappao ] | sUrilacchimaNihAraphuriyakiraNukkarasuMdaru muhamaNaharahariNaMkarbibajuNhAbharasoyaru / vayaNakuharaviharaMtavANidehacchavivibbhamu sacchappayanahanivahabahala ummuhamohovamu // samakhIrajalahilaharIlaDahu kittikaNaikusumappavaru / maha guru tuhu dIes kaTari desaNakhaNi dasaNaMsubharu // 332 // [prekSasva pradoSe pihitasamagragaganAGgaNamArgasya gambhIramadhya muhyalokalocanostravargasya / taladIpyamAnapradIpapaGktinirmalamaNivRndasya uddAmapratamatimiranikaroddAmasamudrasya // zazikhaNDaM laharihelolasanazIla vikaTazukti saMpuTasamam / prasRtAkSi taralatArakAnivaho zAyate ghanaH phenodgamaH // 33.1 //

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pa: 33.1-2; TI. pa. 85-88] savRttikA kaSidarpaNaH sUrilakSmImaNihArasphuritakiraNotkarasundarI mukhamanoharahariNAGkabimbajyotsnAbharasodaraH / badanakuharaviharadvANIdehacchavivibhramaH svacchapadanakhanivahabahalonmukhamayUkhopamaH // zamakSIrajaladhilaharIlaTabhaH kIrtilatAkusumaM pravaram / mama gurostava dRzyate bho dezanAsamaye dazanAMzubharaH // 33.2 // ] sacchappayetyAdi / svacchapadanakhanivahabahalonmukhamayUkhopamam / 'na vA mayUkhalavaNacaturguNacaturthacaturdazacaturvArasukumArakutuhalodUkhalolUkhale' (he0 8.1.171) iti Adisvarasya sasvaravyaJjanena saha okAraH / 'kaNai 'tti latA / 'tuhu 'tti tuhuzca prAgvat / 'kaTari'tti vismaye // 33.2 // rAsAvalayasya kuGkamena yathA jayari(i a) jhalakkahiM [nayaNa] dIhanayaNiahi ta khaNu keaikusumadalaggi bhasalu vilasai ta jaNu / jai ya tIi muhahAvi maMdahAsau caDai __tA jaNu hIrai pommarAyasaMcau jhaDai // jai tIi mahuramiyabhAsaNihi vayaNaguMphu nisuNijjai / tA dhuu karippi jaNu amayarasu kannapannapuDi pijjai / / 87 // [ yadi ca cakAsti nayanaM dIrghanayanAyAH tat kSaNaM ketakIkusumadalAye bhramaro vilasati tadA jaane| yadi ca tasyA mukhahAve mandahAsa Arohati tadA jAne hIrake padmarAgasaMcayaH patati / / yadi tasyA madhuramitabhASiNyA vacanagumpho nizrUyate / tadA dhruvaM kRtvA jAne amRtarasaH karNaparNapuTena pIyate // 87 // 1 rAsAvalayasya kapUreNa yathA parahuyapaMcamasavaNasabhaya mannau sa kira tiMbhaNi bhaNai na kiMpi muddhi kalayaMThi gira / caMdu na dikkhaNa sakA jaM sA sasivayaNi dappaNi muha na paloai tiMbhaNi mayanayaNi / / vahariu maNi mannavi kusumasaru khaNikhaNi sA bahu uttasai / acchariu rUvanihi kusumasaru tuha daMsaNu ja ahilasai // 88 // [parabhRtapaJcamazravaNasabhayA manye sA kila tasmAd bhaNati na kimapi mugdhA kalakaNThI giram / candraM na draSTuM zaknoti yatsA zazivadanA darpaNe mukhaM na pralokayati tasmAnmRganayanA // vairiNaM manasi matvA kusumazaraM kSaNekSaNe sA bahUtrasati / Azraya sapamitra kumAra saba darzanaM yadabhilapati // 8 //

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40 savRttikaH kavidarpaNaH vastutradanakarAsAvalayasaMkIrNasya kuGkumena yathA-- paMDigaMDayalapulayapayarapayaDaNabaddhAyaru kaMcibAlabAlA vilAsabailimaguNanAyaru / draviDidivvacaMpayacayaparimalalhasaDau kuMtalikuMtaladappakaDappaNalaMpaDau // [marahaDimANanidvAhavayavihavavihaMsaNasakkau / ] kasu karai na maNi halohalau malayAnilahu jhulakkau // 89 // [ pANDya [strI] gaNDatalapulakaprakara prakaTanabaddhAdaraH kAJcIpAlabAlAvilAsabahalimaguNanAgaraH | draviDadivyacampakacayaparimalollAsitaH kuntalIkuntaladarpavardhanalampaTa: / mahArASTrImAna... vibhavavidhvaMsana zaktaH / kasya karoti na manasi kSobhaM malayAnilasya pAtaH // 89 // karpUreNa yathA avihaDaavarupparupparUDhaguNagaMThinitraddhau eyAriNa hali galai pimmu saralimavasaladdhau / mANamaDappharu tuha na juttu uttamaramaNi tiMbhaNi vArauM vAravAra vAraNagamaNi // aha karahi kalahu vallahiNa sahuM icchi ma icchiu paNayasuhu / mANikka maNasiNi kariThavalu hilli khillitAjUDa tuhuM // 90 // [ avighaTa... parasparoDhaguNagranthinibaddhaM etAdRzena sakhi galati prema saralimavazalabdham ! mAnagarvastava na yukta uttamaramaNi tato vArayAmi vAraMvAraM vAraNagamani / atha karoSi kalahaM vallabhena saha, iccha meSTaM praNayasukham / koI * * manasvini * * * * * tvam // 90 // ] rAsAvalayavastuvadanakasaMkIrNasya kuGkumena yathA savaNani hiyahI ra yahasaMtakuMDalajuyala thUlAmalamuttAvalimaMDiathaNakamala / se aMsuyapaMguraNa bahalasiriiMDara sujjala bahupahullaviaillaphullaphullA viyakuMtala / to paDatthayadaMsaNajaNiyakhalayaNaDara bharabhAriya ahisaraha caMdasuMdaranisihi padaM piyayama ahisAriya // 99 // - [dvitIyoddeze

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TI0 50 89-93] savRttikaH kavidarpaNaH [zravaNanihitahIrakahasatkuNDalayugalA sthUlAmalamuktAvalimaNDitastanakamalA / zvetAMzukaprAvaraNA bahala zrIkhaNDarasojjvalA bahupraphullavikacilapuSpapuSpAyitakuntalA // tata: prakaTArthadarzanajanitakhalajanabhayabharabhAriNI / abhisarati candrasundaranizAyAM tvAM priyatama abhisArikA // 91 // ] kapUreNa yathA taruNihUNigaMDappahapuMchiatimiramasi ukkaculukkAvaDaNu dusahu mA karau ssi| . malayAnilu mayanayaNi ghuNiyakappUrakayaNi(li)vaNu saMbhukkiyamayaNaggihu sahi mA dahau tujjha taNu // taNuaMgi ma khaDahaDi paDahi tuhuM mayaNabANaveyaNakalaha / caya mANu mANivallahiNa sahuM caDi ma jIyasaMsayatulaha // 92 // [taruNIhUNIgaNDaprabhApronchitatimiramasiH ulkAculukapAtanaM duHsahaM mA karotu zazI / malayAnilo mRganayane ghUrNitakarpUrakadalIvanaH saMdhukSitamadanAgniH sakhi mA dahatu tava tanum // tanvaGgi mA kaSTe pata tvaM mdnbaannvednaaklyaa| tyaja mAnaM mAnivallabhena saha Aroha mA jIvasaMzayatulAm // 92 // ] .. . vadanakasya kuGkumena yathA jai tuhuM mahu karayalu ummoDivi calliya cIraMcalu acchoDivi / mANiNi tuvi pasAu kari summau paha pii uttAvaliya ma gmmu|| jai kiMvai visaMvaha payajuyalu iha vihivasiNa vihaTTai / tA tujjha majjhu khINau kharau kiM ma khAmoari tuTThai // 93 // [yadi tvaM mama karatalamunmucyApi calitA cIrAJcalamAcchidyApi / mAnini tatopi prasAdaM kRtvA zrUyatAM . tvayA priye utsuke mA gamyatAm // yadi kimapi * * * * padayugalamiha vidhivazena vighaTate / .. tadA tava madhyaH kSINaH kharaH kiM na kSAmodari truTyati // 93 // ]

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savRttikaH kavidarpaNaH [dvitIyoddeze karpUraNa yathA ki na phullai pADala paraparimala mahamahei ki na mAhavi avirala / navamAliya ki na dalai pahilliya ki na uttharai kusumabhari mlliy| dIhiyatalAyasaritallaDihiM ki na pasAhi paumiNi phuDai / tuvi jAijAyaguNasaMbharaNujhANuvi bhasala hu maNi khuDai // 94 // [kiM na vikasati pATalaM paraparimalaM gandhaM prasArayati kiM na mAdhavI aviralam / navamAlikA kiM na dalati praghUrNitA kiM na avakrAmati kusumabhareNa mallikA / / dIrghikAtaDAgasarittaleSu kiM na prasAdena padminI sphuTati / tatopi jAtajAtiguNasaMsmaraNadhyAnopi bhramaraH khalu manasi truTyati // 94 // ] SaTpadIprakaraNam // 33.2 // atha sptpdii| atha mAtrAjAtirullAlakAbhyAM kuGkamakarpUrAbhyAM saMgatA phullasaMjJA / yanmanorathaH jai mattAjAINaM ullAlA hehayami diisNti| tA tAI savvAI phullayanAmeNa kahiyAI // 95 // [yadi mAtrAjAtInAmullAlA adhastAd dRzyante / tadA tAni sarvANi phullakanAmnA kathitAni // 95 // ] udA0-vihiyabhara vaisavaigharadAsa / rasu sAhiu duddhrisu| haNiu asura baddharu bhyNkru|| chaddarisaNadiTusama / khatti rajjha pAliu nirNvru| pUiyakaiMdabaMdiNavibuhavarasurakittaNa kAriya / jayasiMhadevarAihiM bhuvaMNi kittiriddhi vaddhAriya // 33.3 // raampNddvbhrhhriyNd| NalapamuhihiM jnnjnnh| puttabhAvu paDivajjhi kUrihi / vilavaMtaha tiyajaNaha / ja kira hariu patthivihiM bhUrihi // muggadu ta mukku paI pAu bhaNi tiNu jiMva tihuNappAlasuya / upphulavayaNa ki Na jaNa muNahi, tiNi kumaresa caritta tuya ||33.4||[phullo]| [vihitabharo vaizyapatiH gRhadAsaH / rasaH sAdhito durdharSaH / hataH asuraH . . . bhayaMkaraH // SaDdarzanadRSTazramaH / . . . pAlitaM . . . . | pUjitakavIndrabandivibudhavarasurakIrtanaM kArayitvA / jayasiMhadevarAjena bhuvane kIrti-RddhirvardhitA // 33.3 //

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50 33.3-34-2; TI. pa. 94 - 96 ] savRttikaH kavidarpaNaH rAmapANDavabharataharizcandra- / nalapramukhairjanasya janasya / putrabhAvaM pratipadye krUraiH // vilapata: strIjanasya / yatkila hRtaM pArthivairbhUribhiH // mRtasvaM tanmuktaM tvayA pApaM bhaNitvA tRNamiva tribhuvanapAlasuta / utphullavadanaH kiM na jAnAti janastena kumareza caritraM tava // 33.4 // ] 'paDivajji 'tti pratipadya / 'muggadu 'tti mRtasvam / 'bhaNi 'tti bhaNitvA / 'kvA-ha- iu - i avaya' (he0 8*4*439) iti tyAsthAne i: / evaM zeSa bhedeSUdAhAryam / saptapadIprakaraNam // 33.4 // athASTapadI visame TatigahiM samesu TadugeNa causu siridhavalaM / visamasamapayaNupAsaM, aha taralaM dohasaMdohA // 34 // [viSameSu TatrikakaiH sameSu Tadvikena caturSu zrIdhavalam / viSamasamapAdAnuprAsaM; atha taralaM dohasaMdohau // 34 // ] viSameSu caturSu pAdeSu tribhizcaturmAtrairakena dvimAtreNa, sameSu caturSu pAdeSu dvAbhyAM caturmAtrAbhyAM zrIdhavalaM chando viSamasamapAdAnuprAsaM prathamasyAMherdvitIyenAMhiNA tRtIyasya turyeNa paJcamasya SaSThena saptamasyASTamenAnuprAsa ityarthaH / atha dohasaMdohau taralaM chandaH / dohazabdeneha dohakajAtigRhyate tato dohakA dohako padohakodohakAdInAM saMgrahaH / yanmanoratha: :-- jai dohayANa hiTThe dIsaha saMdohao hahaM (9) raio / tA te savve chaMdami taralanAmeNa nAyavvA // 96 // [ yadi dohakAnAmadhastAd dRzyate saMdohako racitaH / tadA te sarve chandasi taralanAmnA jJAtavyAH // 96 // ] udA0 - khIrasamuddiNa lavaNajalahi / kuMvalaya kumuhahiM / kAliMdI surasiMdhujaliNa | mahumahuNu hariNa // kailAsiNa sarisau hU kiri / so aMjaNagiri / iha tu jasasiridhavalio pahuM / kiM peDaruna hu // 34.1 // 43 siridhavalaM hemasUrissa (V. 33 ) juvvaNu jIviya saMyalu / caMcalu jimva karikannu / khaNi khaNi karayali nIru jimva / galai rUvalAyannu // avarai aviralavijjulavalaya- / vilasiyatarala payattha / tui baDha dhammujjamasaDhilamaNa / jaNa acchA vIsattha // 34-2 // [ kSIrasamudreNa lavaNajaladhiH / kuvalayAni kumudaiH // kAlindI surasindhujalena / madhumathano hareNa // kailAsena sadRzaH khalu kRtaH / so'anagiriH // iha tava yazaHzrIdhavalitaM prabho / kiM pANDuraM na khalu 1 // 34.1 //

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[dvitIyoddeze savRttikaH kavidarpaNaH - dhanaM yauvanaM jIvitaM sakalaM / caJcalaM yathA karikarNaH / kSaNe kSaNe karatale nIraM yathA / galati rUpalAvaNyam // aparamapi aviralavidyudvalaya- | vilasitataralAH padArthAH / / tatopi mUDho dharmodyamazithilamanAH / jano bhavati vizvastaH // 34.2 // ] 'baDha'tti zIghrAdau 'mUDhasya nAliabaDhau 'iti / (he. 8.4.422) // 34.2 // vatthuya dohA dohaya vatthuvayaNa taha ya duvigiiiio| huMti duhaMgI nAmA vatthU dohAijuyamattA // 35 // [vastu ca dohA; dohA ca vastuvadanaM; tathA ca dvipadIgItyau / bhavanti dvibhaGgI nAma; vastu dohAdiyutamAtrA // 35 // ] 'vatthu 'tti 'vatthuvai 'tti vastuvadanaM tadupari tadAdau ca dohakastathA ca dvipaghupari gItibhiGgIsaMjJAH syuH / dvau bhaGgau chandasI yasyAM sA dvibhaGgI // 35 // . udA0-ariri mayaNa raivayaNakamaladasaNu khaNu vajjaha __ ariri kAlaparivAsasiDhilabaMdhaNu dhaNu sajjaha / ariri vIrahariNakacUDalUDaNu saru saMdhaha ariri haThiNa ujjati jaMtu maha vallahu raMdhaha // imva bulaMtI rAimai / sAmiya bahusohagga / aMsujalullayaloyaNiya / tuha kimva citti na lagga // 35.1 // - duhaMgiyA sUraSpaharissa / maI milliu ma na jAha tuha / kaMta vasaMtapavesi / cUu na bAhaha utthariu / virahiNimAraNaresi // virahiNimAraNaresi guMdisannAhu sudiGa kari ki na bAhaha utthariu cUu aviraladalaDavari / kaMta vasaMtapavesi virahaduhaghaMghali ghalliu ahaha ma jAha aNAhadINadummai mai milliu // 35.2 // duhNgiyaa| [arere madana rativadanakamaladarzanaM kSaNaM varjaya ____ arere kAlaparivAsazithilabandhanaM dhanuH sajjaya / arere vIrahariNAGkacaDAloDanaM zaraM saMdhehi ____ arere haThenojjayantaM gacchantaM mama vallabhaM rudhAna / / iti vadantI rAjImatiH / svAmin bahusaubhAgyA / azrujalArdralocanI / tava kiM citte na lagnA // 35.1 //

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10 35-35.3; TI0pa0 97] savRttikaH kavidarpaNaH mAM tyaktvA mA yAsIstvaM / kAnta vasantapraveze / cUto na bAhubhirAstIrNo / virahiNImAraNArtham ? // virahiNImAraNArtha maJjarIsannAha sudRDhaM kRtvA : kiM na baahubhiraastiirnnshcto'virldlbhrenn?| kAnta vasantapraveze virahaduHkhamohe kSiptvA ahaha mA yAhi anAthadInadurmatiM mAM tyaktvA // 352 // ] 'guMdi 'tti mNjirii| 'ghaMghali 'tti zIghrAdau jhagaTakasya ghaMghalaH / atrAmnAyaH / dohakapadAni pratilomaM vastuvadanakapadeSvAvartanIyAni // 35.2 // udA0-ghari ghari gheNudohadahimaMthaviloDaNaghosu ghummae vaMkhaNaveyapaDhaNadhuNi baMdINa jayajayasaDhu summe| takkhaNi muttu kahavi nidAlasu kAmuyajaNuvi vujjhae dhAraNibaMdhi jitthu nAriyaNi aviralu salilu vujje|| sA bahalakamalaparimalamilaMtarolaMbarolaramaNIyA / maMgalanivahAvaMjhA diNamuhasaMjhA nariMda tuha hou // 35.3 // [gRhegRhe dhenudohadadhimanthaviloDaNaghoSo ghUrNate vyAkhyAnavedapaThaNadhvanirbandInAM jayajayazabdaH zrUyate / tatkSaNe muktaH kathamapi nidrAlasa: kAmukajanopi bodhyate dhAraNibandhe yatra nArIjanenAviralaM salilamuhyate // sA bahalakamalaparimalamiladrolambaravaramaNIyA / maGgalanivahAvandhyA dinamukhasaMdhyA narendra tavAstu // 35.3 // ] 'rolambarolu'tti bhramararavaH / tathA ceti cakArAdanyairapi chandobhirdvandvitairdvibhanI syAt / yathA gAthAyA bhadrikAyoge kelikkhaMbhA UrU nAhI vAvI muNAliyA bAhA / nayaNAI kuvalayAI dasaNA uNa kuMdakaliyAo // chaNasasimaMDalamANaNaM pANIpAyA ya tujjha paumAI / sisirovayAramaiyAsi kiM tahavi divANisaM dahesi daie // 97 // [kadalIstambhAvUrU; nAbhirvApI; mRNAlike bAhU / nayane kuvalaye; dazanAH punaH kundakalikAH // kSaNazazimaNDalamAnanaM pANI pAdau ca tava padmAni / ziziropacAramayyasi kiM tathApi divAnizaM dahasi dayite // 97 // ] aSTapadIprakaraNam // 35.3 // atha navapadI / dohakAdiyutA mAtrAjAMtirvastusaMjJA / ra'tyanye / AdizabdAdavadohakopadohakaparigrahaH

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savRttikA kavidarpaNaH [dvitIyoddeze udA0-puvvapavvayarAyasiyachattu / tamakuMjarapaMcamuhu / rynnirmnnimaannikdppnnu|' nahakamalAkarakamalu / amayakalasu jagadAhajhampaNu // saMbhujaTAlayaNIkusumu / kNdppdumkNdu| sayalavatthuatthikkakaru / to ummillai caMdu // 35.4 // vatthu / [pUrvaparvatarAjasitacchatraM / tamaHkuarapaJcamukho / rajaniramaNImANikyadarpaNaH // __ nabha:kamalAkarakamalaM / amRtakalazo jagaddAhazAmakaH / / zaMbhujaTAlatAkusumaM / kandarpadrumakandaH // sakalavastvAstikyakaraH / tata unmIlati candraH // 35.4 // ] 'layaNi'tti latA / evamevAvadohakopadohakayorapyudAhAryam / navapadIprakaraNam // 35.4 // atha dshpdii| dohaya dhattAu duhaMgiyA; ahullAlasaMjuyA vatthU / hoi tihaMgI; aha khaMDajuyalagII duvaikhaMDaM // 36 // [dohA ca ghattA dvibhaGgI; athollAlasaMyutA vastuH / bhavati tribhaGgI; atha khaNDayugalaM gItizca dvipadIkhaNDam // 36 // ] dohakajAtyante ghattAjAtirevamapi dvibhaGgI // 36 // , udA0-ko nesai saMdesaDA / sahi desaDAti dUri // baMdimuhi paDai saMThaviu / guru sUrappahasUri // imva guTTiTThiya / guru ukkaMThiya / avirala rahamuttAla / bhullai raMgihiM / navanavabhaMgihiM / mAla(va)desIvAla // 36.1 // duhaMgI tilayasUrisya / [ko neSyati saMdezaM / sa hi dezoti dUre // ... / guruH sUraprabhasUriH / / iti goSThIsthitaH / gururutkaNThitaH / ... ... ... // ... ... / ... ... | ... // 36.1 // ] dvibhaGgI tilakasUreH // dazapadIprakaraNam // 36.1 // athaikAdazapadI / athollAlakAbhyAM saMyutA 'vatthu 'tti vastujAtistribhaGgI bhavati / trayo bhaGgAzchandastrayarUpA asyAM sA tribhaGgI / udA0-gahiru jalaharamuraSa vajhaMti / ghaNu naccahi vijjuliya / ___ mahura mora gAyaMti sussara / dahararava ghandhariya / ruNajhuNaMti ghaNaghosanibbhara // pappIhayabaMdiNavi sara / laddhAvasara rsNti| jaladhArAdhoraNimisiNa / vAyaNa payau paDaMti //

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47 pa0 35:4-37.1] savRttikaH kavidarpaNaH imva nibharu vaTTai dharavalai sayalaloyaratiyAvaNau // saharisaaNaMganivasaccaviu ahiNavu pAusapikkhaNau // 36.2 // tihNgii| [gambhIrA jaladharamurajA vAdyante / bahu nRtyati vidyut / madhuraM mayUrA gAyanti susvaram // . darduraravardharikAH / ruNajhuNanti ghanaghoSanirbharAH // cAtakabandInAmapi svarAH / labdhAvasarA rasanti / jaladhArAdhoraNimiSeNa / vAyanAni prakaTaM patanti / iti nirbharaM vartate dharAvalaye sakalalokaratidAyakam / saharSAnaGganRpadRSTamabhinavaM prAvRTprekSaNakam // 36.2 // ] ekAdazapadIprakaraNam // 36.2 // atha dvAdazapadI / khaNDayugalAnte gItiH sAmAnyena tribhaGgI, vizeSeNa dvipadIkhaNDam / udA0-kusumAuhapiyadUyayaM / maulAvito cUyayaM / . siddhiliymaanngghnno| vAyai dAhiNapavaNao // viyaliyabaulAmelao / icchiypiyymmelo| paDivAlaNaasamatthao / tammai juviisttho|| iya paDhamaM mahumAso jaNassa hiyayAI kuNai mauyAI / pacchA viMdhai mayaNo laddhappasarehiM kusumabANehiM // 36.3 // ___ duvaIkhaMDa siriharisaevassa / [kusumAyudhapriyadUtakaM / mukulayaMzcUtakam / zithilitamAnagrahaNo / vAti dakSiNapavanaH // vigalitabakulAmelaka: / icchitapriyatamamelanaH / pratipAlanAsamarthaH / tAmyati yuvatisArthaH / / iti prathamaM madhumAso janasya hRdayAni karoti mRdUni / pazcAddhidhyati madano labdhaprasaraiH kusumabANaiH // 36.3 // ] dvipadIkhaNDaM zrIharSadevasya (ratnAvalI I. 14-16 ) // spaSTam // 36.3 // ghattAduyaM duhaMgI; tihaMgiyA duvikhNddgiiiio| pajjhaDiyAicaukkaM kaDavaM; tANaM gaNo saMdhI // 37 // [ghattAdvayaM dvibhaGgI; tribhaGgikA dvipadIkhaNDagItayaH / pajjhaTikAdicatuSkaM kaDavaM; teSAM gaNaH saMdhiH // 37 // ] ghattAjAtyante ghattAjAtireSApi dvibhaGgI // 37 // udA0-kiNi avarihi bujjhiu / muggadu ujjhiu / vAriu jUuvi veyariu // kayadhammabhaMsaha / mahurAmaMsaha / nAuvi mUlaha niTThaviu // maraNabbhayabhIyahaM / savvahaM jIyahaM / vajjhAviu abhayappaDahu / rerAyaha rahasihi / sahuM kumarasihaM / tuDivaDaMta ki na saDipaDahu // 37.1 // duhaMgiyA //

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savRttikaH kavidarpaNaH [dvitIyoddeze [ kairaparairbudhyate / mRtasvamujjhitam / vAritaM dyUtamapi vairIbhUtam // kRtadharmabhraMzayoH / madirAmAMsayoH / nAmApi mUlato ni zitam // maraNabhayabhItAnAM / sarveSAM jIvAnAM / vAdito'bhayapaTaha: ? // re rAjAno rabhasena / svayaM kumArasiMhena / todyamAnAH kiM na zIryatha // 37.1 // rezabdaH saMbhASaNe (he. 8.2.201) / 'tuDi 'tti saMrabhe / prAg dvipadI tataH khaNDatti zUcanA (?) valambakastadante gItiriyamapi tribhaGgI // 37.1 // ... udA0--virahiNihiyayaghoravajjAsaNinivaDaNaghosameravA pasarahi mayaNarajjapayAsaNapaNavA koilAravA / vAihiM malayapavaNa ghaNamANiNimANadhaNikkatakkaro niddysurysmrsmmhkilaamiymihunnsuhyro|| dolA lolA caaliyaa| sasirIyA vnnmaaliyaa| asisirauNhA vAsarA / rayaNI juNhAmaNaharA // iya erise vasaMte mahuyarahuMkAramuhaliyavaNaMte / muttaNa mamaM vaccaMta kaMta accaMtakaThiNacittosi // 37.2 // tihaMgiyA / [virahiNIhRdayaghoravajrAzaninipatanaghoSabhairavAH prasaranti madanarAjyaprakAzanapaNavA: kokilAravAH // vAti malayavAto dhanamAninImAnadhanaikataskaro nirdayasuratasamarasaMmaIklAntamithunasukhakaraH / dolA lolA cAlitA / sazrIkA vanamAlikA // aziziroSNA vAsarAH / rajanI jyotsnAmanoharA // itIdRze vasante madhukarahuMkAramukharitavanAnte / muktvA mAM vrajan kAnta atyantakaThinacitto'si // 37.2 // ] spaSTA // 37.2 // anyairapi chandobhiH zrutisukhaistribhistribhistribhaGgI / tatra pUrva maJjarI pazcAtkhaNDitA tato bhadrikA yathA ucchalaMtachappayakalagItibhaMgidhare vipphuraMtakalayaMThikaMThapaMcamasare / sajjamANahiMdolAlavaNapasAhie caccaripaDahuddAmasaddasaMkhohie / viyasiyarattAsoyalae / kesarakusumAmoamae / papphulliyamAyaMdavaNe / ghaNagholiradakkhiNapavaNe // iya erisaMmi cettae jassa Na pAsaMmi atthi piyamANusa / so kaha jiyai vayaMsie viddho mayaraddhayassa bhalliyAhiM // 98 //

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pa. 3702-37.3; TI. pa. 98] savRttikaH kavidarpaNaH [ ucchalatSaTpadakalagItibhaGgidhare visphuratkalakaNThIkaNThapaJcamasvare / sajjamAnahindolAlavanaprasAdhite carcarIpaTahodAmazabdasaMkSobhite // vikasitaraktAzokalate / kesarakusumAmodamaye / / praphullitamAkandavane / ghanaghUrNamAnadakSiNapavane // itIdRze caitre yasya na pArzve'sti priyamanuSyaH / sa kathaM jIvati sakhi viddho makaradhvajasya bANaiH / / 98 // ete ca dvibhaGgItribhaGgyau zIrSakAkhye / dvAdazapadIprakaraNam // 37.2 // atha SoDazapadI / paddhaDikAdichandAMsi catvAri catvAri kaDavakam / AdizabdAdvadanAdiparigrahaH / teSAM ca kaDavakAnAM gaNaH saMdhisaMjJaH / . udA0-purugujaramaMDalI(li) aisamiddha / aNahillanayaru NAmihi pasiddha / tahi siricAukkaDavaMsajAya / vaNarAyapamuha huya bahuya rAya // aha kAlakamiNa raNaraMgamallu / riurAyacakkahiyaikkasallu / cAlukkavaMsapaMkayamarAlu / tatthAsi narAhivu kumrvaalu|| . bahudihiNa bahuparikarisamaggu / tiNi sammu parikkhiu dhammamaggu / jiNasAsaNu bahuguNu bhaNi pavattu / na viveyalakkhi tullai sayattu // nahalaggasiharajiNaharaNivesa / maNahara asesa tiNi vihiya desa / tasu sarisu naresaru maNuyaloi / na hu huvau na hosai natthi koi // 37.3 // . kaDavaM / [purugurjaramaNDale atisamRddhaM / nagaramaNahillanAmnA prasiddham / tatra zrIcApotkaTavaMzajAtAH / vanarAjapramukhA jAtA bahavo nRpAH // . atha kAlakrameNa raNaraGgamalaH / ripurAjacakrahRdayaikazalyam // cAlukyavaMzapaGkajamarAla: / tatrAsInnarAdhipaH kumArapAla: // bahudivasairbahuparikarasamagraH / tena samyakparIkSito dharmamArgaH // jinazAsanaM bahuguNaM bhaNitvA pravRttaH / na vivekalakSye tolyate sayatnaH // nabholagnazikharajinagRhanivezaH / manoharo'zeSastena vihito dezaH // tasya sadRzo narezvaro manujaloke / na khalu bhUto na bhaviSyati nAsti kopi // 37.3 // ] spaSTam / sandhyudAharaNaM pratItam / SoDazapadIprakaraNam // 37 // [iti] kavidarpaNavRttau dvitIyoddezaH /

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tRtiiyoddeshH| atha vrnncchndH| itto vucchaM savvaMpi lAhavatthaM salakkhalakkhaNayam / vanacchaMde vittaM Ahikijjai, taM puNo tiviham // 1 // [ito vakSye sarvamapi lAghavArtha salakSyalakSaNakam / varNacchande vRttamadhikriyate tatpunastrividham // 1 // ] ito mAtrAcchandasonantaraM sarvamapi varNacchanda ubhayacchandazca salakSyalakSaNakaM vakSye / tadevodAharaNaM tadeva sUtramityarthaH / lakSaNakamityalpArthe kaH / kimarthaM rItibhaGga ityAha-lAghavArtham / bhinnalakSaNatve hi granthagauravaM syAt / mAtrAcchandastu lakSyaiH sujJeyamiti tathoktam / idaM cAdau prapaJcitameva / tathA varNacchandasi vRttamadhikriyate / ito yadvakSyate tadvRttAkhyamityarthaH / tacca sthiraguruladhvakSaravinyAsamiSyate pATanasaMyogayorabhAvAt / mAtrAchandastu jAtyAkhyam / yadAha'padyaM catuSpadI tacca vRttaM jAtiriti dvidhA' iti / tatpunarvRttaM trividham // 1 // tathAhi samamaddhasamaM visamaM tattha samaM tAva tullacaupAyam // tulladdhaM addhasamaM; atullasavappayaM visamam // 2 // [samamardhasamaM viSamaM tatra samaM tAvattulyacatuSpAdam / tulyArdhamardhasamaM, atulyasarvapAdaM viSamam // 2 // ] samavRttamardhasamavRttaM viSamavRttam / tatra trike tAvattulyalakSaNaizcaturbhiH pAdaiH samavRttam / tulyalakSaNAbhyAmardhAbhyAmardhasamavRttam / visadRzaiH sarvaiH pAdairviSamavRttam // 2 // tesu same egkkhrmuhchbbiiskkhrNtcupaaii| chanvIsa huMti jAI; to sesaM daMDayA tatto // 3 // [teSu same ekAkSaramukhaSaDviMzatyakSarAntacatuSpAdyaH / SaDviMzatirbhavanti jAtayastataH zeSaM, daNDakAstasmAt // 3 // ] teSu triSu samavRtte caturNAM pAdAnAM samAhArazcatuSpAdI / ekAkSarAdiH SaDviMzatyakSarAntA catuSpAdI yAsu tAH SaDvizatirjAtayaH syuH| ' to sesaM' ti zeSa jAtistato daNDakajAtiH // 3 // utta aiutta majjhA paiTTa supaiTTa taha ya gAittI / uNhiga aNuhubha vihaI paMtI tihuu jagaiaijagaI // 4 //

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10 1-5] savRttikaH kavidarpaNaH sakkariaisakkariyA aThThI aiaTThi dhii a aidhiiu / kii pAvisamabhiupparakiI ya jAINa nAmAI // 5 // [ uktAtyuktA madhyA pratiSThAsupratiSThe tathA ca gAyatrI / foonga bRhatI paGktistriSTup jagatyatijagatI // 4 // zakvatizakan aSTiratyaSTirdhRtiratiSTatiH / kRti: prAvisamabhyutparataH kRtayazca jAtInAM nAmAni // 5 // ] 51 uktA 1 atyuktA 2 madhyA 3 pratiSThA 4 supratiSThA 5 tathA ca gAyatrI 6 uSNik 7 anuSTup 8 bRhatI 9 paGktiH 10 triSTup 11 jagatI 12 atijagatI 13 zakArI 14 atizakrI 15 aSTiH 16 atyaSTiH 17 dhRtiH 18 atidhRtiH 19 kRtiH 20 pra / A / tri / sam / abhi / ut / ebhyaH parA kRtizca / prakRtiH 21 AkRtiH 22 vikRti: 23 abhikRti : 25 utkRtiH 26 jAtInAM nAmAni / uktA nAma ekaikAkSarAMhi bheda saMgrahAtmikA jAtistataH ekaikAkSaravRddhAMhRyo'tyuktAdayastatra yakSarAMhiratyuktA / SaDviMzatyakSarAMhrirutkRtiH / [iti ] kavidarpaNavRttau tRtIyodezaH /

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cturthoddeshH| atha jAtInAmupayogibhedAnAha--- go gii||1|| sarvAMhiSu eko gurugIzchandaH // 1 // uktA // 1 // do gA itthI // 2 // dvau gurU strIcchandaH atyuktaa||2|| ekenAhiNA prAkRte lakSma vaktumazakyamiti dvAbhyAmuktam / ataH paraM tvekaikena samAni, dvAbhyAmardhasamAni, caturvekapAdaiviSamANi vaitAlIyAni ca vakSyante // 2 // mo nArI // 3 // ro mRgI // 4 // spaSTam // 3 // 4 // madhyA // 3 // mo go kannA // 5 // yagA vIlA // 6 // mo gaH kanyA // 5 // yagau vrIDA // 6 // pratiSThA // 4 // __ nandA talagA // 7 // jayA yo lagA // 8 // talagA nandA // 7 // yo lagau jayA // 8 // supratiSThA // 5 // to yo taNumajjhA // 9 // yayA somarAI // 10 // to yastanumadhyA // 9 // yau somarAjI // 10 // gAyatrI // 6 // mo so go mayalehA // 11 // haMsamAlA rarA go // 12 // maH so go madalekhA // 11 // rau go haMsamAlA // 12 // uSNik // 7 // do mA do gA vijjUmAlA // 13 // bho talagA mANavagaM // 14 // cittavayA bhagurU do // 15 // nArAyao tarA lagA // 16 // vasU lagA pamANiyA // 17 // ukkame samANiyA u // 18 // io ya annaM viyANaM // 19 // mau gau vidyunmAlA / caturbhiryatiranuktApi jJeyA // 13 // bhastalagA mANavakam / atrApi cturbhirytiH||14|| bhau guruzci (rU ci) trapadA // 15 // tarau lagau nArAcakaH // 16 // vasavo lagAH prmaannikaa| aSTa nirantarAH lagAH pramANikA // 17 // vyutkrame samAnikA tu / pramANikAyA viparyaye samAnikA punaraSTau nirantarA galA ityarthaH // 18 // itonyadvitAnam / ebhyaH prAguktebhyo granthAntaroktebhyazcakArAdvakSyamANebhyaH anyasamavRttaM vitAnam // 19 // anuSTubh // 8 //

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10 1-40] savRttikaH kavidarpaNaH ro nasA kira halamukhI // 20 // mo no yo magaralayAe // 21 // nasayaghaDiyA visAlA // 22 // ro nasau halamukhI // kiletyAptoktau // 20 // mo no yo makaralatAyAm // 21 // nasayaghaTitA vizAlA // 22 // bRhatI // 9 // morasAraNI rajA ragaMtA // 23 // mo-so suddhavirADiyA jagA // 24 // narajagA imA maNoramA // 25 // campakamAleyaM bhamasA go // 26 // rajau ragAntau mayUrasAraNI // 23 // maH so jagau zuddhavirAT // 24 // narajagadvayaM (?) iyaM manoramA // 25 // bhamasA gazcampakamAleyam // 26 // paGktiH // 10 // ro narA lahugurU rahuvayA // 27 // sAgayA u ranabhA duguraMtA // 28 // bhattiga doguru dodhayachaMdaM // 29 // nanaralahugurUhi bhadiyA // 30 // ro jarA lahu(hU )gurU ya seNiyA // 31 // najajalahU sagurU sumukhI // 32 // najugasagaNadugurU cittA // 33 // to jo jagagatti uvaTThiyA sA // 34 // uvadviyamimaM jo so tagA go||35|| mo do tA gA sAliNI saayrehiN||36|| vAummI mo taha bho to gurU do // 37 // to to jagA go puNa iMdavajA // 38 // uviMdavajA jatajA gurU do // 39 // rau narau laghugurU rathoddhatA // 27 // ranabhA dvigurvantA svAgatA punaH // 28 // bhatrika dvau gurU dodhakacchandaH // 29 // nanaralaghugurubhirbhadrikA // 30 // ro jarau laghurguruzca zyenikAyAm // 31 // najajalaghavaH saguravaH sumukhI // 32 // nayugasagaNadviguravazcitrA // 33 // to to jagagA iti upasthitA sA // 34 // jaH sta(sto)gau upasthitamidam // 35|| mo dvau tau gau zAlinI [saagraiH|| sAgarehiM ti caturbhiryatiH // 36 // sAgarairiti vartate / mastathA bhtau gurU dvau vAtormI // 37 // tau jagau gaH punarindravajrA // 38 // jatajA gurU dvau upendravajrA // 39 // parupparaM duNhamimANa pAyavimissaNaM cuddasahovajAI / jAINa ittovarapacchimANa savvANa buDehiM puNovaiTThA // 40 // [ parasparaM dvayoranayoH pAdavimizraNaM caturdazadhopajAtiH / jAtInAmitaHparapazcimAnAM sarvAsAM vRddhaiH punarupadiSTA // 40 // ] anayoraprataH pRSThatazca pratyakSayorindravajropendravajrayorindravaMzAvaMzasthayozcAnyonyaM pAdavimizraNamaMhisaMkara upajAtiH / sA ca prastArabhedAccaturdazadhA / sthApanA ceyam / Adyantau muktvA caturdaza jJeyAH / samavRttaprastAvepyupajAtInAmupanyAso lAghavArthaH / bahuzrutaistu itaHparAsAM jagatyAdInAM pazcimAnAmuktAdInAM prAyo gAyatryAdInAM kRtanAmAkRtanAmavisadRzaprastArarUpasvasvapAdAnAM svalpabhedAnAM sarvAsAM jAtInAM saMkara upajAtirupadiSTA / yathA 1 The illustrations are dropped by the editor, as they are unimportant.

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savRttikaH kabidarpaNaH [caturthoddeze yudhiSThiro dharmamayo mahAdrumaH skandhorjuno bhImasenosya zAkhA / mAdrIsutau puSpaphale samRddhe mUlaM kRSNo brahma ca brAhmaNAzca // 40 // tRtri)STup // 11 // sA iMdavaMsA u tatA jarA jahiM // 41 // muNeha vaMsatthamiNaM jatA jarA // 42 // jattha rA huMti cattAri sA saggiNI // 43 // jahiM veyayA taM bhuyaMgappayAyaM // 44 // causaM muNa toDayamittha puNo // 45 // duyavilaMbiya nAma nabhA bharA // 46 // pamiyakkharA sajasasehiM kayA // 47 // jabhA jarA jahimimA piyaMvayA // 48 // nayanayabaddhA kusumavicittA // 49 // pamuiyavayaNA nanA raddugaM // 50 // iha hi najehi jarehi mAlaI // 51 // nisuNaha tAmarasaM najajA yo // 52 // ravI lagA kamA vasaMtacaccaraM // 53 // do mA yA neyA paMcahiM vesaevI // 54 // jaluddhayagaI chahiM jasajasA // 55 // itthaM puNa to yo to yo maNimAlA // 56 // nadugamiha puDo mo yo vasUhiM // 57 // yatra tatau jarau sA indravaMzA punaH // 41 // jatau jarau vaMzasthamidaM jAnIta // 42 // yatra rAzcatvAraH sA sragviNI // 43 // yatra yAzcatvArastadbhujaMgaprayAtam // 44 // catuHsaM toTakamiha punarjAnIhi // 45 // nabhau bharau drutavilambitaM nAma // 46 // sajasasaiH kRtA pramitAkSarA // 47 // yatra jabhau jarau priyaMvadeyam // 48 // nayanayagrathitA kusumavicitrA // 49 // nanau radvikaM pramudita. vadanA // 50 // najAbhyAM jarAbhyAmiha hi mAlatI // 51 // najajA yazcettAmarasam // 52 // dvAdaza lagAH kramAdvasantacatvaram // 53 // dvau mau yau jJeyau paJcabhirvaizvadevI // paJcabhiryatiH // 54 // jaH so jasA(sau) jaloddhatagatiH / SaDbhiryatiH // 55 // SaDbhiriti vartate / iha punastoyastoyo maNimAlA // 56 // iha nAdvikaM mo yaH puTaH / aSTabhiryatiH // 57 // jagatI // 12 // mo no jo paharisiNI ragA sihIhiM // 58 // mo to yo so go cauhi mattamayUraM // 59 // jabhA sajA guru ruirA bhaNijjae // 60 // nadugataragaNA go ya caMdiyAe // 61 // ___mo no jo ragau praharSiNI [zikhibhiH] // tribhiryatiH // 58 // masto yaH so go mattamayUra [caturbhiH] // caturbhiryatiH // 59 // catubhiryatiriti vartate / jabhau sajau guruH rucirA bhnnyte||60|| nadvikataragaNA gazca candrikAyAm // 61 // atijagatI // 13 // to bho vasaMtatilayA jadugaM gurU do // 62 // jalahinaparagurudugamuvacittaM // 63 // bANehiM mo to nasaduguru asaMbAhA // 64 // isihi nanarasA lagA akraaiyaa||65|| paharaNakaliyA nanabhanalagurU // 66 // to bho jadvikaM dvau gurU vasantatilakA // 62 // caturnagaNaparagurudvikaM upacitram // 63 // [bANaiH] masto nasadvigururasaMbAdhA // paJcabhiryatiH // 64 // [RSibhiH] nanarasA lagau aparAjitA / saptarbhiryatiH // 65 // RSibhiritiH vartate / nanabhanalaguravaH praharaNakalikA // 66 // zakvarI // 14 //

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pa0 41-84] savRttikaH kavidarpaNaH bANA mA jassitaM kAmakkIlA nAmaM nAyavvaM // 67 // caudasalahuyaparaguru sasikalA // 68 // ro jarA jarA gaNA jahiM tamittha toNayaM // 69 // havai pabhaddakaM najabhajA taheva ro // 70 // AsehiM caMdalehA chaMda yo marA mo ya yo yo // 71 // nanamayayagaNaDDhA mAliNI pannagehiM // 72 // esA cittA vRttA jIe tinni mA kiMca do yA // 73 // yasminpaJca mAstatkAmakrIDA nAma jJAtavyam // 67 // caturdazalaghukaparaguruH zazikalA // 68 // yatra ro jarau jarau gaNAstadatra toNakam // 69 // najabhajAstathaiva raH prabhadrakaM bhavati // 70 // marau mazca yaiau candralekhAcchandaH / saptabhiryatiH // 71 // nanamayayagaNADhyA mAlinI [ pannagaiH ] | aSTabhiryatiH // 72 // pannagairiti vartate / yasyAM trayo mAH kiMca dvau yAveSA citrA uktA // 73 // atizakvarI // 15 // sa paMcacAmaro jahiM lahUgurU nivA kamA // 74 // to yassa aMtara kaNa geNa cittamuttaM // 75 // AsagaI uNa paMcahi bhehiM tahA guruNA // 76 // parikahiyA najA bhajaragA ya vANiNIe // 77 // najarabhabhA gurU jahiM sA maNikappalayA // 78 // bhaNa duguNavasulahumacaladihimiha // 79 // 55 yatra laghuguravaH kramAt SoDaza sa paJcacAmaraH // 74 // pUrvoktasya toNakasyAntake kRtena gena citramuktam / paJcacAmaravyaHyayaH sagururityarthaH // 75 // paJcabhirbhaistathA guruNA azvagatiH punaH // 76 // nau bhajaragAzca vANinyAM parikathitAH // 77 // najarabhabhA gururyatra sA maNikalpalatA // 78 // dviguNa satraH SoDaza laghavo yasyAM tAmacaladhRtimiha bhaNa // 79 // aSTiH // 16 // maMdatA cauhiM riuhiM mo bhanA to tagA go // 80 // riuhiM cauhiM no somo ro salA hariNI gurU // 81 // rasehiM niddiTThA yamanasabhalA go sihariNI // 82 // vasUhiM puhavI jasA jasayalA tahaMte gurU // 83 // paMtihi vaMsapattapaDiyaM bharanabhanalagA // 84 // mo bhanau tastagau go mandAkrAntA / caturbhiH Sabhizca yatiH // 80 // naH somo raH salau gururhariNI / SaDbhizcaturbhizca yatiH // 81 // yamana sabhalagaiH zikhariNI nirdiSTA / SaDbhiryatiH // 82 // jasau jasayalAstathAnte guruH pRthvI / aSTabhiryatiH // 83 // bharanabhanalagA vaMzapatrapatitam | 'paMtihi 'tti dazabhiryatiH // 84 // atyaSTiH // 17 //

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savRttikaH kavidarpaNaH [caturthoddeze najugalaracaukkanipphanniyA vaniyA tArayA // 85 // bho rananA nasA navahi nisuNaha bhamaravayaM // 86 // nayugalaracatuSkaniSpanikA tArakA varNitA // 85 // bho rananA nasau bhramarapadaM nizRNuta / navabhiryatiH // 86 // dhRtiH // 18 // taruNIvayaNiMdumimaM kahiyaM sagaNA cha tahA go||87|| mo so jo satatA gurU ya ravihiM saddalavikkIDiyaM // 88 // SaT sagaNAstathA gastaruNIvadanendu kthitmidm||87|| masau jaH satatA guruzca zArdUlavikrIDitam / dvAdazabhiryatiH // 88 // atidhRtiH // 19 // gA lahU niraMtarA jahiM tu vIsa taM khujANa citta nAma // 89 // vuttA sattadgeNaM marabhanayabhalA gaMtA suvayaNA // 90 // yatra gA laghavo nirantarA viMzatistannizcayAjjAnIhi citraM nAma // 89 // marabhanayabhalA gAntA suvadanA uktA / saptabhiH saptabhiryatiH // 90 // kRtiH // 20 // buhayaNasammayA najabhajA jadugaM ragaNo ya siddhiyA // 91 // AsehiM bhUdharehiM marabhanayayayA saddharA nAma neyA // 92 // najabhajA jadvikaM razca budhajanasaMmatA siddhikA // 91 // marabhanayayayAH snagdharA nAma jJeyA / azvairbhUdharairyatiH // 92 // prakRtiH // 21 // sattabhanimmiyamaMtapaiTTiyaekagurU ca layAkusumaM // 93 // bhaddayamullavanti viusA bharA naranarA nagA ya dasahiM // 94 // saptabhirnirmitamantapratiSThitaikaguru ca latAkusumam // 93 // bharau naranarA nagau ca bhadrakamullapanti vidvAMso [dazabhiH] // dazabhiryatiH // 94 // AkRtiH // 22 // ro narA jaranarA lahUgurU tahA jahiM tamiha biMti cittayaM // 95 // mattakIlA mo mo to no sihinaparalahuguru bhuyagaisuhiM // 96 // tathA yatra ro narau jaranarA laghurgurustadiha bruvanti citrakam // 95 // mo masto natrinaparalaghugururmattakrIDA / bhujagairaSTabhiriSubhiH paJcabhiryatiH // 96 // vikRtiH // 23 // nagaNadugarachakkayaM mehamAlatti chaMdaM payaMpati chaMdacayA // 97 // biMti subhaddayanAmayachaMdamihaM bhagaNehiM buhA kira aTTahiM // 98 // - navikaraSaT meghamAleti cchandazchandojJAH prajalpanti // 97 // bhagaNairaSTabhiH kila subhadrakAnAmakaM cchanda iha budhA bruvanti // 98 // saMkRtiH // 24 //

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pa0 85- 106 ] savRttikaH kavidarpaNaH kuMcapayA bho mo sabhanA no nagaNajugalaguru isuisuvasuhiM // 99 // sA haMsavayA jIe dasahiM tayabhabhajalahinagaNaparagurugaM // 100 // bhomaH sabhanA no nayugalaM guruH krauJcapadA / paJcabhiH paJcabhiraSTabhiryatiH // 99 // yasyAH tayabhabhacaturnagaNaparagurukaM sA haMsapadA / dazabhiryatiH // 100 // abhikRtiH // 25 // momo to no no no ro so lahuguru vasupasuvaihiM bhuyaMgaviyaMbhiyaM // 101 // mo nA chacciya jahiM navachachahiM sagaNaduguruNihaNamavavAhaM taM // 102 // mo masto no no no raH so laghurgururbhujaMgavijRmbhitam / aSTabhirekAdazabhiryatiH // 101 // yatra maH SaDeva nAH sagaNadviguru nidhanaM tadavabAdham / navabhiH SaDbhiH SaDbhiryatiH // 102 // utkRtiH // 27 // uktAdiprakaraNam // atha zeSajAtiH / mAlAvittaM sesajAIi mo to tagaNanagaNajugalaM yattigaM saMkarehiM // 103 // mastastayugaM nayugaM yatrikaM mAlAvi ( vRttaM zeSajAtau / ekAdazabhiryatiH // 103 // evaM pramoda mahodayanRttalalitalalitalatApipIlikAdyA apyUhyAH / zeSajAtiprakaraNam // atha daNDakAH / 57 chavvIsakkhara ahiyaM dIsai jaM kiMci rUvayaM chaMde / taM daMDayaMti pabhaNaMti sesajAI vimuttUNa // 104 // [ SaDviMzatyakSarAdhikaM dRzyate yatkiMcidrUpakaM chandasi / taddaNDakamiti prabhaNanti zeSajAtiM vimucya // 104 // ] SaDviMzatyakSarAdhikaM zeSajAteranyadyat kimapi chandasi rUpakaM dRzyate taddaNDakamityAhurvRddhAH / yathoktam yat kiMcid dRzyate chandaH SaDviMzatyakSarAdhikam | zeSajAtyAdikaM muktvA tatsarve daNDakaM viduH // 104 // nadugaragaNasattayaM jattha so daMDao caMda (Da) vuTTippayAo mae vannio // 105 // dvikaragaNasaptakaM caNDavRSTiprayAto daNDako mayA bhaNitaH // 105 // jahakama sarsirehabuDIi annannavavvAlajImUyalIlAyaruddAmasaMkhAiyA // 106 // [ yathAkramaM zazirephavRddhyA arNArNavavyAlajImUtalIlAkaroddAmazaGkhAdikAH // 106 // ] caNDavRSTiprayAtasyordhvaM 'sasireha' tti ekaikaragaNavRddhayA yathAkramamarNAdyA daNDakAH syuH / tatra nagaNAbhyAM parairaSTabhI ragaNaiH arNaH / navabhirarNavaH dazabhirvyAlaH ekAdazabhirjImUtaH dvAdazabhirlIlAkaraH trayodazabhiruuddAmaH caturdazabhiH zaGkhaH / AdizabdAtpaJcadazabhiH samudraH / SoDazabhirbhujaMgaH ityevamAdayo yatheSTakRtanAmAno yAvadekonasahasrAkSaraH pAdastAvadbhavanti // 106 //

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savRttikaH kavidarpaNaH [caturthIddeze paciyayamiha najummAu yAIhiM sabvehiM nivvattiyaM sattakhutto karahiM // 107 // [pracitakamiha nayugmAt yAdibhiH sarvaiH nirvartitaM saptakRtvaH kRtaiH / / ] ihAnukrameNa] nayugmAnagaNavarja yagaNAdisarvavarNagaNaiH saptakRtvaH kRtaiH nirvartitaM pracitakaM nAma dnnddkH| atrApi saptAnAM yagaNAdInAmuparyekaikayagaNAdivRddhayA arNAdyAH syuH pUrvavat // 107 // jahicchiyA lahUgurU niraMtarA havaMti jattha daMDao imo aNaMgaseharo // 108 // yatra yatheSTA nirantarA laghuguravaH syurayamanaGgazesa(kha)ro daNDakaH // 108 // vaccayammi eyameva cheyaloyakannadinnasukkhayA asoyapupphamaMjaritti // 109 // [vyatyaye etadeva chekalokakarNadattasaukhyA azokapuSpamaJjarIti / ] etadeva anaGgazeSa(kha)rarUpakaM vyatyaye nirantaragurulaghutve chekalokakarNadattasaukhyA azokapuSpamaJjarIti daNDakajAtiH // 109 // samavRttaprakaraNam // athArdhasamavRttAnyAha satigaM lagurU visame sme| __ bhattiga do gurugA uvacittaM // 110 // , viSame prathame tRtIyehrau satrikaM lagurU same dvitIye turye bhAtrikaM gurudvikamupacitram // 110 // visamaMmi uvaMtalamukkaM / taM ciya vegavaI muNa chaMdaM // 111 // tadevopacitraM viSameMhrau nidhanagurupazcAllaghutyaktaM vegavatIcchando jAnIhi ||aapaatlikeym // 111 // visame sajA sgnngNtaa| keumatI(I) same bharanagA go||112|| viSame sajau sagaNagantau same bharanagA gaH ketumatI // 112 // ro jarA ya jo ya oyapAyayaMmi / same jarA jarA gurU maI javAI // 113 // viSame ro jarau ca jazca same jarau jarau gururmatiryavAdiH / yavamatItyarthaH // 113 // satigaM visame lahuo guruu| nabhabharA ya same hariNuddhayA // 114 // viSame satrikaM laghuko guruH same nabhabharAzca hariNoddhatA // 114 // oyasamesu kamA duymjjhaa| tibhadugurU aha no jadugaM yo||115||

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6.107-120 savRttikA kavidarpaNaH kramAdviSame tribhagurudvayAni atha same no jadvikaM yo drutamadhyA / upacitrA-ApAtalikAaparAntikeyam / / 115 // iha kira visamaMmi no narA yo| __ najajaragA samayaMmi pupphiyaggA // 116 // kileha viSame no narau yaH samake najajaragAH puSpitAnA // aupacchandasakametat // 116 // nihaNasasigurumi ujjhie| dusuvi imAvaravattasanniyA // 117 // puSpitAgreyaM dvayorapi viSamasamapAdayorantaikaguru(rau) tyakte'paravaktrasaMjJitA / / vaitAlIyametat / AkhyAnakIviparItAkhyAnakyau tuupjaatyntrgttvaannokte| viSame nava nagaNA laghugurU same dazanagaNA guruH zikhA / viSame nagaNadazakaM guruH same nagaNanavakaM laghugurU khjaa| dvayorapyardhayornava nava nagaNAH guruH atiruciretyAdi granthAntarAjJeyam // 117 // ardhasamavRttaprakaraNam // atha viSamavRttAnyAha / aNuTTabhe gaNA savve anasA AivannAu / yo cauttthAu oyaMtaTAu (?) go lo ya vattaMti // 118 // anuSTubhyaSTAkSarAyAM jAtau pAdasyAdyAdakSarAtpare nagaNasagaNavarjaM sarve SaDapi gaNAH syuzcaturthAdakSarAtparo yagaNaH pAdasyAdAvante guruladhurvA syAdyatra tadvaktramiti jJeyam / AdyAMherAdyasthAne glAviti dvau bhedo dvitIye nasavarjanAccheSagaNaiH SaT / tRtIye ca ekaH / turye glAviti dvau / anyonyAbhyAse caturvizatiH / pratyaMhi caturvizate vAdanyonyAbhyAse tisro lakSA ekatriMzatsahasrAH saptazatAni SaTsaptatiH / evameSaiva saMkhyA vipulAbhedeSvapi // 118 // pattthAvattaM samappAe yagaNe jagaNo ji| tadeva visamaMmi jo same yo vivarIyAi // 119 // samapAdayosturyAkSarAdyagaNasthAne jagaNazcettadA vaktrameva pathyAvaktrAkhyam / viSamayosturyAkSarAjjagaNaH samayoryagaNaH zeSaM tathaiva vaktravadyatra tadviparItAdi viparItapathyAvaktram // 119 // taM ceva hoi cavalA nagaNeNa jgnnNmi| viulA sA same jIe kijjae sattamo lahU // 120 // tadeva viparItapathyAvaktraM jagaNasthAne nagaNena capalAvatrAkhyam / viSamayosturyAkSarAnagaNaH samayostu yagaNaH ityarthaH / samayoH saptamo laghuryasyAM kriyate sA vipulAvaktrAkhyA / na ceyaM pathyA(thya)[yA] gatArthA / vipulAvaktrasyeda(dA)nImArabhyamANatvAttAM vinA tasyApanupatteH samapAdayoH saptamalaghunAvazyaM bhAvyam / viSamayostu mAdibhiryagaNasyApavAdaM vakSyati / pathyAyAM tu yagaNa evAvatiSThate // 120 //

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60 savRttikaH kavidarpaNaH causuM seyavassa sA // 121 // saitavAcAryamate caturSu pAdeSu saptamo laghuzced vipulAvaktram // 121 // mo mavvilA oyaMmi // 122 // ojayosturyAkSarAdyagaNaM bAdhitvA magaNaH samayostu saptamo laghuH sthita eva cenmavipulA / oja iti jAtipakSe dvayorapi pAdayorgrahaNam / vyaktipakSe punarekasya prathamasya tRtIyasya vA / evaM vakSyamANavipulAsvapi / tathA ca mahAkavInAM prayogaH // 122 // [ jAtipakSe yathA - ] vyati (kti) pakSe yathA-- tathA- sarvAtiriktaM lAvaNyaM bibhratI cAruvibhramA / strIlokasRSTiH sA nUnaM na sAmAnyasya vedhasaH // 122*1 // gataH sa kAlo yatrAsInmuktAnAM janma valliSu / vartante hetavastAsAM sAMprataM zuktisaMpuTAH // 122.2 // tathA vajrAdapi kaThorANi mRdUni kusumAdapi / lokottarANAM cetAMsi ko hi nirjJAtumarhati // 122.3 // taheva no naviulA // 123 // tathaiva viSamAMhituryAkSarAnnagaNazcennavipulA // 123 // jAtipakSe yathA-- dRzA dagdhaM manasijaM jIvayanti dRzaiva yAH / virUpAkSasya jayinIstAH stuve vAmalocanAH || 123*1 // vyaktipakSe yathA-- dInAyAM dInavadano rudatyAM sAzrulocanaH / puraH sakhIjanastasyAH pratibimbamivAbhavat / 123.2 // [ caturthoddeze anyadA bhUSaNaM puMsaH zamo lajjeva yoSitaH / parAkramaH paribhave vaiyAtyaM surateSviva // 123.3 // bhojai tA bhavi (vvi) ulA // 124 // tathaiva bhagaNazcedbhavipulA // 124 // jAtipakSe yathA iyaM sakhe candramukhI smitajyotsnAvabhAsinI / indIvarAkSI hRdayaM daMdahIti tathApi me / / 124.1 //

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10 121-127] savRttikaH kavidarpaNaH vyaktipakSe yathA suvarNapuSpAM pRthivIM cinvanti puruSAstrayaH / zUrazca kRtavidyazca yazca jAnAti sevitum // 124.2 // tathA sarvAzucinidhAnasya kRtaghnasya vinAzinaH / zarIrakasyApi kRte mUDhAH pApAni kurvate // 124.3 / / ro raviulA u neyA // 125 // tathaiva ragaNazcedravipulA tu jJeyA // 125 // jAtipakSe yathA-- vadhUbhiH pInastanIbhistUlIbhiH kuGkumena ca / kAlAgarudhUpadhUmaihemante jayati smaraH // 125.1 / / vyaktipakSe yathA mahAkavi kAlidAsaM vande vAgdevatAgurum / yajjJAne vizvamAbhAti darpaNe pratibimbavat / / 125.2 // tathA kAminIbhiH sukhaM saMgaH kriyate paNDitairapi / yadi na syAdvArivIcIcaJcalaM hatajIvitam // 125.3 // so jattha saviulA sA // 126 // tathaiva yatra sagaNaH sA savipulA // 126 // jAtipakSe yathA kSaNavidhvaMsa(si)ni loke kA cintA maraNe raNe / ko hi mandaH sahasaiva svalpena bahu hArayet // 126.1 // vyaktipakSe yathA zrotre sati na zRNoti sati netre na pazyati / vaktre satyapi no vakti pArthivastena pArthivaH // 126.2 // tathA kauTilyapaTavaH pApA mAyayA bakavRttayaH / bhuvanaM vaJcayamAnAH vaJcayante svameva hi // 126.3 // to taviulA akkhiyA // 127 // tathaiva tagaNazcettavipulA AkhyAtA // 127 // jAtipakSe yathA yena hatA pAdena sA jAtIlubdhena mallikA / alestasya daivAdaho barvaryapi sudurlabhA // 127.1 //

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savRttikA kavidarpaNaH - [caturthoddeze vyaktipakSe yathA vande kaviM zrIbhAraviM lokasaMtamasacchidam / divA dIpA ivAbhAnti yasyAgre kavayo'pare // 127.2 // tathA lokavatpratipattavyo laukiko'rthaH parIkSakaiH / lokavyavahAraM prati sadRzau bAlapaNDitau // 127.3 // saMkIrNAzca vipulAprakArA dRzyante / yathA kvacitkAle prasaratA kvacidApatya nighnatA / zuneva sAraMgakulaM tvayA bhinnaM dviSoM balam / / 127.4 / / tulye'parAdhe svabhANu(nu) numantaM cireNa yat / himAMzumAzu grasate tanmadinaH sphuTaM phalam // 127.5 // ityAdayo'nye tu svabuddhayAbhyUhyAH / sarvAsAM ca vipulAnAM caturtho varNaH prAyeNa gururbhavatItyAmnAyaH / / 127.5 // vaktrajAtiprakaraNam // paDhamaMmi aTThavannA duiyami duvAlasa nibajjhaMti / taie solasa cautthae vIsa jattha pAe taM payacauruddhayanAmayaM payaMpaMti visamacchaMdaM // 128 // [prathame'STavarNAH dvitIye dvAdaza nibdhynte| tRtIye SoDaza caturthe viMzatiryatra pAde ___ tatpadacaturU nAmakaM prajalpanti viSamaM cchandaH // 128 // ] spaSTam // padacaturUvaM nyaasbhedaaccturviNshtidhaa| sthaapnaa| 8,12,16,20 / padacaturUna padacaturUrdhvaprakaraNamupalakSyate / yathA padacaturUrdhvameva pratipAdamAdau dvigurukaM tataH sarvaladhvakSaraM yadvA pratipAdamAdAvante ca dvigurukaM zeSaM sarvalaghukaM ca pratyApIDaH / padacaturUrdhvameva ekadvigurukaM zeSaM sarvalaghukaM ApIDaH / ApIDa evAdyasyAMdverdvitIyenAMhiNA vyatyaye klikaa| tRtIyena lavalI / turyeNAmRtadhArA / padacaturUrvaprakaraNam // 128 // sajasA lahU paDhamayaMmi nasajaguruNo duijje| huMti bhanajalagurU taie _turie sajA sajagurU ya uggayA // 129 // [sajasAH laghuH prathame nasajaguravo dvitiiye| bhavanti bhanajalaguravastRtIye turIye sajI sajaguravazva udgatA // 129 //

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pa0 127-130] savRttikaH kavidarpaNaH spaSTA / udgatayA udgatAprakaraNasaMgraho jJeyo yathA / udgataiva tRtIyehrau ranabhagAzcet saurabhakam / nanasasAstu cellalitam / udgatAprakaraNam // 129 // Aile masajA bhaMgA gurU aha bIe __ sanajA raguru ma(ta)haggime nanA so| natigajaya turiyae iya muNaha pacuviyamuvaTTiyapuvvaM // 130 // [Adime masajA bhagau gururatha dvitIye sanajA ro gurustathAgrime nanau saH / natrika jayau turye iti jAnIta pracupitamupasthitapUrvam // 130 // Avehrau masajA bhagau gururatha dvitIye sanajA razca guruzca ragurU / athAgrime tRtIye nanau sH| turyake natrikaM jayA i(vi)ti jAnIta pracupitamupasthitapUrvamupasthitapracupitamityarthaH / anenaitatprakaraNaM sUcitam / yathA idameva tRtIyehrau nanasananasAzcedvardhamAnam / idameva tRtIyehrau tajarAzcet zuddhavirADRSabham / upasthitapracupitaprakaraNam // pUrvArdhe SoDaza guravaH uttarArdhe dvAtriMzallaghavaH saumyA / pUrvArdhe dvAtriMzallaghavaH uttarArdhe SoDaza guravo jyotiH // 130 // viSamavRttaprakaraNam // [iti] kavidarpaNavRttau caturthoddezaH /

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pnycmoddeshH| athobhycchndH| visame chakalA same vasU / veyAlIyaM rolagA to| naTThasu chalahU nirantarA / dusuvi kalA na samA parANugA // 1 // [viSame SaTkalAH same vasavaH / vaitAlIyaM ro lagau ttH| nASTasu SaT laghavo nirantarAH / dvayorapi kalA na samAH parAnugAH // 1 // ] viSamayoH pAdayoH SaNmAtrAH samayoraSTau iti mAtrAcchandoMzaH tato dvayorapi ragaNo laghurguruH iti varNacchandoMzaH / idaM vaitAlIyam / atraapvaadH| samAhikalAsvaSTasu SaT laghavaH saMtatA na syunaca dvayorapi viSayasamapAdayoH samA kalA parAnugA sarvAMhiSu samo laghuH pareNa laghunA saha gururna kArya ityarthaH / atraujAMhiSaTkalAnAM prastAre trayodaza bhedAsteSTAvihAsAkA grAhyA ythaa| sthaapnaa| // sAkAstu paJcAmI yathA / sthApanA // parAzritasamakalAvikalpAH sAkA itare tvasAkA iti pUjyAmnAyaH / yukpAdASTamAtrANAM prastAre catustriMzadbhedAsteSvasAkA SoDaza / SoDazabhyopi saMtataSaTlaghavastrayopanIyante / tato jAtAstrayodaza / tetra grAhyAH / sthaapnaa| sAkAstvaSTAdaza / te tyAjyAH sthApanA / taM ciya ragaNaMtasaMThie ye / ovacchaMdasayaM vayaMti buTTA // 2 // [tadeva ragaNAntasaMsthite ye / aupacchandasakaM vadanti vRddhAH // 2 // ] tadeva vaitI(tA)lIyamojayoH SaDbhyo yujoraSTabhyaH kalAbhyaH parasya [ra]gaNasyAntasaMsthite yagaNe aupacchandasakaM vRddhA vadanti // 2 // AvAyaliyA bhagaNeNaM / gurujuyaleNa ya aMtagaeNaM // 3 // [ApAtalikA bhagaNena / guruyugalena cAntagatena // 3 // ] vaitAlIyamevAhidvaye SaDaSTakalAbhyo bhagaNena gurubhyAM cApAtalikA // 3 // samapA[ya] kalAtigaMtago / jai gurU u tA hoi pacciyA // 4 // [samapAdakalAtrikAntago / yadi guruH punarbhavati prAcyikA // 4 // ] samapAdASTamAtrAsu tisRNAM kalAnAmantagato guruH punazcedviSamayostu prAgvaccettatsyAt prAcyavRttibhImAdivat prAyikA / sA tridhA vaitAlIyaprAyikA aupacchandasaprAyikA aapaatlikaapraayikaa||4|| uicciyA sA pavuccae / jahi samesu muhalapparo gurU // 5 // [udIjyikA sA progyate / yatrAsamayoH mukhalaparo gurUH // 5 // ] 1 I have dropped the graphical presentation. 2 visame ?

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pa0 1-11] savRttikaH kavidarpaNaH yatraujAMhiSaTkalAsvAdyAlayoH paro guruH sA procyate udIcyavRttiH prAgvadudIjyikA / eSA prAgvat tridhA // 5 // tahA dunha paaysNkro| pubvacchaM(cha)dayANaM pavattayaM // 6 // [tathA dvayoH pAdasaMkaraH / pUrvacchandasA pravRttakam // 6 // ] tathA dvayoH pUrvacchandasoH prAcyikodIyikayorahisaMkaraH pravRttakaM yujormAtrAtrayAdgururayujostvAdyAlaghorgururityarthaH / idamapi prAgvat tridhA // 6 // savajummapayajAvaraMtiyA // 7 // [sarvayugmapAdajA aparAntikA // 7 // ] sarveSAM vaitAlIyaupacchandasakApAtalikAtatprAyikAchandasAM samapAdairjanitA aparAntikA // 7 // ajummajA cAruhAsiNI // 8 // [ayugmajA cAruhAsinI // 8 // ] vaitAlIyaupacchandasApAtalikAtadudIcyakAnAM viSamAMhijA cAruhAsinI // 8 // asespaayaailppro| gurU jahiM sA dAhiNaMtiyA // 9 // [azeSapAdAdilAtparaH / guruyaMtra sA dakSiNAntikA // 9 // ] azeSANAM vaitAlIyAdInAM yathAsaMbhavaM sarveSvaMhiSvAdyAlayoH paro guruyaMtra sA dA(da)kSiNAntikA / // 9 // ubhayacchandaHprakaraNam / jaM visamakkharacaraNaM UNAhiyacaraNayaM va rUvayaM // tivihe chaMdami imaMmi jayadevAIhi na bhaNiyaM / taM savvaMpi neyaM gAhAnAmaM viyaDehiM // 10 // [yadviSamAkSaracaraNaM UnAdhikacaraNaM vA rUpakam / trividhe chandasi asmijayadevAdimirna bhaNitam / tatsarvamapi jJeyaM gAthAnAma vidagdhaiH // 10 // ] yadviSamAkSarAMhi nyUnAdhikAhikaM vA rUpakaM mAtrAvobhayarUpe trividhe cchandasyAsman jayadevAcai!ktaM tatsarvamapi gAthAkhyaM vidagdhaimim // 10 // chandasAM varNagurulaghusaMkhyAnayanakaraNamAha guruvajjiyAhiM akkharasaMkhA vannujjhiyAhiM gurusaMkhA / duguNiyagururahiyAhiM lahusaMkhA rUvayakalAhiM // 11 // [guruvarjitAbhirakSarasaMkhyA vrnnojjhitaamirgurusNkhyaa| dviguNitagururahitAbhilaghusaMkhyA rUpakakalAbhiH // 11 // ]

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savRttikaH kavidarpaNaH rUpakasya yasya kasyApi cchandasaH kalAH saMkhyAyante tatastAbhyastasyaiva rUpakasya guravaH pAtyante cedvarNasaMkhyA / varNAzcedujjhyante gurusaMkhyA / dviguNIkRtya guravopanIyante cellaghusaMkhyA syAt / yathAsyAmeva gAthAyAM saptapaJcAzanmAtrAbhyaH saptadazaguruvyapagame catvAriMzadvarNAH / varNAtyaye saptadaza guravaH / dviguNitairgurubhizcatustriMzatsaMkhyaiH pAtitaistrayoviMzatirlaghava iti // 11 // [iti ] kavidarpaNavRttau paJcamoddezaH / 66

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sssstthodeshH| aha patthAro naThu uThThi egmaailgkiriyaa| saMkhA tahaddhajogo chaMdaMmi cha paccayA ee // 1 // [atha prastAro nssttmuddissttmekaadilgkriyaa| saMkhyA tathAdhvayogo chandasi SaT pratyayA ete // 1 // ] athAnantaraM prastIryate (iti) prastAro jaativRttyorvistraanyaasH| naSTasya prastArabhedebhyo'dRSTasya jAtivRttabhedasyAnayanaM naSTam / uddiSTasya katithoyaM bhedaH prastAreNviti praznenopanyastasya jAtivRttabhedasyAkhyAnamuddiSTam / sarvalaghUnAM sarvagurUNAmekAdilaghUnAmekAdigurUNAM ca jAtivRttaprastArabhedAnAM jJAnAya karaNamekAdilaghugurukriyA / jAtivRttaprastAre bhedapramANAnayanaM sNkhyaa| jAtivRttaprastArabhUmimAnamadhvayogaH / chandasi SaT pratyayAH pratItijananAdete syuH // 1 // tatra jAtiprastAramAha visamAo lahuyAI samA gurU Thavahu guruahe ya lahU / uvariva puro pacchA putvavihI jAipatthAro // 2 // [viSamA laghvAdIH samAH gurUn sthApaya guroradhazca laghum / uparIva puraH pazcAt pUrvavidhirjAtiprastAraH // 2 // viSamAzcenmAtrA laghvAdIH sthApayata / viSa[ma]mAtrAsu prastAryAsyAdibhede prAk laghuH sthApyastataH zeSamAtrA gurubhiH pUryA ityarthaH / yathA paJcAnAM mAtrANAM prAk la[ghuH ta]to gurudvayam I S S atha samA mAtrAstato guruneva sthApayata / samamAtrAsu prastAryAsyAdibhede gurubhireva mAtrAH [pUryA] ityarthaH / yathA SaNNAM mAtrANAM gurutrayam sss / tataH samAsu viSamAsu ca prAkkalpasthAsu ya Adyo gurustasyAdho laghu sthApa[yata / tataH paramuparIva sthApayata / yatropari gurustatrAdhastAdapi guruyaMtropari laghustatrAdhastAdapi laghurityarthaH / pazcAt pRSThabhAge pUrvavidhiH kAryo viSamA avi(ba)ziSyamANA laghvAdigurubhiH samAstu gurubhireva pUryA ityarthaH / yathA IS HIS sarva x x yAvadayaM vidhiritthaM jAtInAM prastAro jJeyaH // 2 // jAtInAM naSTAdIMstrIn prakriyAgauravAdupekSya saMkhyAmAha / egacciya egAe dunhaM dunneva tinha tinneva / aMtovaMtasamAso paraM tu mattANa parisaMkhA // 3 // [ekaivaikAyA dvayordai eva tisRNAM tisra eva / bhantopAntasamAsaH paratastu mAtrANAM parisaMkhyA // 3 // ] ISS

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savRttikaH kavidarpaNaH ekasyA mAtrAyAH prastAre ekaiva saMkhyA / dvayorte eva saMkhyA / tisRNAM tisra eva saMkhyA / tisRbhyaH paratazcaturAdInAM mAtrANAmantyopAntyasamAsaH parisaMkhyA / antyastrika upAntyo dvikastayormelanaM paJca catasRNAM saMkhyA / antyaH paJcaka upAntyastrikastanmIlanamaSTau paJcAnAM saMkhyA / antyoSTaka upAntyaH pazcakastanmIlanaM trayodaza SaNNAM saMkhyA / antyastrayodazaka upAntyoSTakastanmIlanamekaviMzatiH saptAnAM saMkhyA / evamuttaratrApi / jAtyadhvayogastu vRttAdhvayogatulya eveti noktaH // 3 // [iti kavidarpaNe SaSThodhyAyaH / iti kavidarpaNaM savRttikaM samAptam / ]

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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. ajummajA cAru aNuTubhe gaNA savve athiraciya jiya ammo mahANubhAvehiM ariri mayaNa asesapAyAilapparo aha patthAro nahaM Aille masajA bhagA AyaMbalolaloyaNa AvAyaliyA bhagaNeNaM AsagaI uNa AsehiM caMdalekhA AsehiM bhUdharehi io ya annaM viyANaM itto vucchaM savvaMpi ityaM puNa to yo isihi nanarasA iha kira visamaMmi iha hi najehi uicciyA sA ukkame samANiyA uggasenataNayAi uttaaiuttamajhA uya cittAlihiyA uva gIIi kuraMguvva uvaDiyamimaM uvadohayamegakalA uviMdavajA eoiMhiM payae ekArasajAIo egacciya egAe esA kaDavayanihaNe esA cittA vuttA oyasamesu kamA kaTuravaasaMkha kadugaM To 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 kaya vayaMsi duhu kalamalayadAha kijai tIi tuha kiNi avarihi kimicchaha juvai kuMcapayA bho mo kumai ji mairai kusumAuhapiva ko nesai saMdesaDA khIrasamuddiNa gahiru jalaharamurava gA lahU niraMtarA gAhAi muhadaladurga gAhAgaNabheyaparu gAhAmuhadalaaMtima girimAliyanva gIha riucchaMdA gIivisesA cauro gujaravilyANa guruvajiyAhiM akkhara go gI ghattAduyaM duhaMgI ghaNapayaTTa piya ghari ghari gheNudoha ghoraaNorapAra caMdujjoo caMdaNa caMpayamAleyaM caucA TagaNo caudasalahuya caursa muNa causu seyavassa cittavayA bhagurU cittA navamovi ciramaDilahaM chavvIsakkharaahiyaM jaM visamakkharacaraNaM 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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70 jaugolavva vibhi jau tuha tihuyaNa rAhu jabhA jarA jahi jabhA sajA guru jaya jiNasAsaNa jayA yo lagA jala hinapara guru jaladvayagaI hama sahi jahiM veyayA ...hicchiyA lahUgurU jANa satta katthai ji nara niraggala 'jujjhiya bhAu ya je jammada amuNiya TA cauro jo Na DhakkaDapaDu taM ciya ragaNaMta taM caiva hoi cavalA 'tagaNadugaTagaNa tattI sIyalI tadugaM TadugaM taruNIvayadui - tahA duNDapAya tavaM no naviulA terasa ekA rasa hiM terasakalehiM pAhiM tesu same egakkhara to jo jagagatti to yassa aMtae to tavbiulA to to jagA go to bho vasaMta to yo ta majjhA daladugamuhe tigaNajai * dali mahiyala aterasahi dIsaha suMDa gayANaNi dIhaM sabiMdu savRttikaH kavidarpaNaH 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 duiturie duiyA chaTThe paDhamAu duyavilaMbiya guNava do gA itthI do do gA domAyA neyA dohaya ghattAu duI dhaNu juvaNu dhannaha uddAma naMdA talagA na kalaI duha dugaraka na chamaccha maMti 'na jajalahU najarabhabhA najugalara caukka najugasagaNa nadugataragaNA dumiha puDo nadugaragaNasattayaM nanamayayagaNaDDhA nanaralahugurU nayanayabaddhA narajamA imA nasayaghaDiyA na suyai na hasai nahi nihAlivi nArAyao tarA lagA niyaDi layahaM nigasijjaMtaM visa niccuvi navaM nisuha tAmarasaM Ni siguruM mi neyA mattAchaMde no vIra maMDalaggi * paMcANaNalaliyA paMcAla liyA paMtihi vaMsapatta paI piyaThANAu 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

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saMvRttikA kanidarpaNaH . 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 paciyayamiha paDhamaMmi aThavannA paNamia arihaMta paNayajaNakapparukkha paddhaDiyA Tacaukka patthAvattaM samappAe pannarasakalAhiM papakA TadugaM pamiyakkharA pamuiyavayaNA payamajhevi hu parikahiyA najA pahapparaM duNha paharaNakaliyA piccha paosi purugujaramaMDalI puvvapavvayarAya phulaMdhuya dhAvaMti bahalaMdhArapaDala bANA mA jassi bANehiM mo to bArasa aSThegArasa biMti subhaddayanAmaya buhayaNasaMmayA bhaggau aiyArihiM bhaNa duguNavasu bhattiga do guru bhaddayamullavaMti bho jai tA bho talagA bho rananA nasA maMdakaMtA cauhiM maI miliu mana maNi mANasamuddhaya mattakkIlA mo mo mahibharasesaha mahumahUsavamuhi mAlAvittaM sesa muNeha vaMsatya muni TA guru tattha 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 mogo kannA mo to yo so mo do tA gA mo nA chacciya jahiM mo nArI mo no jo paharaNa mo no yo magara mo manviulA mo mo to nono morasAraNI rajA mo so go mayalehA mo so jo satatA mo so suddhavirATa ya gA vIlA yayA somarAI ravI lagA kamA rasaTA ucchAho rasehiM niddihA rAsAvalayaM poro riuhiM cauhiM ro jarA jarA ro jarA ya jo ya ro jarA lahU gurU ro narA jaranarA ro narA lahugurU ro nasA kira ro mRgI ro ranviulA rosagurugirisa vaccayammi eyameva vatthuya dohA dohaya vatthuvayaNAi ullAla vannacchaMde uNa vasU lagA pamANiyA vasUhiM puhavI vAummI mo taha viulA cavalA ya virahiNihiyaya visamaMmi uvaMta visamAo lahuyAI 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

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72 savRttikaH kavidarpaNaH 5.4 3.2 5.7 visame chakalA visame sajA sagaNa visamesu TatigakehiM visamesu dunni TagaNA vihiyabhara vaisavai vuttA sattaddageNaM veri ya kesari saMkalabaMdhasahoyara saMgAho uvagAho sakkari aisakkariyA sajasA lahU paDhamayaMmi satigaM lagurU satigaM visame sattabhanimmiya sa paMcacAmaro 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 samapAyakalAtigaM samamaddhasama savvajummapayajA sA iMdavaMsA sAgayA u ranabhA sA caMdalehiyA sA haMsavayA jIe suisuhaviraI surakuMbhikuMbha suhi acchaMtaha sUrilacchimaNihAra so jattha saviulA haMsamAlA rarA go havai pabhaddakaM 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

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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. aMtarasamayacciya aJcaMtanigdhiNeNa ahalahuviraiAo aNuhavasarasANaM annunnamaMgaghaDaNA appANaM vanaMto appuvvo naNu gimho ayi abuha hiyaya alao valao malao alahuduhalahari avirAmajalira avihaDaavaru avvo juttaM jaM te aha caupaIo iya ahahi uvajAI uggamu tahiM ucchalaMtachappaya ucchAhavayaNahelA uvari sutiya eAoccia sumaNo ee nAmanibaddhA kaDavayanivaho saMdhI katthavi bhulai kamalA tihiM lahu kamalA laliyA kalamalayadalo kAmo buho visAlo kAlI kumarI mehA kiM na phullai pADala kuNasi tumamaNisa kelikkhaMbhA UrU gajjaMte khe mehA gADhA agADhagADhA geyaM bAlA tUlI caMpayakusumAi 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 calacelaMcala calavaliracavala jai tuhuM mahu kara jai dohayANa hihe jaha mattAjAINaM jaha vatthuANa hihe jaNamaNamaggesu jayadevapiMgalA jaya palayapavaNa jayavi jhalakkahi jariNo ghayaM va jaha maggo pulaijjA jIi kalAu dasAI jo jassa kae ghaDio No dihAiM viyaMbhaMti takkAlaM nikkiva taruNiyaNamamaya taruNihUNigaMDa tuMgo riMgo bhiMgo tuha nidde niHsImA tuha sumuhi muhaM telukkacaMdagujara thuimuhalaviviha daie dAviyavippiya daiyaNahaMkusa dihe tumaMmi duhi tihi cauhivi doSanicayadhAmno dhavalaniheNa supurisA na suyaha na rasaha paMDigaMDayala paccAloyaNasaMkA patto vAsAratto parahuyapaMcamasavaNa parilhasiyapaMkataNDA 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

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74 piyatakare kaDillaM piyamaraNasoya bahalaMdhatamasaghorA bhiDaNujmaDaNi mattakariNIvi evaM mattacciya uccai mahamahai lacchi yanmaMgalAvi tannAma ruio na dIsaha lakkhaha lakkheNa vaMso vitto vAlo vammahasahiyasaNAI vAho voho vaggo savRttikaH kaSidarpaNaH 2.46%3 20 visame segA segA 2.55; 21 saMsArAsArataM 2.273; 15 samacaraNanihaNa 2.58; 22 saraseNa pavaraparimala 2.683; 33 sarahasaNamaMtasAmaMta 2.66; 33 savaNanihiya . 2.43; 17 savyagurU bhaNiyA 2.85; 38 savvAu vi jAIo 2.49; 20 2.48; 20 sA tivihA chapaI 2.62; 31 sArayasasIvi 2.21; 14 suyaNu tuya vayaNa 2.13 7 . susilahaviMTamaragaya 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

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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. anyadA bhUSaNaM puMsaH amandavedanotpAdi iyaM sakhe candramukhI uttuGgastanakalaza utsAhavadanahelA ekaiva bhavati pathyA etAsAM rAjati kaTutiktoSNamaguru kAminIbhiH sukhaM saMgaH kulInAH sarasAH kUjakoyaSTi kauTilyapaTavaH pApAH kvanikAle prasaratA kvacittu padamadhyepi kSaNavidhvaMsini gataH sa kAlo gItInAM trayamitthaM tamolIdAni bhuvanA tava hiyApahiyo tulyeparAdhe svarbhAnuH taireva dhavalavyAjAt dInAyAM dInavadano duHkhaM me prakSipati dRzA dagdhaM manasijaM doSanicayadhAno draSTavyo yaticintAyAM dvijAtijA vikalpAH dhanaM pradAnena namaH kalitama 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 nityaM prAkpada notsAhaM kurvate padyaM catuSpadI tacca paradoSapurISANi pUrvAntavatsvaraH praNamata bhavabandha mahAkavi kAlidAsa yatiH sarvatra pAdAnte yat kiMcidRzyate yena hatA pAdena rathA ramyA airA lAvaNyasalilasaMkula lIlAsitAbjamuta lokavat pratipattavyo vaMzasthakAdi vajrAdapi kaThorANi vadhUmiH pItastanIbhiH vande kaviM zrIbhAraviM zaMbhuM natvA zrotre sati na zRNoti sarvAtiriktaM sarvAzucinidhAnasya sunizcitaM naH paratantra suvarNapuSpAM pRthivIM skandhe vindhyAdri spRSTaM tvayetyapa syAdasthAnopagata svAdu svacchaMca salila 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

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IV. INDEX OF THE MATRA VRTTAS N. B.-The figures refer to chapter and verse; those within brackets refer to the number of Matras in each Pada in the case of Sama Dvipadi, and Catuspadi, while in the case of Ardhasama Catuspadi and Visama Dvipadi they refer to the number of the Matras in the odd and even Padas respectively. y. indicates the yati after a particular Matra whose number is given after it. (s. n. = See notes. a. ca. = ardhasamacatuSpadI; sa. ca. = samacatuSpadI; vi. ca = viSamacatuSpadI; vi. dvi. = viSamadvipadI; sa. dvi. = samadvipadI; = paJcapadI; pa= SaTpadI. ) pa. = aDilA 2.2 sa ca (16 with 2 yamakas, one for each half) adhikAkSarA 2.22 com. sa. ca. ( 25 ) aravindaka 2.22 com. ma. ca. (18) rante 2.2 . dvi (62-27) avadAma 2.13 com.vi.dvi. ( 66-27 ) avadohaka 2.15 a. ca. ( 11-13 ) avaskandhaka 2.9 com. vi.dvi. (32-29) AranAla 2.24 com. sa. na. ( 30 ) utsAha 2-26 sa. ca. ( 24s.n ) 34 2.12 fa. f. (46-27) udgIti 2.9 vi.dvi. ( 27-30 ) 3 2.13 com. fa. f. (50-27) uddohaka 2.17 sa. ca. (13) utskandhaka 2.9 com. vi.dvi. ( 29 - 32 ) upakhaNDa 2.22 com. sa. ca. ( 13 ) upagAtha 2-13 vi. dvi. (78-27) upagIti 2.9 sa.dvi. (27; y. 12 ) upacitrA 2.20 sa. ca. ( 16s.n.) upadAma 2.13 com.vi.dvi. ( 82-27 ) upadohaka 2.16 a. ca. (12-11 ) upaskandha 2.9 com. sa. dvi. ( 29 ) M ullAla s. karpUra and kuGkuma kaDavaka 2.37. It is a group of 4 paddhatikAs. karpUra (ullAla ) 2.2 sa. dvi. ( 28; y.15 ) kAmalIlA 2.22 com. sa. ca. ( 35 ) kAmalekhA 2.24 com. sa. ca. ( 30 ) kAvya 2.33; s. SaTpada kIrtidhavala 2.32. ( 14, 8, 16 ) kuGkuma (ullAla ) 2.2 sa.dvi. (27; y 15 ) khaJjaka 2.23 sa ca ( 23s.n.) khaNDa 2-22 sa. ca. ( 13s.n.) khaNDitA 2.22 com. sa. ca. ( 14 ) galitaka 2-23 sa. ca. ( 21s.n.) gAtha 2.12 vi.dvi. (38-27) 2.4 fa. f. (30-27) fart 2.13 fa. f. (86-27) fifa 2.9 . f. (30; y.12) ghattA 2*29-30 pa. (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.) candralekhikA 2.24 sa. ca. ( 24 ) capalA (gAthA) 2.7 vi.dvi. (30- 27s.n.) citrA 2.20 sa.dvi. (16s.n.) cUDAladohaka 2.17 a ca ( 13-16) chaDDuNikA 2.31. ( = ghattA) jAtIphala 2.11 com. vi.dvi. ( 34 - 27 ) tarala 2.34 = doha + saMdohaka tribhaGgI 2.36 = vastu (mAtrA + dohA) + ullAla 2.37 = dvipadI + khaNDa + gIti "" or dAma 2.13 com. vi.dvi. ( 42-27 ) dAminI 2.13 com. vi.dvi. ( 90 - 27 ) dohaka 2-15 a. ca. ( 13 - 11 ) faqat 2.24 .. (28 s. n.). dvipadIkhaNDa 2.36 = khaNDa + khaNDa + gIti dvibhaGgI 2.35 - 37 = vastuvadana + dohA dohA + vastuvadana; or dvipadI + gIti or dohA + ghattA or ghattA + ghattA navakokilA 2.22 com. sa. ca. ( 30 ) paJcAnanalalitA 2.14 a. ca. (12-10) pathyA (gAthA) 2.7 vi.dvi. ( 30 - 27 ) paddhatikA 2.22 sa. ca. ( 16s.n.) pAdAkulaka 2.20 sa. ca. ( 16s.n.)

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wy savRttikaH kavidarpaNaH phulla 2.33 = mAtrA + ullAla ripunchandas 2-10-11 sa.dvi. (31; y.12) bhadrikA (gIti) 2.11 sa. dvi. (32; 9.13) lalitA 2.11 sa. dvi. (31; y.13) maJjarI 2.22 com. sa. ca. (21) vadana 2.21 sa. ca. (16 s. n.) maDilA 2.21 sa.ca.(16 with one com vasantotsava 2.22 com. sa. ca. (45) mon yamaka) vastu 2.35 =mAtrA+dohA raDA mattakariNI mAtrA 2.28 com. (s. n.) vastuvadana 2.25 sa. ca. (24 s. n.) mattabAlikA mAtrA 2.28 com. (s. n.) vAnavAsikA 2.20 sa. ca. (16 s. n.) mattavilAsinI mAtrA 2.28 com. (s. n.) vigAtha 2.12 vi. dvi. (54-27) madanAvatAra 2.22 sa. ca. (20) vicitrA gIti 2.11 sa. dvi. (s. n.) madhukarikA mAtrA 2.28 com (s. n.) vidAma 2.13 com.vi. dvi. (58-27) madhukarI 2.22 com. sa. ca. (25) vipulA (gAthA) 2.7 vi. dvi. (30.27; 9.12) malayamAruta 2.14 a. ca. (9-10) vizloka 2.19 sa. ca. (16 s. n.) mAgadhikA 2.18 a. ca. (14-16 s. n.) zrIdhavala 2.34 aSTapadI (14.8 repeated 4 mAtrA 2.27-28 pa. (15, 11, 15, 11, times) 15, s. n.) SaTpada 2.33 = vastuvadana+ ullAla mAtrAsamaka 2.19 sa. ca. (16 s. n.) saMkIrNa skandhaka 2.9 com. vi. dvi. (32-30; mAlAgAtha 2.13 vi. dvi. (94, 102, ___or 30-32) __110 etc. and 27) saMgAtha 2.13 vi. dvi. (70-27) mAlAdAma 2.13 com. vi. dvi. (98, 106, saidAma 2.13 com. vi. dvi. (74-27) 114 etc. and 27) saMdohaka 2.16 a. ca. (15-11) muktAvalikA 2.21 sa. ca. (16 s. n.) sandhi 2.37%Da group of kaDavakas. mauktikadAma 2-2 sa. dvi. (32; y.12, 8) raDDA 2.35s. vastu sArdhacchandas s. SaTpada 2.33 rAsa 2.14 a. ca. (7 sutArA 2.22 com. sa. ca. (40) rAsaka 2.23 sa. ca. (23 s. n.) skandhaka 2.9 sa. ca. (32; 9.12 s. n.) rAsAvalaya 2.25 sa. ca. (21 s. n.) helA 2.22 com. sa. ca. (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 Aksara Ganas. acaladhRti 4.79 sa ca (16 short ) anaGgazekhara ( daNDaka ) 4.108 sa. ca. (any number of pairs) aparavaktra 4.117 a.ca. (nanaralaga; najajara ) aparAjitA 4.65 sa ca . ( nanarasalaga ) y. 7 aparAntikA 5.7 sa ca (s.n.) apavAha s. avavAdha amRtadhArA 4.128 com. vi. ca. ( 20, 12, 16, 8 letters) a ( daNDaka ) 4-106 sa. ca. (6la+8 ragaNas) arNava (daNDaka ) 4.106 sa. ca. ( 6la +9 ragaNas ) avabAdha 4-102 sa ca (ma + 6 nagaNas ) = apavAha azoka puSpamaJjarI ( daNDaka ) 4.109 sa. ca. (any number of pairs) azvagati 4.76 sa. ca. (5 bhagaNas + ga ) asaMbAdhA 4.64 sa. ca. ( matanasagaga ) y. 5 ApAtalikA 5.3 a. ca. (6+bha+gaga; 8+ bha+gaga) ApIDa 4.128 com. vi. ca. ( 8, 12, 16, 20 s.n.) indravaMzA 4.41 sa. ca. (tata jara ) indravajrA 4.38 sa. ca. (tata jagaga ) udIcyikA 5.5 a. ca. (s.n.) udgatA 4.129 vi. ca. (sajasala; nasajaga; bhanajalaga; sajasajaga) uddAma (daNDaka ) 4.106 sa. ca. ( 6la +13 ragaNas) upacitra 4.110 a. ca. (sasasalaga; bhabhabhagaga) upacitra 4.63 sa. ca. ( 4 nagaNas + gaga) upajAti 4.40 sa. ca. (s.n.) upasthita 4.35 sa. ca. ( jasatagaga ) upasthitapracupita 4.130 vi. ca. ( masajabhagaga; sanajaraga; nanasa; nananajaya ) upasthitA 4.34 sa. ca. (tatajagaga) upendravajrA 4-39 sa. ca. ( jatajagaga ) aupacchandasaka 5.2 a. ca. (6+ra+ya; 8+7+4) kanyA 4-5 sa. ca. (maga) kalikA 4.128 com. vi ca ( 12, 8, 16, 20, s. n.) kAmakrIDA 4:67 sa ca ( 5 magaNas ) kusumavicitrA 4.49 sa. ca. ( nayanaya ) ketumatI 4.112 a. ca. (sajasaga; bharanagaga) krauJcapadA 4.99 sa. ca. (bhamasabhananananaga) y. 5, 5, 8 gAthA 5.10 (s.n.) gI 4.1 sa. ca. (ga) caNDavRSTiprayAta ( daNDaka ) 4.105 ( 6la +7 ragaNas) candralekhA 4-71 sa. ca. ( maramayaya) y. 7 candrikA 4.61 sa. ca. ( nanataraga) capalAvaktra 4.120 a. ca. (s.n.) campakamAlA 4.26 sa. ca. (bhamasaga ) cAruhAsinI 5.8 sa. ca. (s.n.) citrapadA 4.15 sa. ca. (bhagaga) citra (I) 4.89 sa. ca. (10 gala pairs) citra (II) 4-75 sa. ca. ( 7 gala pairs + gaga) citraka 4-95 sa. ca. ( ranarajarana ralaga ) citrA (I) 4.33 sa. ca. (nanasagaga ) citrA (II) 4.73 sa. ca. ( mamamayaya) y. 8 jayA 4.8 sa. ca. (yalaga) jaloddhatagati 4.55 sa. ca. ( jasajasa ) y. 6 jImUta ( daNDaka ) 4.106 sa. ca. ( 6la +11 ragaNas) sa. ca. jyotiH 4-130 com.vi.dvi. (32 la; 16 ga ) tanumadhyA 4.9 sa. ca. ( taya ) taruNIvadanendu 4.87 sa. ca. ( 6 sagaNas + ga )

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79 savRttikA kavidarpaNaH tAmarasa 4.52 se. ca. (najajaya) mattakrIDA 4.96 sa.ca.(mamatananananalaga)y.8,5 tArakA 4.85 sa. ca. (nanarararara) mattamayUra 4.59 sa. ca. (matayasaga) y. 4 toTaka 4.45 sa. ca. (sasasasa) madalekhA 4.11 sa. ca. (masaga) toNaka 4.69 sa. ca. (rajarajara) manoramA 4.25 sa. ca. (narajaga) . dakSiNAntikA 5.9 a. ca. (s. n.) mandAkrAntA 4.80 sa. ca.(mabhanatatagaga) y. 4, 6 dodhaka 4.29 sa. ca. (bhabhabhagaga) mayUrasAraNI 4.23 sa. ca. (rajaraga) drutamadhyA 4.115 a. ca. (bhabhabhagaga; najajaya) mANavaka 4.14 sa. ca. (bhatalaga) drutavilambita 4.46 sa. ca. (nabhabhara) mAlatI 4.51 sa. ca. (najajara) nandA 4.7 sa. ca. (talaga) mAlAvRtta 4.103 sa.ca. (matatatananayayaya)y.11 nArAcaka 4.16 sa. ca. (taralaga) . mAlinI 4.72 sa. ca. (nanamayaya) 9.8 nArI 4.3 sa. ca. (ma) mRgI 4.4 sa. ca. (2) paJcacAmara 4.74 sa. ca. (8 pairs of laga) meghamAlA 4.97 sa. ca. (nana + 6 ragaNas) pathyAvaktra 4.119 a. ca. (s.n.) yavamatI 4.113 a. sa. (rajaraja; jarajaraga) padacaturUvaM 4.128 vi. ca. (8,12,16,20) rathoddhatA 4.27 sa. ca. (gnaralaga) pura 4.57 sa. ca. (nanamaya) y. 8 rucirA 4.60 sa. ca. (jabhasajaga)y.4 puSpitAyA 4.116 a. ca. (nanaraya; najajaraga) latAkusuma 4.93 sa. ca. (7 bhagaNas + ga) pRthvI 4.83 sa. ca. (jasajasayalaga) y: 8 lalita 4.129 com. vi. ca. (sajasala; nasapracitaka (daNDaka) 4.107 sa.ca. (nana+7 ya jaga; nanasasa; sajasajaga) or other gaNas) lavalI 4.128 com. vi. ca. (16,12,8, pratyApIDa 4.128 com. vi. ca. (s. n.) prabhadraka 4.70 sa. ca. (najabhajara) lIlAkara(daNDaka) 4.106 sa. ca. (6la +12 pramANikA 4.17 sa. ca.(4 pairs of laga) ragaNas) pramitAkSarA 4.47 sa. ca. (sajasasa) vaMzapatrapatita 4.84 sa. ca.(bharanabhanalaga) y. 10 pramuditavadanA 4.50 sa. ca. (nanarara) vaMzastha 4.42 sa. ca. (jatajara) pravRttaka 5.6 a. ca. (s. n.) vaktra 4.118 vi. ca. (s. n.) praharaNakalikA 4.66 sa. ca. (nanabhanalaga) y. 7 vardhamAna 4.130 com. vi.ca. (masajabhagaga; praharSiNI 4.58 sa. ca. (manajaraga) y.8 sanajaraga; tajara; nananajaya) prAyikA 5.4 a. ca. (s. n.) vasantacatvara 4.53 sa. ca. (6 pairs of laga) priyaMvadA 4.48 sa. ca. (jabhajara) vasantatilakA 4.62 sa. ca. (tabhajajagaga) bhadraka 4.95 sa. ca. (ranarajaranaralaga) vANinI 4.77 sa. ca. (najabhajaraga) bhadrikA 4.30 sa. ca. (nanaralaga) vAtormI 4.37 sa. ca. (mabhatagaga) y. 4 bhujaMga (daNDaka) 4.106 com. sa. ca. . vitAna 4.19 sa. ca. (s. n.) (6 la +16 ragaNas) vidyunmAlA 4.13 sa.ca. (mamagaga) y. 4 bhujaMgaprayAta 4.44 sa. ca. (4 yagaNas) viparItapathyAvaktra 4.119 vi. ca. (s. n.) bhujaMgavijRmbhita 4.101 sa. ca. vipulAvaktra 4.120 vi. ca. (s. n.) (mamatanananarasalaga) y. 8, 11 tavipulA 4.127 (s. n.) bhramarapada 4.86 sa. ca. (bharanananasa) y. 9 navipulA 4.123 (s. n.) makaralatA 4-21 sa. ca. (manaya) bhavipulA 4.124 (s. n.) maNikalpalatA 4.78 sa. ca. (najarabhabhaga) mavipulA 4.122.(s. n.) maNimAlA 4.56 sa. ca. (tayataya) y. 6 ravipulA 4.125 (s. n.) 20 s.n.)

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savRttikA kavidarpaNaH savipulA 4.126 (s. n.) vizAlA 4.22 sa. ca. (nasaya) vegavatI 4.111 a. ca. (sasasaga; bhabhabhagaga) vaitAlIya 5.1 a. ca. (6+ralaga; 8+ralaga) vaizvadevI 4.54 sa. ca. (mamayaya) y.5 vrIDA 4.6 sa. ca. (yaga) vyAla (daNDaka) 4.106 sa. ca. (6 la+10 ragaNas) zaGkha (daNDaka) 4.106 sa. ca. (6 la+14 ragaNas) zazikalA 4.68 sa. ca. (14 la+ga) zArdUlavikrIDita 4.88 sa. ca. (masajasatataga) ___y. 12 zAlinI 4.36 sa. ca. (matataga) y. 4 zikhariNI 4.82 sa. ca. (yamanasabhalaga) y. 6 zuddhavirATa 4.24 sa. ca. (masajaga) zuddhavirADRSabha 4.130 com. vi. ca. (masajabhagaga; sanajaraga; tajara; nananajaya) zyenikA 4.31 sa. ca. (rajaralaga) samAnikA 4.18 sa. ca. (4 pairs of gala) samudra (daNDaka) 4.106 com. sa. ca. (6 la+15 ragaNas) siddhikA 4.91 sa. ca. (najabhajajajara) subhadraka 4.98 sa. ca. (8 bhagaNas) sumukhI 4.32 sa. ca. (najajalaga) suvadanA 4.90 sa. ca. (marabhanayabhalaga) y. 7,7 somarAjI 4.10 sa. ca. (yaya) saumyA 4.130 com. vi. dvi. (16 ga; 320) saurabhaka 4.129 com. vi. ca. (sajasala, nasajaga, ranabhaga, sajasajaga) strI 4.2 sa. ca. (gaga) sragdharA 4.92 sa. ca. (marabhanayayaya) y. 7, 7 sragviNI 4.43 sa. ca. (4 ragaNas) svAgatA 4.28 sa. ca. (ranabhagaga) haMsapadA 4.100 sa. ca. (tayabhabhananananaga)y.10 haMsamAlA 4.12 sa. ca. (ragaga) hariNI 4.81 sa. ca. (nasamarasalaga) y. 6,4 hariNoddhatA 4.114 a. ca. (sasasalaga, nabhamara) halamukhI 4-20 sa. ca. (gnasa)

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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 Ajitasantistava, printed in smaller type in App. III; CK = Chandahkosa 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 aMbaraMtaraviyAra ajiyajiNasuha ajiyaM jiyasavva ajiyaM jiyAri aDakalaragaNo lahuguru aDavIsamatta nirutta appijjau jaNayasuyA abhayaM aNahaM arairaitimira asuragarula Aille dIhA lahU AIUeoaM AgayA varavimANa AjoyaNahiyANaM ikka salUNA sAvali ikkakkakkhakhuDDhI ikkhAgavideha iya pAiyachaMdANaM uttamatilayAhiM unbhaDabhiuDibhaMga ubhaoaMtagurUhiM ee ceva viyappA eokkAraparAI evaM tavabala ega hAUNa lahu~ / esovi vihI jIe eso vihI ya jIe kamalA tihi lahue hiM kamalA laliyA lIyA kavidarpaNamupajIvya kAlI kumarI mehA kiriyAvihisaMcaya AST. 26 kuMbhArI lohArI AST. 4. kuMbhikuMbhavinbhamaha AST. I kurujaNavayahatthiNa AST. I0 khittayachaMdaM caupaya AS. 54 gayarahaturaMga CK. 18 gAhatti tAva siddhaM N. 29 gAhAi dale caucau AST. 21 gAhAsuM ca samAI AST. 7 gAhiNi bAsahIe AST. 20 gAho gAhavigAho CK. 22 gAho cauvannAe N. 3 gurumajhjA majjhagayA AST. 22 gurulahucanavaga CK. I gurulahuduTagaNapaNagaM N. 87 gurulahuyaakkharANaM N. 43 caudahamattA dunni paya AST. I3 caupai ikku jamakkuvi CK. 74 cagaNegArasagurugo N. 58 cagaNo TagaNacaukkaM N. 79 chaMdavasA dIhaparA N. 48 chattacAmarapaDAga N. I3 chabbIsaM patthAraya jaM surasaMghA AST. 35 jai vAsasayaM N.53 jaramaraNaroga CK. 66 jasu paipaihiM nibaMdha CK. 65 jaha vANI taha pANI N. 42 jaha vesANa na neho N. 40 jAI lasaMti guNehiM AS. 35 jANesu sahAI N. 41 jA paDhamataiyapaMcama AST. 5 | jAo harai kalattaM 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

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82 jidhammo mokkhaphalo jiNavaNa suvagANaM jIe puNa paDhamataijja jIse dalesuM dosuM jIse do puramaddhe jIse na egavIsA jIse paDhamiladale jIse bArasamatto jo jassa hoi uvariM gaNaca ukkaM laghuguru duhuguNa Tacaukke navabArasa dulahudugurU paDha TappaNagaM jalahUgurU TappaNagaM donni gurU Thavi paumAvattI ThANacacuyANa suMdari ThAmi ThAmi caupaya DumilAhi payAsama taM ca jiNuttama taM bahuguNA taM mahAmuNimahaM taM moeu ya naMdi taM saMtiM saMtikaraM tagaNo gaNo lahUguru tagaNo pagaNo tagaNo tacapataTadugaM taTataTadulahuduguruA tadutacauTota tagaM tamahaM jiNacaMda titthavarapavattayaM tihimatta matta jahi tihihiM mattau paDhamu tIsaM vannA sattAvIsaM tIsAe jaM ahiyaM tIsA jA paNavannA tu punnimacaMda turaMgama AusamA veNa terasacagaNA nagaNo savRttikaH kavidarpaNaH 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 terahamattA dunnipaya terahamattA visamapai tesiM na dulahAI dohaliyA bAlA thuyavaMdiyassA thosAmi savvajaga damaNau maruvau daha matta para kijja haMsAsAraM duiyA chaTThe paDhamAu dulahugurudulahugurU dulahudulahugurUgurU ya devadAnavaMdacaMda devasuMdarIhiM pAya do veyA siliM dohA chaMdaha tinni pa dohA chaMdu ji dudalapi dohA chaMdu ji paDhama paDhi dohA chaMdu ji paDhama paDhi kavvaha dhuyalahuakkhara naMdau vIrajiNesaraha namaha bhuyaiMda namiUNa calaNa narAyapAya vIsa matta nAyANaM Ise niuNaM jiNavayaNasuiM viDiyadhArAniva ho nisuNi caMdamuhi neyA mattAchaMde paMcamaM huyaM savvaM paMcamaM lahu savvattha paMcAvannA vannA pai para annu jamakku paiii hoi tIsa paipara lahu sayala papa hoi matta pae pae su tIsa matta godugaM gurugo magaNe kalachakaM paDhamataijjA pAyA 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

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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 paDhamadalamiliyaniruvama paDhamadale chaTaMso paDhamayataiyaya paDhamAI caubheyA paDhame Taduguru evaM paDhamo bArahamatto paDhiUNa paDhama gAhA patthArachaMdasaMkhA patthAramANameyaM patthAravittharANa payacAri Thavihi payaDei chaMdasaMkhaM paya paDhama samANau payapayaha matta pavANi aThThaakkharA pINaNiraMtarathaNabhara purisA jai puvvaM kahAsu suvvai puvvaddhau paDhi po tadugaM lahuguruNo poseu paMcamo cakkI bAraha mattA visamapaya bAlAo huMti koU bAsahI mattAo biMbohIe tIe bibi paya solasa be gorA be sAmalA bhadaM damIsarANaM bhamaru bhAmaru samaru bharanabhanagaNalahuguru bhUcaMdakkamaruggaNA matta assIi raggaNNa matta igyAraha miliya matta huvai caurAsI mattApamANamajjhA mattA bhannai kariso mAlA bAlA haMsI muNi TA guru tattha na jo -muhajahaNasayala merusiharaMmi nhANaM savRttikaH kavidarpaNaH CK. 61 ranaralagA patteyaM CK.53 lacchI kittI kaMtI N. 12 lacchI vippI mehA N. 49 laddhau mittu bhamaMtaeNa AS. 23 laliyayaramiliya N. 16 lahuakkharaM durahiyaM CK. 38 lahuakkharehiM CK. 71 lahucadugaTagaNalahuguru N. 51a lahutagaNacauga N.51 lahuduguruTagaNa CK. 36 lahU solasA dIha CK. 73 vaMdiUNa thuNiUNa CK. 43 vaMsasaddataMti CK. 30 vaTRti gamaNadiyahA CK. 46 vannA nirAi duguNA AST. 27 varakarivaravarahayavara AST. 6 vavagayamaMgula ___N. 30 vijayakachaMdo CK. 48 viNaoNayasira AS. II vippI khattiNi vaisI N. 92 vimalajasakiraNa vimalasasikalA N. 56 viyasiyajalaruha CK. 70 visamaMsA caubheyA N.72 visame kalANa chakaM CK. 20 visamesu dunni TagaNA N. 89 vIravara sabhamarANaM N. 24 veyamie bhagaNe hu N. 88 sagaNA iha toTaka AS. 17 sagavIsaM sagavIsaM CK. 2 sahi tha mattaha CK. I0 satta sarA kamalaMtA satta ya sayA ajiyaM CK. I7 savvaguruehi vippI N. 46 savvadukkhappasaMtINaM N. 47 savvAe gAhAe sattA CK.57 savvAe gAhAe solasa AS. Ia savvANaM dIhA N. 38 sasimattaparihau N.60 sahAvalahA 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

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savRttikaH kavidarpaNaH ___N. 59 somaguNehi pAvai CK. 67 solasamattau jahiM CK. 51 so sorahau jANi haMsu varAhu gayaMdu AST. 9 hA hiyaya kiM visUrasi CK. I3 helAe saMnaddho CK. 39 hoi hu chanvIsa CK. 32 sahi vaDDiyAvi gehaMmi sA puNa visesarUvA sAmannaNa bArasa sAyAraMpiva paramesareNa sAvatthIpuvapatthivaM succiya chappayabaMdha so caMdAyaNi chaMdo so caMdAyaNuchaMdu AST. 17 N. 74 CK. 25 CK. 23 N. 26 N55 N.73 N.88

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VII. INDEX OF METRES (in Appendixes I to III ) N.B.--AS. = Jinaprabha's definitions in App. III; CK = Chandahkosa in App. II; N = Nanditadhya's Gathalaksana in App. I. The figures refer to the number of stanza; those within the brackets refer to the number of Matras as in Index IV; letters within the brackets refer to the well-known Aksara-Ganas. a. ca. =ardhasamacatuSpadI; sa. ca = samacatuSpadI; vi. ca. = viSamacatuSpadI; sa. dvi. = samadvipadI; vi.dvi. = viSamadvipadI s = see. aDila dIpaka AS. 26 sa ca (6, 4, 4, S) = kSiptaka I with a common rhyme aDilA CK 41 sa ca ( 16 ) s. maDilA and KD. 2. 21.4 aparAntikA AS. 34 sa. ca. ( 8, ra, laga ) s. KD. 5.7 avadohaka N. 86-87 a ca (12-14 ) AbhANakaCK. 17 sa. ca. ( 21 ) AliMganaka AS. 6 sa. ca. (5 sagaNas) udgAtha N. 61, 66-67 sa.dvi. (30) s. upagIti KD. 2.9 udgAtha CK. 28 a. ca. ( 15-11 ) s. saMdohaka KD. 2.16 udgIti N. 27 vi.dvi. (27-30 ) upagIti CK. 69; N. 28; s. KD 2-9 upacUlika CK. 27 a.ca. (13-21) upadohaka N. 84-85 a. ca. ( 13-12 ) ekAvalI CK. 47 sa. ca. (5,5) kAminImohana CK. 10 sa. ca. (5x4) s. madanAvatAra KD. 2.22 kisalayamAlA AS. 19 sa. ca. (4x5, ISI, IS ) kuNDalika CK. 31; cf. dvibhaGgI KD. 2.35 = dohA + kAvya or vastuvadana kuNDalinI CK. 38 = gAthA + kAvya or vastuvadana kusumalatA AS. 15 a. ca. (6+ raya; 8 + raya) s. aupacchandasaka KD. 5.2 kSiptaka (I) AS. 24 sa ca = (6, 4, 4, S) kSiptaka (II) AS. 25 sa ca = - rathoddhatA s. KD. 4.27 khidyataka AS 17 sa ca = vaMzapatrapatita s. KD. 4.84 gAtha N. 28, 64; = upagIti s. KD 2.9 gAthA AS. 2-3; CK. 51-61; N. 6-16; 30-43 and 65. gAthinI CK. 70; N. 68 a. ca. (30-32 ) gIta CK. 18 sa. ca. (28) gIti CK. 68; N. 26 sa.dvi. ( 30 ) ghattA Ck. 43 a. ca. (18- 13 ) ; but s. KD. 2.29-30 catuSpadI CK. 37 sa ca ( 30 ) s. laghucatuSpadI candrAnana N. 76 = madanAvatAra KD. 2.22 candrAyaNa CK 32 = dohA + madanAvatAra candrAyaNI CK 39 = gAthA + madanAvatAra capalA gAthA CK. 64-66; N. 19-20; 23-25 citrarekhA AS. 13 vi. ca. ( I & II = 5,4,5, 4, 4, IIS; Illrd = 5, 4, 5,4 x 3, IIS; IVth = 5, 4, 5, 4 x 2, 3, S) citrAkSara AS. 27 a. ca. ( I st and IVth= 4 x 5, SS; II and III = 4 x 6, S) cUDAmaNi CK. 48 vi. ca. ( 13, 11, 12, 15 = + gAthottarArdha cf. verAlaka) cUlikA CK. 26 a. ca. (13-16) cUDAladohaka KD. 2.17 S. DumilA CK 16 sa. ca. (8 sagaNas ) toTaka CK. 7 sa. ca. ( 4 sagaNas ) ; s. KD. 4.45 daNDaka CK. 30 sa ca dodhaka CK. 5 sa. ca. ( 4 dohA CK. 21 a ca (4 x 8) bhagaNas ) ; cf. KD. 4.29 (13 - 11 ); s. KD. 2.15 dohA N. 82-83; 88-90 a. ca. (14-12); s. VJS. 4.27. faqat CK. 35; N. 78-79; . . (28) s. KD. 2.24 nanditaAS 29 sa. ca. ( sasaga )

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86 savRttikaH kavidarpaNaH nArAca (I) CK. 14, 46 sa.ca. (8 pairs of IS); s. paJcacAmara KD. 4.74 ARTE (II) AS. 14; undivided into Padas, ___but consisting of 40pairs of SI. nArAca (III) AS. 28; undivided into Padas, containing 41 pairs of SI and 4 pairs of IS, 3 short and 2 long letters interspersed with them. nArAca (IV) AS.31; undivided into Padas, containing 72 pairs of SI. nArAca paJcacAmara CK. I5 sa. ca. (10 pairs of IS) nArAca somakAnta CK. 14; s. nArAca (I) paJcacAmara nArAca s. nArAca paJcacAmara pathyA gAthA CK. 62; N. 18 vi. dvi. (30-27) paddhatikA CK. 36; N. 74-75; sa. ca. (16) s. KD. 2.22 padmAvatI CK.50 sa. ca. (4x8; avoid ja) pramANikA CK.46 sa.ca. (jaralaga)s. KD. 4.17 bahula CK. 8; sa. ca. (3 nagaNas) besara CK. 20 a. ca. (Ist & IInd = 16. ____IIIrd & IVth = I5) bhAsuraka AS. 30; s. note; a. dvibhaGgI . bhujaMgapariraMgita AS. 16; a. ca. (12-14) bhujaMgaprayAta CK.9; sa.ca. (yayayaya) s. KD. 4.44 maDilA CK. 41-42; sa.ca. (16)s. KD. 2.21 madanAkula CK. II sa. ca. (tatatata) madanAvatAra N.76 sa.ca. s. kAminImohana mAgadhikA AS.5; a. ca. s. KD. 2.18 mAlatI CK. 49 sa.ca. (21) mehANI CK.44 a. ca.(I and II %D8 long%3B III and IV = 6 long, i short, i long ___leltters) mauktikadAma CK.6 sa. ca. (4 jagaNas); but s. KD. 2.2 and note. ratnamAlA AS. 23 sa.ca. (48) rADhaka CK. 34; = mAtrA; s. KD. 2.27-28 rAsAkula CK. 29 (a dvibhaGgI:AbhANaka+kapUra) rAsAnandita AS. 12 vi.ca.(12, 12, II, 10) rAsAlubdhaka AS. 10 vi.ca. (II, 15, 12, 15) roDaka CK. 13; sa.ca. (24) s. vastuvadana KD. 2.25 laghucatuSpadI CK.40 sa.ca. (15) s. catuSpadI lalitaka (I) AS. 18 vi.ca. (19, 19, 19, 20) lalitaka (II) As. 32 sa. ca. (21); s. galitaka KD. 2.23 vastuka N. 80 sa.ca.(24)s. vastuvadana KD. 2.25 vastu CK. 34 = (rADhaka + dohA); s. KD. 2.35 ___= raDDA s. VJS. 4:31 vAnavAsikA AS. 33; sa.ca. (16) s. KD. 2.20 vigAthA CK. 67; N. 27, 64; s. udgIti KD. 2.9 vijayaka CK. 19 sa. ca. (8) vidyudvilasita AS. 21 sa. ca. (IIS, IIS) vipulA gAthA CK.63; N. 18.vi. dvi.s. KD. 2.7 verAlaka CK. 33 vi. ca. (13, II, 13, 15) ___cf. cUDAmaNi above. veSTa AS. 9, II, 22; s. notes zloka, AS. 43 N. 90-91 sa. ca. (8 akSaras) SaTpada CK. 12 (=roDaka+ullAla) s. KD. 2.33 and Historica saMkIrNA gAthA N. 29 saMgataka AS. 7 vi. ca. (22, 22, 22, 25) sArdhacchandas N. 80-81; s. SaTpada sumaha AS. 20 sa. ca. (13; s. note) sopAnaka AS. 8 sa. ca. (5 bhagaNas, s) somakAnta nArAca CK. 14; s. nArAca somakAnta somakAnta CK. 4 sa.ca. (mamagaga)s. vidyunmAlA KD. 4. I3 soraTTha CK. 25 a. ca. (II-13) ____s. avadohaka KD. 2.15 skandhaka N. 69-73 sa. dvi. (32) s. KD. 2.9 hakkA CK. 45 sa. ca. (30, yati I8)

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APPENDIX I zrInanditAvyakRtaM gAthAlakSaNam / ombay ms. conhmedabad meieciety's library ms, two N.B.-I had edited this work of Nanditadhya 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 avacuri besides the text, while the Bombay ms. contains only the avacuri, with only the Pratikas 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 avacuri 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 Bada Upasraya, Bikaner. The ms. containing only the avacuri (E) is also from the same Bada Upasraya, Bikaner. The Bikaner mss. were procured for me by my friend Upadhyaya Vinayasagar of Kota, to whom I am deeply obliged. I am giving brief extracts from the avacuri 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. namiUNa calaNajuyalaM nemijiNidasya bhAvao pyo| gAhAlakkhaNameyaM vucchAmi gurUvaeseNaM // 1 // guruyalahuyakkharANaM cheyatthaM mAiyaM ca vocchAmi / puvAyariyakayANaM pAiyakavvovaogINaM // 2 // AIUeo ee guruakkharA muNeyavvA / aiutti ya lahuyAiM saMjoyaparo ya jo vanno // 3 // eokAraparAiM aMkAraparaM ca pAie nasthi / vasayAramajjhimANi ya kacavaggatavagganihaNAiM // 4 // dIhaM sANussAraM saMjoyaparaM ca aMtimilaM ca / eyAiM jANa guruakkharAI sesAI lahuyAI // 5 // savvAe gAhAe sattAvannA havaMti mttaao| aggaLUmi ya tIsA sattAvIsA ya pacchaddhe // 6 // savvAe gAhAe solasa aMsA avassa kAyavvA / terasa cauromattA do ya dumattegamatto ya // 7 // payao prytH||1|| kena pUrvAcAryakrameNa // (pUrvAcAryakRtAnAM E) // 2 // saMyogena paraH prakRSTaH kSamayA paraH kSamApara itivat / sopi laghujJeyaH / (saMyogaparo varNaH sopi gururjJAtavyaH E / ) // 3 // 1.1 jualaM; 2.1 gurulahuaa. AB; garualahua. FG; 2 cheitthaM AB; vucchAmi FG; 3 kameNaM for kayANaM C; 3.3 lahuAI F; 4.1 eokAra AB; 2 pAiyaM natthi F; 3 vasayAru AB; majjhayANi G; 5.2 saMjoaparaM F; aMtimelaM AB; aMtimalaM FG; 4 lahuAI F; 7.3 teraha G; 4 duya D.

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savRttikaH kavidarpaNaH satta sarA kamalaMtA nahaghaNachaTThA vimehayA visame / taha bIyaddhe gAhAchaTuMso egamatto ya // 8 // . jA paDhamataiyapaMcamasattamaaMsesu hoi gurumajjhA / gumviNiyA viNu paiNA gAhA dosaM payAsei // 9 // jIse na egavIsA na ya cauvIsA na egavannA sA / mattA bhavei lahuI sA jANa viNassae gAhA // 10 // jaha vANI taha pANI viyarai chaMdami guruyalahaehiM / jattha vilaMbai vANI pANI vi vilaMbae tattha // 11 // paDhamaitaiyayapaMcamasattamaaMsA cauvihA hu~ti / doguru-nihaNAigurU-savvalahU ceva aviruddhA // 12 // ee ceva viyappA bIyacautthesu majjhagurusahiyA / chaTThottha navari aMso gurumajjho savvalahuo vA // 13 // gAhAsuM ca samAiM khaMdhayakavvesu taha ya visamAI / natthi lahuakkharAI chaMdami ThavijamANAiM // 14 // gAhA-udAharaNaM jahA vIravara sabhamarANAM kamaladalANaM ca tumha nayaNANaM / muNivai muNiyavisesA acchIsu tuhaM ramai lacchI // 15 // paDhamo bArahamatto bIo aTThArasAsu mattAsu / jaha paDhamo taha taio dasapaMcavibhUsiyA gAhA // 16 // gAhatti tAva siddha hoi virAmeNa sA puNo duvihA / pacchA viulA aMsayavaseNa cavalAvi sA tivihA // 17 // jIse bArasamatto paDhamo taio ya do samA paayaa| sA pacchA viulA uNa UNAhiyapAyasaMjuttA // 18 // gurumajjhA majhagayA guruyANaM duNha duNha jatthaM sA / bIya cauttha ya juttA dosuvi addhesu sA cavalA // 19 // (zarAzcaturmAtrarUpA aMzAH A / sapta svarA gaNA bhavantIti kriyaadhyaahaarH| svarazabdenAtra gaNA jJAtavyAH E / ) kamalAntA gurupryntaaH| nahaM srvlghuH| ghano meghazabdena jagaNo vA madhyaguruH SaSTame sthAne bhavati / vimehayA megharahitA jagaNarahitA ityarthaH // 8 // yathA vAk tathA pANirhastacAlanamapi gurulaghubhiH kRtvA chandasi vicarati pravartata ityrthH| (yathA yena prakAreNa vANI uccArarUpA bhASA gurulaghubhirakSaraiH kRtvA chandasi vicarati cltiityrthH| tathA tena prakAreNa pANirapi hastopi gurulaghubhirakSaravilambate vilambaM karoti E | pANizabdoMzavAcyeva na hastavAcI A) // 11 // 9.3 eyaNA for paiNA F; 10.3 na hoi for bhavei DF; 11.2 gurua F; garuya G; 3 vilaMbae for vilaMbai AB; 12.1 paDhamaiyataiya A; 13.3 chaTThotti D; 14.4 ThavijamANami FG; 16.1 bArasamatto F; 2 aTThArasehi nAyavvo G; 4 pannarasavibhUsiyA A; dasa dropped in F; 17.4 vihI tivihA D; 18.2 taIo ya D; 4 uNAhiya0 AD; 19.2 garuyANaM G.

Page #158
App. I-gAthAlakSaNam jIse do purimaddhe muhacavalA nAma sA bhave gAhA / jahaNacavalA ya nihaNe vucchAmi nidarisaNAI se // 20 // pacchodAharaNaM jahA niuNaM jiNavayaNasuI je vi ya jANaMti je vi ya kati / sA tesiM purisANaM niyayaM pacchA havai pacchA // 21 // viulodAharaNaM jahA jaramaraNarogakalikalusavivihasaMsArasAgarAhi naraM / tArija navari jiNasatthavAhavayaNaM tarI viulA // 22 // savvacavalodAharaNaM jahA tesiM na dulahAI suhAI je vIrasAsaNa pavannA / daMtA taveNa juttA sue ya vittavvae cavalA // 23 // muhacavalA jahA bhaI damIsarANaM jiiMdiyA je jiNiMdavayaNannU / vayaNAI kuhammINaM haNaMti nayaheumuhacavalA // 24 // jahaNacavalA jahA jiNavayaNamuvagayANaM na harai hiyayAI mahaliyA kA vi / niccapi jA surUvA havija sA jahaNacavalA vi // 25 // gII jahA hA hiyaya kiM visUrasi rUvaM daTThaNa parakalattANa / pAveNa navari lippasi pAvaM pAvihisi taM na pAvihisi // 26 // uggII jahA thaNadohaliyA bAlA bharaiva lAvannasalilohaM / ramaNAlavAlaniggayaromAvalivallariM va siMcei // 27 // uvagII jahA jAo harai kalattaM vaDDheto bhoyaNaM harai / atyaM harai samattho puttasamo verio natthi // 28 // - sA pathyA pathyarUpA bhavati / hitakAraNatvAt / (teSAM puruSANAM niyataM pazcAt pathyA bhavati pathyabhojanaprAyA bhavet E / pUrvapathyAparapathyAbhedaH svayaMbhUchandaso jJeyaH A) // 21 // anyacca ye nijahetau jinavacane mukhacapalA vAcATA ityrthH| jinavacanasthApane jetumshkyaaH| (tatra nayA naigamAdayaH sapta hetUni ca udAharaNAni tairmukhe capalA vaktAro ye E) // 24 // hA iti khede / kiM viSIdasi // 26 // kAcidvAlA lAvaNyasalilaughaM samUhaM bibharti / stanadoghaTIsahitA / kamiva / saraH sarovara iva / (stanAveva dohanike yasyAH sA stanadohanikA bAlA lAvaNyasalilaughaM bharatIva E) // 27 // 20.4 nidarasaNAI ABG; 21.1 vayaNasuI F; 2 karaMti F; 22.2 sAgarAu G; 24.2 jiyaMdiyA DFG; jiNaMdavayaNenaM B; degvayaNeNaM D; 4 niyaheu0C; 25.3 sarUvA FG; 4 havijja jA ABG; 26.1 vijhUrasi D; 4 pAvihasi-pAvihasi F; jaM kajaM taM na pAvihisi A; 27.1 dohaNiyA G; 2 sara iva C; lAvaNNa F; 28.2 vaDhiyaM for bhoyaNaM DFG.

Page #159
savRttikA kavidarpaNaH saMkiNNodAharaNaM jahA appijjau jaNayasuyA aNuNijjau rAhavo payatteNa / AyaDDhiyacAvakarA jAva na pArviti dujjayA rAmasarA // 29 // gAhA jahA puSvaM kahAsu suvvaha lakkhaM kira dei vikkamAicco / paNayakuviyAi suMdari savAyalakkhaM tae dinnaM // 30 // jaha vesANa na neho jaha saccaM natthi kAmuyajaNassa / taha naMdiyaDDhabhaNie jiha kiha tiha pAie natthi // 31 // vippI khattiNi vaisI suddI sahiyA ya huMti cattAri / chaMdaM nidarisaNaM ciya vucchAmi aoparaM tAsiM // 32 // samvaguruehiM vippI AimaguruehiM khattigI hoi / aMtimagurUhiM vaisI suddI savvesu lahuesu // 33 / / vippI jahA paMcAvannA vannA gAhANaM neya huMti uDDeNaM / tIsAe hiTeNaM sakko sakkovi no kAUM // 34 // khattiNI jahA kuMbhArI lohArI vANIe ceva hoi baMdhArI / jaha kiri kalavavahariyaya na hu hasiraya avarakalarahiya // 35 // mandodarI rAvaNaM prati kathayati-he rAvaNa janakasutA arghyatAm / yAvat durjayA rAmazarAH AkarSitacApakarAnna prApnuvanti / (hanUmAn rAvaNaM pratyAha-bho rAvaNa AkarSitacApakarAH AkarSitaM cApaM kurvantIti yAvadrAmazarAH na prApnuvanti nAyAnti E / etallakSaNaM svayaMbhUcchandaso jJeyam A ) // 29 // (tvayA sAlaktakaH alaktakena sahitaH pAdo dattaH E) // 30 // tathA nanditADhyazAstrakathitAbhiprAye yahi karhi tarhi prAkRte zabdatrayaM nAsti / (nanu gAthAchandaHzAstramidaM gAthA ca zuddhaprAkRta eva bhavati / tatazca jihakihatihetyAdayopabhraMzAH syurna vA ityAzaGkAM pariharannAha--jaheti A) // 31 / kumbhArI kumbhArikA lohakArikA tatsamAnavANyA bhASayA jalpan san pumAn pApasaMbandhakArI bhavati / yathA kila vyavahriyate sati arthe tathaiva aparakalArahitA lokairupahasyate / (zabdamAtreNaivAsAM vijAtitvaM natvaparakalAgrahaNe / etA api sujAtaya eva zobhante / tasmAduttamajAtiriti smayo na nyAyyaH / kalAkauzalameva pramANam / kalAvyavahArika hasanazIla ityAmantraNadvayaM kasyApyAtmabahamAnina: A | yathA kila kalAvyavahatiryAsAmiti gamyate / aparakalAgrahaNe na hasyate / api tu hasyata eva E) // 35 // 29 saMkIrNodAharaNaM yathA FG: saMkIrNako0 D: 29.1 jaNayasuA F:3 AyaTThiya D; cAvasarA BDH; 4 pAvaMti D; 30 gAthodAharaNaM jahA AB; 30.1 succai D; 2 kiri for kira F; 3 paNayakuviyANa D; 31.2 kAmuajaNassa F; 4 pAiyaM DF; 32.1 vayasI for vaisI DF; 3 viya ABC; 33.2 garuehiM F; khittiNI D: 3. vayasI DE; 34.3 hiTThANaM F; 35.3 kila AB; vavahAriya DF; 4 hasariya D; hasiyai CEG; avarakalagahaNe ABEG.

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App.1-gAthAlakSaNam vaisI jahA varakarivara-varahayavara-vararahavara-vilayanivahasuhasuhayaM / bhottuM rAyA rajjaM pacchA dikkhaM gahissAmo // 36 // suddI jahA vimalajasakiraNadhavaliyamahiyala suranivahanamiyakamajuyalaM / tihuyaNasirivarakulahara maNaharaguNanilaya jiNa jayahi // 37 / / mahajahaNasayalacavalA pacchA viulA ya vippikhttinniyaa| vaisI suddI mIsA dasa gAhA huMti chadaMmi // 38 // mIsodAharaNaM jahA ThANaccuyANa suMdari maMDalarahiyANa vihavacattANa / thaNayANa supurisANa ya ko hatthaM dei paDiyANa // 39 // ahavA chavvIsaM bheyA gAhANaM jahA kamalA laliyA lIlA juNhA raMbhA ya mAgahI lcchii| vijjU mAlA haMsI sasilehA jaNhavI suddA // 40 // kAlI kumarI mehA siddhI riddhI ya kumaiNI dhrnnii| jakkhiNi vINA baMbhI gaMdhanvI maMjarI gorI // 41 // kamalA tihi lahuehiM laliyA paMcehiM evmaaiio| bihi bihi vaDDhatehiM kameNa sesAoM jAyaMti // 42 // ikvikkakkharavuDDhI chaMdA chabvIsayaM muNeyavvA / gAhANaM tIsAe paNavannA viiDDhayA jAva // 43 // tIsA jA paNavannA vaDhaMtegakkharehiM jA gAhA / jhijjai guruyaM ikkaM do do vaDDhaMti lahuyAiM // 44 // tIsAe jaM ahiyaM duguNaM kAUNa tinni dijjAsu / jittiyametto piMDo tittiyamittAiM lahuyAiM // 45 // mattApamANamajjhA haritta savvakkharAiMgAhANaM / avasesaM jaM ciTThai tittiyamittAI guruyAI // 46 // kaH pumAn hastaM AdhAraM dadAti / api tu na kopItyarthaH // 39 // idAnIM tribhirgAthAbhiH zAlmaliprastAraM kthyti-km0|| 42-44 // 36.2 naravilayanivahasuhayaM D; naravilayanivahasuhasuhayaM F; 37.1 vimalajalakiraNa D; 2 kamajualaM F; 3 tihuaNa F; 38.1 jaghaNa DF; 3 vayasI D; 39 missodAharaNaM AB; 39.1 ThANacuyANaM D; ThANaccuANa F; 2 bahava for vihava D; 40.2 joNhA DF; 4 muddA for suddA D; 41.1 kumAri DFG; 2 kumuiNI E; dhariNI D; 3 raMbhI for baMbhI D; 4 gaurI for gorI F; 42.4 sesAu F; 43.1 ikkakkakkhara AB; ikkekkakkhara E; ekkikakkhara F; 44.3 jhimbhai D; garuyaM F; 4 lahuAI ABF; 45.2 tiNNi AB; 3 jittiyamitto DG; jittiyamittaM F; 4 lahuAI F; 46.4 garuyAI G.

Page #161
savRttikaH kavidarpaNaH mattA bhannai kariso karisacaukkaM palaM viyANAhi / caudasapalAI gAhA tolijjatI sakarisAiM // 47 // ubhaoaMtagurUhiM rahiyA chaTTsaeNa bIyaddhe / sesA terasa aMsA visamasamA tesu ahigArA // 48 // paDhamAI caubheyA bIo turio ya hu~ti pNcvihaa| chaTuMso duvigappo gaNaNavihI ittha kAyavvo // 49 // jo jassa hoi uvariM so gumno hiTimo guNAyAro / hiTimauvarimagaNaNA neyavvA jAva terasamo // 50 // pathAravittharANaM gAhANaM huMti aTTa koddiio| egUNavIsa lakkhA vIsa sahassA ya savvaggaM // 51 // lahuakkharehiM rUvUNaehiM addhIkayaMmi jaM sesaM / rUvUNaM tIsajuaM akkhararAsI muNeyavvA // 52 // ega hAUNa lahuM tatto addhaM harittu seseNa / addhena samaM bhaNiyaM nakkhattaM savvagAhANa // 53 // chaMdavasA dIhaparA katthavi lahuyA havaMti payate / eo ihibiMdU viya rahavaMjaNajuttipucvo ya / / 54 // mAtrA ekA karSapramANA bhavati // 47 // idAnI tisRbhirgAthAbhiH prastArapramANaM vakti-ubha0 / (ubhaoaMtimakamalayarahiyA chaTheMsa bIyaaddhami / ubhayasminnardhadvayepyantimakamalAbhyAM SaSThAMzena ca / praakRttvaadlopH| dvitIyapAThastu nyAyyaH / A) // 48 / ekaM laghu hitvA tato zeSeNArdhena sarvAsAM gAthAnAM nakSatraM bhaNitaM azvinyAdi / ayaM bhaavaarthH| triMzadakSarAyAM gAthAyAM niyamena trayo laghavaH teSAmeko'pasAryate / zeSau dvau tayorapyardhamekastena labdhamAdyamazvinInakSatram / evaM sarvAsu gAthAsu / / 53 // (gRhaM prathamadvitIyatRtIyAdisaMkhyAsthAnaM nAma ca kamalA laliyA ityAdi A / tAvatimaM gRhaM tathA nAma labhyate / kiM vikalpena / gRhANAM nAmAni vAstuzAstrato jJAtavyAni E) // 53a // 47.2 karasacaukkaM phalaM F; 48.1-2 ubhaoaMtimakamalayarahiyA chaTuMsa bIyaaddhami Com. in A; 4 visamasamo D; ahigAro F; 49.2 a iMti F; 4 gaNaNavihi D; 50.2 guNNo hiTThamo ya guNayAro DG; hiTThimo ya guNakAro F; 4 terasame AB; v. 50 is dropped in E; 51.2 Dadds neya before huMti; 4 vIsasahassAI savvaggaM AB; between 5 I and 52, A gives the following stanza : patthAramANameyaM gAhoggIINa khaMdhaeTTaguNaM / duguNaM gIIe uvagIIe addhayaM hoI // 51 a. // 53.1 evaM hAUNa ABD; 3 addheNa F; between 53 and 54, ACE contain the following stanza; F gives only its Pratika. lahuakkharohiM rUvUNaehiM addhIkayaMmi jaM sesaM / labbhai gAhANa gharaM taha nAmaM kiM viyappeNa // 53a. // 54.2 lahuA F; puvvA ya G.

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eyAro jahA oyAro jahA - sAyAraM piva paramesareNa nANaM jugAideveNa / bhIeN paDiyaM nikareNa baMbhI livI jayai // 55 // App. I-gAthAlakSaNam bAlAoM huMti koUhaleNa emeva cavalacittAbho / daralhasiathaNIo puNa dharaMti mayaraddhayarahassaM // 56 // iyAro biMdujuo jahA - jAi~ saMti guNehiM dosAsaMgaM ca jAi~ na sahati / tAI tAmarasAi~va jayaMti suyaNANa cariyAI // 57 // hiyAro biMdujuo jahA - uttima tilayAhi asogasaralapunnAgavihiyasohAhiM / jaM rehar3a bAhiM vADiyA hi aMto kulavahUhiM // 58 // ravvaMjaNasaMjoe jahA -- tahA havvaMjaNasaMjoe jahA - saha vaDDhiyAvi gehaMmi paikhaNaM lAliyAvi duddheNa / sapavva druhaMti khaNeNa dujjaNA ahaha akayannU // 59 // merusiharaMmi nhANaM battIsiMdehi kaNayakala sehiM / kijjataM vIrajiNassa tumha duriyAi~ pamhusau // 60 // gAho gAhavigAho uggAho gAhiNI ya khaMdho ya / chavihagAhAbheo niddiTTho naMdiyaDDeNa // 61 // gAho cavannAe sattAvannA ya bhannae gAhA / vivarIyA ya vigAhA uggAho saTTimatto ya // 62 // 93 (rohiNIcaritAt | A / / 55 ||) tAmarasAnIva kamalAnIva / yAni kamalAni guNaistantubhiH kRtvA ullAsaM yAnti / doSAzabdena rAtrisaMgamaM na sahante / atra ikAro binduyuktopi laghuH kAryaH / ( puSpadantacaritAt A ) // 57 // azokAH zokarahitAH saralAH kauTilyarahitAH puruSA eva puruSadvipAH nAgA eva bhoginastairvihitA zobhA yasyAH sA tathA tAbhiH sabhartRkAbhiH / atra chandovazAt binduyuktopi hakAro laghurvihitaH / vipulA jAtiH / (puSpadantacaritAt A ) // 58 // ( puSpadantacaritAt A ) // 59 // yuSmAkaM duritAni prasphoTayatu dUrIkarotu / atra hnA akSarayogepi pAzcAtyo laghurvihitaH / ( na tu tumha pamhusau atrApi laghurdraSTavyaH / yata uktaM katthavi lahuyA havaMti, kutrApi na sarvatra E ) // 60 // punargAthAnAM prakArAntaramAha - gAho // 61 // adhunA SaNNAM bhedAnAha gAthAyugalena // 62 // 63 // 55.2 juAideveNa DF ; 56 oAro DF; 56.3 daraulhasiyathaNIo puNa A; suNa for puNa F; 59.1 sahi for saha AB; 4 duyaNA for dujjaNA D; vv. 59 and 60 interchange places in D; 60.4 tumhaM for tumha D; paphuDau C; pamhusai DF; 6102 grAhiNI D; 4 naMdiyaDDheNaM D.

Page #163
savRttikA kavidarpaNaH gAhiNi bAsaThThIe causaTThIe ya khaMdhao bhnnio| ee chavva vigappA gAhAchaMde viNihiTThA / / 63 // gAho jahA vahati gamaNadiyahA jaM bhaNiyaM taM khamijjAsu / amhaM ciya natthi guNA dosA viya saMbharijjAsu // 64 // gAhodAharaNaM jahA jiNadhammo mokkhaphalo sAsayasokkho jiNehiM pannatto / narasurasuhAiM aNusaMgayAiM iha kisi palAlaM va // 65 // uggAho jahA thosAmi savvajagajIvabaMdhavaM aTTakammanimmahaNaM / suraasuranAgamahiyaM saMtijiNaM sayalaloyasaMtikaraM // 66 // annaM ca jai vAsasayaM govAliyA kusumANi ya baMdhai maaliyaa| tA kiM sahAvadhiyagaMdhiyA kusamehiM hoi sugaMdhiyA // 67 // gAhiNI jahA nivaDiyadhArAnivaho jassa niruddho phaNiMdamauDehiM / taM suramuiMdamuhaliyanAiNigijjatamaMgalaM pAsajiNaM // 68 // khaMdhao jahA namaha bhuyaiMdabhAsuraviyaDaphaDADoyakhaliyavisaharasalilaM / pahayamuiMdAmuhaliyanAgiNigijaMtamaMgalaM pAsajiNaM // 69 // gamanadivasA vartante // 64 // aNusaMgayAiM prasaMgAgatAni / yathA iha bhUtale kRSipalAlavat / yathA kRSirannaniSpattiphalAya kriyate tatrApi palAlAdikaM vastu cArirUpaM prasaMganaiva bhavati tathA / (iha jinadharme kRSau palAlamiva E) // 65 // (vigAthA yathA thaNadohaliyA bAlodAharaNaM jJeyam E) / vigAthA yathA--paNa0 jiNANa calaNe punaH punaH praNamata / kiM0 calaNe / pragatasurezvarazIrSe mukuTakoTimizrIkRte / kiM0 jinAnAM saMsArasamudrapotaprAptAnAm / / But none of the other five mss. seems to contain an example of Vigatha; E merely refers to v. 27 above. tasyA mano ghRtagandhena yujyate na tu kusumeSu / (tatkiM api tu na kimpiityrthH| svabhAvadhatagandhikA sA kusumaiH sugandhikA na bhavati / athavA tatkiM kusumaiH kRtvA sugandhikA na bhavati api tu bhavatIti kAkUktyA vyAkhyeyam / yataH kusumAni durgandhamapi vAsayanti *E) // 67 // (dhArA paDati nivahA ityatra niSThAtaM pUrva nipatatIti prAptaprAkRtatvAdvilomaH padanyAsaH / nyAyyastu pATho nivaDiyadhArAnivaho iti / sa cArthAt kamaThameghavRSTiriti A | nipataddhArAnivaho yasya E) // 68 // 63.3 chacca for chanva D; 64.2 bhaNiaM F; 65.1 mukkhaphalo AFG; 2 sukkho for sokkho ABFG; 3 saMgiyAi F; 4 aha for iha BCD; 66.4 savvaloya DG; 68.1 nivaDira DEFG; dhArA paDaMti nivahA V.L. in Com. of A; 3 muyaMda DFG; 4 nAgiNi AB; 69.1 Namaha C; bhuyaMdAbhAsura F; 2 phaDADoba G; 3 muyaMdA0 DFG, 4 nAiNi DF.

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App. I-gAthAlakSaNam khaMdhe akkharapamANaM jahA lahuakkharaM durahiyaM addhaM ca kalAyavajjiaM sesaM / cottIsakkharajuttaM jAyai khaMdhakkharapamANaM // 70 // dhuya lahuakkhara cauro khaMdhe savvattha huMti kAyavvA / iharAsamaMjasattaM chaMdaviroho phlmnni,||71|| udAharaNaM biMboTThIe tIe thorA gorA samunnayA vkkho| tArunne saMpugne kiM kiM dukkhaM na dei kAmINa daDhaM // 72 // ahavA helAe saMnaddho jImUo sabao masIsAriccho / gajjato gaMbhIraM matto hasthivva esa so paJcakkho // 73 // paddhaDiyAlakkhaNaM jahA solasa matta jahiM pau dIsai / akkhara gannu na kiMpi gavIsai / pAyau pAyau jamagavisuddhau paddhaDiyA ihu chaMdu pasiddhau // 74 // tuya punnimacaMdasamANavayaNi goraMgi caMgi sAraMganayaNi / thaNamaMDalauppari piyaha hatthu naM kalasi dinnu paMkau pasatthu // 75 // caMdANaNachaMdo gaMyaMtare mayaNAvayAra duiyanAmaM / lakkhaNaM jahA nisuNi caMdamuhi caMdANaNo rUvao sadhaNu karavAlu viraei tahu bIyao / taiyaThANe suvijjujjalo muggaro laliyagayagamaNi nihaNaMgao tomaro // 76 // (pAdaH pAdo yamakavizuddho bhavati / eSa paddhaTikAchandaH prasiddhaH E) // 74 // uktaM ca-mayaNAvayArachaMdo paMcakalagaNehi carahiM nAyabvotti A) // 76 // 70.1 lahuyakkharaM DF; 2 kalAi G; 3 cuttIsa akkharajuttaM D, 71.1 dhuva for dhuya EG; lahuyakkhara DF; 72.1 biMbuTThIe F; 2 yerA for thorA CD; thero goro F; 3 tAruNNe AB; 4 na dropped in D; kAmiNINa F; deMti G; 73 ahavA dropped in DF; 73.1 lehAe A; 3 gaMbhIro F; 4 hatthIvva D; 74.1 solasamattau jahiM FG; 2 akkharamattu AB; 3 pAiu pAiu jamagi DF; 4 paddhaDiyahaM ihu chaMdu pasuddhau FG; paddhaDiya tahiM AB; paddhaDiyAhi ihu D; B reads v. 73 after 74, DF read v. 15 after 74. 75.3 vihiya for piyaha D; noted as v. L. in EF; 76.2 bIao AB; viraehi taM bIyao G; 4 gaya dropped in F.

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savRttikaH kavidarpaNaH gayarahaturaMgapAikkajohanAmehiM jANa caumattA / bahuvivihapaharaNANaM paMcagamattaM pihulasoNi // 77 // duvaIlakkhaNaM jahA paDhamagaNe kalachakkaM caukkalA paMca huMti kmlNtaa| gurumajjhasavvalahuA duvaIe bIyachaTuMsA // 78 // udAharaNaM jahA ubbhaDabhiuDibhaMgataDaviyaDaviyappakarAlabhAlayaM niharadaMtadaTThauThuTTiyasoNiyapaMkilAlayaM / daThavaDDhayasarosahuMkArapuraHsarakesakaDDhaNaM kuNau nariMda tujjha bahu saMgamasaMgaramiDDhivaDDhaNaM // 79 // vatthuo jahA do veyA sihijuyalaM juyAiM dunniu dugaM ca vatthuyao / divaDDhachaMdalakkhaNaM jahA panarasaterasapanarasaterasajutto divaDhachaMdo // 8 // vatthuodAharaNaM jahA kuMbhikuMbhavibbhamaha kavaNa thaNakalasaha uppama iMdIvaradalasamaha kavaNa nayaNaha sAricchima / pArijAyalayanibhaha bhuaha kahi kavaNaha caMgima sIyaevi ruvassa tujjha vanniNa kasu aggima // ia bhaNai rAu daharahataNau vaNivaNi vilavaMtau karuNu / ahavA na vujhu jaM jIviyau jaMji taM ji vimhiyakaraNu // 81 // (yataH candrAnanachandasi dhanuHkaravAlamudgaratomarANAM nAmAni gRhItAni ata evAtra gAthAyAM saMjJA darzitA E / atraitatpaJcamAtrika [read caturmAtrika] saMjJAM darzayannAha--gayaraheti / tadyathA sarvagururgajaH / AdiguruH rathaH / antgurusturNgH| madhyaguruH pdaatiH| sarvaguruyodhaH A. But this is arbitrary; the stanza is from Virahanka's Vrttajatisamuccaya I. 17 ) // 77 // kamalaMtA guruparyantAH // 78 // (vatthuyacchandasi pade pade caturviMzatirmAtrA bhavantIti tAtparyam / vatthuyadivadviyormIlane SaTpadabandhaH syAt E) // 80 // athavA na cujjaM yajjIvati sItAviyoge tadvismayakaraM ca(cu)jjaM AzcaryakAri kiM na bhavati / api tu bhavatyeva // 81 // 78.1 kaluchakaM F; 3 lahuyA DF; 79.1 for viyappa C has kaDappa; D vilappa; F vippaDa; 2 diThuradaMta FG; 3 diDhavaDhiya FG; 80.1 jualaM DF; 4 divaDDhachaMdo DFG; 81.1 vinbhamamaha D; 2 dalasama kavaNa D; 3 bhuahaM D; 4 kasu vanniNa AB; 5 iu for ia F; 6 vujja A; cujju FG; jau jIviyau G.

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App.!-gAthAlakSaNam dUhAlakkhaNaM jahA caudaha mattA dunni paya paDhamaya taiyaya huMti / bAraha mattA do calaNa dUhAlakkhaNa kaMti // 82 // udAharaNaM ladvau misu bhamaMtaiNa rayaNAyara caMdeNa / jo jhijjhai jhijjhaMtaiNa vaDDhai vaDDhaMteNa / / 83 // uvadUhAlakkhaNaM jahA teraha mattA dunni paya paDhamaya taiyaya huMti / bAraha mattA anna dui uvadUhau ihu kati // 84 / / udAharaNaM naMdau vIrajiNesaraha dharakhuttI nahapaMti / daMsaMtI iva saMgamaha ___ naraya niraMtara gutti // 85 // bhavadUhAlakkhaNaM jahA bAraha mattA visama paya sama paya caudaha matta / ihu avadUhau paMDiyahu ___ ana ma karisahu vatta / / 86 // udAharaNaM jahA ika salUNA sAvali tuya thaNa je saMmuhaya thiya / jehiM na vaMkA vayaNai laggaMtehi nahehiM kiya / / 87 // he kAnte etad dohadalakSaNam // 82 // he kAnte jAnIhi / / 84 // vIrajinendrasya kAyotsargasthitasya dharAyAM pRthvyAM nilInA nakhapaGktirnandatu / utprekSyate / saMgamakAbhidhAnasya abhavyasya narake nirantaraM guptiM narake nizcalanivAsaM drshytiiv| (saMgamasya prabhorupasargakartuLantaradevasya narakanirantaramArga darzayatIva E) // 85 // stanayoH saMmukhaM ye puruSAH sthitAH tairmukhaM na tathA vakrIkRta nakhairlaggairyathA mukhaM tiryak kRtaM tathA / (yau stanau saMmukhau sthitau na tu parAGmukhau jAtau / arthAt suratasaMgrAmavelAyAm / yAbhyAM stanAbhyAM nakhairlagadbhirapi vakrau vadanau (!) na kRtau E) // 87 // 82.1 caudasa E; terasa G; 2 paDhamai ABC; paDhamatajhyaya D; 3 gyAraha G; 4 lakkhaNu D; 83.1 bhamaMtaeNa AB: bhamaMtayaNa EFG; 2 rayaNAyaro D: 3 jhijjhaMtaeNa AB; 84.2 paDhamai taiyai ABC; 85.3 uva saMgamaha DF; 86 avadUhAlakkhaNaM jahA dropped in ABCF; 87.1 sAmali A; 2 tUya A; saMmuha paMthiya A: 3 jeha na A; vaMkaya bayaNavaya F; 4 natehiM B; na tehi ya kiya D; nahehi katha A.

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savRttikaH kavidarpaNaH bhamaru bhAmaru samaru saMcAlu mayaraMdau mkkddu| nalu marAlu mayagalu paoharu e nAmAI dohAhaM mayaru macchu kacchavau gorau // hoi hu chabbIsakkharau dohau bihu lahuehiM / akkhari akkhari be caDhahiM bhamarAiyanAmehi // 88 // AyodAharaNaM be gorA be sAmalA be rattA nippaMka / benIlA hemappabhA sesA mAyAmukta // 89 // ansyodAharaNaM yathA viyasiyajalaruhadalanayaNa himkrkrsristnnu| sarasaisasaharasamavayaNa paNamaha jiNa jaNiyanANu // 10 // siloyalakkhaNaM jahA paMcama lahuyaM savvaM sattamaM ducautthae / chaTuM puNa guruM savvaM siloyaM viti paMDiyA // 91 // udAharaNaM poseu paMcamo cakkI solaso me jiNo jasaM / cakkaM ca dhammacakkaM ca jassAyaccu vva sevabho // 12 // iti nanditADhyakRtaM gAthAlakSaNaM samAptam / paNamA stan / Stanza 88 is a couplet made of a Matra and a Doha. he jina he janitajJAna ahaM tvayi prgtH| (janitadharma dhanuzabdena dharmo jJeyaH / evaMvidhaM jinaM praNamata E) // 90 // yasya cakraratnaM cAnyat dharmacakra Aditya iva sevate / (yasya jinasya Aditya iva sUrya iva sevakaH E) // 92 // (maannddbypurgcchiiydevaannNdmunegiraa| TIkeyaM ratnacandreNa nanditAvyasya nirmitA || A) 88.2 mayaladhuu maGkaDau G; 3 mayagahalu paUharu F; 4 dohaDaha G; 5 goharu F; 90.4 paNaya huM (?) C; jaNiyataNu AG; jaNiyadhaNu E; 91.4 piMDiyA for paMDiyA D; 92.1 pAseu F; 4 jassAiccovva sevae AB: seyao for sevao F.

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APPENDIX II zrIratnazekharasUriviracitaH chndHkoshH| This edition of the Chandahkosa 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 yasruti are regularized except where all the four mss. have consistently the aending or the absence of the yasruti. 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 Pada 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 AjoyaNaTTiyANaM suranaratiriyANa harisasaMjaNaNI / sarasasaravannachaMdA sumahatthA jayau jiNavANI // 1 // bhUcaMdakkamaruggaNA mabhajasA savvAimajjhaMtagA gIyAIsu kamA kuNaMti susiriM kittiM ca royaM bhayaM / saggaMbhogiNikhesarA nayaratA savvAimajhaMtalA AubuddhiviNAsadesagamaNaM kuvaMti niHsaMzayaM // 2 // namAmi paramaM jyotistamaHpAre pratiSThitam / yatra vizvAvakAzasya tamaso nAsti gocaram / / 1 / / chandaHkozAbhidhasyAsya sUrizrIratnazeSaraiH / kRtasya kriyate TIkA bodhanAyAlpamedhasAm // 2 // sarasasvarAH SaDjAdayo, varNA akArAdayaH, chandAMsi anuSTupprabhRtAni / sarasAni svaravarNacchandAMsi yasyAM sA // 1 // iha cchando dvidhaa| mAtrAcchando varNacchandazca / tatra mAtrANAM laghudIrghAdivarNajanitatvena prathama varNacchandonirUpaNAya varNAtmakAn gaNAn vivakSuH prAkRtabhASAnibaddhazArdUlavikrIDitacchandasA prAkRte sATaka iti nAma cchandasA teSAmeva lakSaNasvAmiphalAnyAha--bhUcaMda0 / gIAIsutti / gItaM dhruvamaNThAdimayaM tathA AdizabdAt SaTpadAdiSu prathamasthAnapatitAH santaH ete kramAdanu krameNa etAni phalAni kurvanti / saggaMbhogiNi ityAdi / svargaH surAlayaH ambhaH pAnIyaM tathA abhirvahniH khamAkAzaM ete IzvarAH svAmino yeSAM te // 2 //

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savRttikaH kavidarpaNaH chaMdavasA dIhaparA katthavi lahuyA havaMti payate / emo ihibiMdU vibha rahavaMjaNajuttapugyo ya // 3 // nAyANaM IseNaM utto ___ samvahiM dIhehiM jutto| maM maM gaM gaM pAThijjaMto ho somakaMto // 4 // veyamie bhagaNe hu uvijahu dodhaka chaMdaha nAmu muNijjahu / solasa dIhapamANu vi jANahu matta caUsaThi soji vakhANahu // 5 // turaMgamAusamA lahu dijja kalA sasisaMkha ya te guru dijja / jagannai hoi payAsu visAmu sugulhu payaMpai muttiyadAmu // 6 // sagaNA iha toTaka chaMda dhuyaM guru solasa tIsaduyaM lahuyaM / causaTTi vi matta tha saMThaviyaM aThatAlisakkharabaMdhaviyaM // 7 // pai pai lahu sayala paDahiM jahiM avirl| tahiM nagaNu vi(ti) Thavahu jaya(hiM) bahulu su bhaNahu / / 8 // atra chandaHzabdena prAkRtacchando gAthAdi gRhyate / tatazca chandovazAt tatra laghutvamRte chandobhaGgApatteH / dIrghaparAH AkArAdidIrghatrayaparAzcatvAro varNA guravopi laghavo bhavanti / ke te ityAha-eo ihi biMdU via ekAraH okAraH iMkAraH hiMkArazca, tathA ravyaJjanayukto hAdiH havyaJjanayukto hyAdiH etayorapi parvo vrnnH| tata ete SaDapi varNAH prAkRtacchandasi prAyo gAthAdau laghutvaM brajantIti tAtparyArthaH // 3 // etat somakAntaM nAma chandaH // 4 // vedamitAniti pAde pAde caturo bhagaNAn sthApayata // 5 // turaMgamozvaH / tasya yadAyurjIvitaM tasya samA varSA dvAtriMzadvarSAH tatsaMkhyA laghavo deyAH / tathA zazinaH kalA 16 tAvatsaMkhyA guravaH kAryAH / caturbhirjagaNaiH padavizrAmaH padaviratirbhavati / gulha iti gosalAkhyaH kaviH kathayati / / 6 // laghavazca dvAtriMzat / atra thakAraH pAdapUraNArthaH // 7 // taha tathA trayastrayo nagaNAH pade pade sthaapyaaH| yatra IdRzaM lakSaNaM tad bahulaM nAma cchandaH bhaNahu kathayata / / 8 // 3.4 juttipunvo B; juttapuvvA D; huttapuvvo A. 4.2 yutto BC; 3 pADhijjato D. 5.4 caussaThi A%; causahi CD; vaSANahu B. 6.3 jagaNihi D. 7.1 iya D; 7.2 duI AD.

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App. II-chandakozaH lahU solasA dIha battIsa dine asI matta covIsa dUbAra vanne / ayaM mamaNIbho bhuyaMgappayAo yagaNNehiM saMjutto chaMdarAmao // 9 // matta assIi raggaNNasaMjuttayaM / dIha battIsa joeha nIruttayaM / savvachaMdANa majjhami aisohaNaM 'ajjuNo jaMpae kAmiNImohaNaM // 10 // jANehu saTTAI cAlIsa vanAI caMdU lahU dIha dotIsa punnAI / assII mattAI taggaNNu jANei chaMdaM pi meNAulaM alhu jaMpei // 11 // jasu paipaihiM nibaMdhu matta cauvIsai kijjai akkharaDaMbara sarasu suddha taM chaMdu bhaNijjai / chakkalu Aihi hoi cAricaukalasaMjuttau dukkalu aMti niruttu gulhakavi erisa vuttau // bAvannasauvi mattai rayahu ullAlai sarisau gaNahu chappayanibaMdhu erisu havai kAI gaMtha gaMthiya muNahu // 12 // succiya chappayabaMdhu carama ullAlai vajjiu vatthuyanAmi havei chaMdu cahuMcahuM pai sajjiu / so puNu desIbhAsasarasabahusahasamAula roDakanAmi pasiddha chaMdu kavi paDhahiM rasAula // 13 // evamazItirmAtrAH cauvIsatti caturviMzatiH dUbAratti dviguNitAH aSTacatvAriMzadvarNA bhavanti / / 9 // arjuno nAma kaviH kAminImohanaM nAma cchando jalpati / atra chandasi ikArapara-ukAraparazca akAra ikAreNa ukAreNa ca saha dIrghatvamAyAtItyAmnAyaH / tena 'ai' iti varNo dIrgharUpo gaNyate // 10 // yatra sASTAni aSTAdhikAni catvAriMzadakSarANi / tatrApi caMdutti candrakalAH SoDaza tatpramitA laghuvarNAH / tacchando madanAkulaM nAma alhutti arjunaH kavirjalpati // 11 // iti varNacchandAMsi gaNodAharaNena nirUpya mAtrAchandAMsyAha / tatrAdau SaTpadaM nirUpayati-jasu0 / evaM catuSu pAdeSu mAtrAH 96 tataH SaTpaJcAzanmAtrArUpaM ullAlakaM bhavati / evaM dvipaJcAzadadhikazata 152 mAtrAbhiH kRtaM tathAbhUtaM ullAlakasahitaM yat SaTpadAkhyaM chandastasya bandha IdRzo bhvti| aho granthikAH saMskRtakAvyavettAro yUyaM kiM jAnIta / apabhraMzasya sAMskRtikairanAdRtatvAt tatpratyavajJAvacanamidam // 12 // vastu nAma chandaH roDakaM nAma chandaH rasAulachandaH evaM nAmatrikamasya chandasaH // 13 // 9.2 cauvIsa ACD; 3 bhuyaMgappayAvo D. 10.2 joehu D; 3 sola for savva, e for aD. 11.1 suddhAI for saTThAI AD; 3 jANehu D. 12.1 cauvIsahaM D; 3 caukAlahi saM. D; 4 erasa D; erisi B; 5 raivi for rayahu AD; . 6 chappayabaMdha ABC; eriso B; erisa C. 13.1 succiu; ullAlayavajau D; 2 vatthuvanAmi D; cauMcauM B; 3 desiyabhAsa D; 4 nAma for nAmi CD.

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102 savRttikaH kavidarpaNaH narAyapAya vIsa matta cAri matta aggalA ThavijjayaMti solasAI akkharAI nimmalA / lahU ya bhaTTa dIha aTTha eriso pasiddhao narAyanAma somakaMtu gosaleNa diTThao // 14 // pae para su tIsa matta vIsavannajuttao Thavijjae visuttaro sao vimatta ikkameli ThAmi ThAmi kijjae / susuddha chaMdu sukkhakaMdu loNaMdadAyaro su cAmaro narAyanAma ajjuNeNa bhAsio su tattha paMcacAmaro // 15 // 1 milAhi payAsama mattavisesaNa hoi tahiM ciya cAri bhaNU mata batIsa tIsa tha melavi aTThahi ThAmi Thave sagaNU / gaNu anna na lijjai sovi Thavijjai taM phuDu jANi nibhaMti karI karijama visAi pAiNa pAiNa suTruvi chaMdu vi taMji parI // 16 // masa huvai caurAsI caupaya cArikala tesaThi joNi nibaMdhI jANahu cahuyadala | paMcakalu vajjijjahu gaNu suTuvi gaNahu so vi ahANa chaMdu ji mahiyali buha muNahu // 17 // aDavIsa matta nirutta jahi payabaMdhu suMdaru dIsae sau bArahuttara matta cahupaI melu jattha gavIsae / jo atthalIu jamagaDha gosaleNa payAsio so chaMdu gIya muhuguNiyaNa vimalamaihi ju bhAsi // 18 // se nArAcakasya bahavo bhedAH santi tatrAyaM somakAntanArAcaH // 14 // tatpaJcacAmaraM nAma nArAcakaM chandaH arjunena kavinA bhASitam // 15 // bhaNu iti dvitIyaH punararthaH / zra iti pUraNe / visAiNatti prAkRtatvAt viziSTena pAdena / taMji parItti tayaiva rItyA || 16 || tatrApi pratipAde ekaviMzatitamI mAtrA laghurUpA bhavati / evaM caturSvapi pAdeSu prAnte catvAraH kalAH / atrApi pAde pAde prAnte laghutrayaM bhvtyevetyaamnaayH| iha satribhAgamAtrAyA yonisaMjJA kalpitAsti kavibhiH / vakSyati ca ' chaMdANaM ' (073) / tadAbhANakaM nAma chandaH // 17 // yadarthena lInaM zliSTaM yamakazuddhaM gosalAkhyena kavinA prakAzitaM tacchando gItAnAmakam / paadpuurnne| iti gItAchandaH // 18 // 14.1 dIha for vIsa; 2 soDasAI D. 1503 sahAmaro D; sucAmaro B; mujhAmaro C. 1601 payAsaNa for payAsama D; hohi for hoi AD; tahaMciya D; 2 melivi aTThatha ThAma D; 3 aNNa Na A; aNNu na D; soi for sovi AD; so for taM D; nibhaMtakarI B; 4 visAyaNa pAyaNa pAyaNa B; suddhavi D. 17.1 hohi for huvai D; caupara C; 2 tesaTThi D; nibaddhA B; nibaddhI C; 3 sudghavi for suTThavi D; 4 muhANau AD; bahu for buha AC. 1801 caupaya for jahiM paya D; 2 caupayamela D; 3 jamakasu AD; 4 su for ju D.

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103 App. II-chandakozaH vijayaka chaMdo sukkhk(kkN)do| lahugurusahio ajjuNi kahio // 19 // bi bi paya solasa matta kahijjai paMcadahaM puNu bebi raijjai / bAsaThi mattaha jAsu pamANu so chaMdau phuDu besaru jANu / / 20 // teraha mattA visamapai sama eyAraha matta / aDayAlIsaM matta savi dohA chaMdu nirutta // 21 // Aille dIhA lahU bAvIsaM cttaari| ikkikkaM dIhA harI dohA nAmuccAri // 22 // haMsu varAhu gayaMdu pahu piMgalu taralu tmaalu| sAyaru suMdaru meru naru kuMjaru haru sukumAlu // 23 // damaNau maruvau ahi pavaNu ghaNu vijjU ANaMda (du) AmUlau bAvIsamau kahau ju jANai chaMdu // 24 // so soraTTau jANi jo dohA vivarIya huii| bihuM pahaM jamaku viyANi iku pahilai aru tIsarai // 25 // prastAro yathA I HISS; SSSS; I I II I IS; SI II I S. ||19|| sphuTaM besaranAmaka jAnIhi / sphuTabesaranAmakamityeke // 20 // tacchandro dodhakanAma niruktam // 21 // 19.1 vijayahu for vijayaka D. 20.1 solaha AD; mattaha kijjai D; 2 eya for bebi D; 3 bAsahi D; 4 phuDabesaru D. 21.2 egAraha D; 3 aDacAlIsaM D. 24.4 kahai ju D. 25.2 vivarIu D, vivarI huvai B; 4 eku for iku D; anu for aru A.

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104 savRttikaH kavidarpaNaH dohA chaMda ju paDhama paDhi matta Thavijjahi paMca sukehA / cUliyAu taM buha muNahu gulhu payaMpai sadhvasuehA // 26 // dohA chaMdu ji dudala paDhi daha daha kalasaMjutta su aDasaThi matta savi / uvacUliya taM buha muNahu lahuguru gaNasaMjutta su jaMpai alhakavi // 27 // tihimatta matta jahi paDhamapau bIyau ruddayajutta / puSvaddha jema tima uttaravi so uggAhu nirutta // 28 // matta igAraha miliya puNavi daha saMcaliya payapaya iNi parikaliya guruvi lahu saMkaliya / suNavi savaNamaNiraliya jIha jahiM na hu khaliya sudiDhabaMdha na hu Taliya atthasaMgaha miliya // taha cAlasauvi mattaI rayahu gulha payaMpai niyrliy| rAsAula chaMda ju eha hui kAiM.kaviya DaMkhahi aliya // 29 // payapayaha matta battIsa dita lahuguruvicitta caukalayajutta bahujamagasuddha jANahu nirutta bahumatthajutta kavialhi utta / savattha matta kijjahi ikatta saya ikka ThANi aDavIsa jANi chANavai joNi pAyaDiya khoNi erisi ya vANi daMDakku jANi // 30 // dohA chaMdu ji paDhama paDhi ___ kavvaha addhu nirutta / taM kuMDaliyA buha muNahu ullAlai saMjutta // atra paJcamAtrAsthAne yagaNo vA laghuguruladhudvayarUpaM vA bhavatItyAmnAyaH // 26 // tithimAtrAH paJcadazasaMkhyA mAtrAH / evaM [dvi paJcAzanmAtrAmayaM udgAhakaM chandaH // 28 // evaM 84 mAtrAbhiH padacatuSTayam / tadanu 56 mAtrAmayaM SaTpadavacca ullAlakaM pratItamevaM 140 mAtrAbhiH rAsAkulaM chandaH // 29 // alhauttatti arjunena kavinA uktam / etadardhe skandhakacchando bhavati // 30 // 27.1 dudali B; 3 bahu for buha C. 28.3 jema tittaDau for jematima uttaravi D. 29.1 igyAraha B; 2 paipa CD; puNu D, iNa C for iNi; 3 jahiM jAhiM A; 5 raivi for rayahu D, raliya B; 6 bi for ju D; huta for hui C; jhaMkhAhe for DaMkhahi D. 30.1 paipaihi D, paipa B, for payapayaha; 2 alhautta BD; 4 chANabahu A; chANavaya C; rasiyANa for erisi ya D.

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App. II - chandaH kozaH ullAlai saMjutta jamagasuddhau salahijjai cauvAlasauvi matta sudiDhapaipaMtha raijjai / ullAlai saMjutta lahai so nimmalasohA taM kuMDaliyA chaMdu paDhama jahi paDhiyaha dohA // 31 // so caMdrAyaNa chaMdu phuDu fe dhuri dohA hoi | aikomalu jaNamaNaharaNu buhiyaNa saMsiu hoi // buhiyaha saMsiyau so i salahijjae kAmiNImohaNa purau pAThijjae / mata aDavIsasau jeNa viraijjae sovi caMdAyaNo chaMdu jANijjae // 32 // dohA chaMdaha tinni paya padama suddha paDhe / puNavi cauttha vigAhapau verAlu vitaM viyANe // 33 // tihihiM matta paDhamu pau hoi taha tIyau paMcamaDa bI cautthu ruya niruttau / satasahi vimatta niru sukavi alhi rADhau su uttau // iku rAThau aru dUhaDau bihu mili voha / paNaruttarasau matta thiru viralau bujjhai koi // 34 // 105 yatra prathamaM dohAchandaH paThyate kAvyArdhe niruktaM kathitaM tatkuNDalikaM nAma chndH| ullAlakena SaNNavatimAtrAmayeNa saMyuktaM yamakazuddhaM zlAghyate // 31 // caturthe ca gAthApAdalakSaNaM paJcadazamAtrArUpakaM tat verAlakaM nAma chandaH // 33 // evaM saptaSaSTimAtrAbhiH rADhakaM nAma chandaH / tathA mAtrA 48 dohAchandasaH / evaM 115 mAtrAbhirvastucchandaH / iti puruSanAmacchandAMsi // 34 // 31.5 ullAlayasaM B; sulahijjai B; 6 payapaMtha for padmapaMtha D; 8 paDhiyA for paDhiyai AC. 3204 saMsiya for saMsiu B; 5, 8 jANijjae and salahijjae exchange places in D. 33.2 paDhamaM for paDhamaI B; 3 gAhapaya B. 34.3 rudda tha for ruddaYa D; 5 sa uttara A; 7 vatthU for vatthu vi. B.

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saMvRttikaH kavidarpaNaH pai pai hoi matta aDavIsavi chakkalu Ai kijjae __ majjha tha paDahi paMca cAukkala dukkalu aMti dijje| caurAsI sujoNisaMjuttau lahugurugaNavisuddhao taM duvaI ya chaMdu suhalakkhaNi ajjuNi sukai baddhao // 35 // paya cAri Thavijjahi sasihi matta pAUharu gaNu jai hoi aMta / causaTi kala i savvai gaNehu . paddhaDiya chaMda taM buha mugehu // 36 // pai pai[i] hoi tIsaM dhuvamattai akkharaDaMbarajutta caukala tha satta Thavi ThAmaya ThAmaya dukkalu aMtu nirutta / jai navai joNi SoNi tha supasiddhI paDhata tha aisau chaMdu vIsottarasau jahi matta niruttau so caupaiyA chaMdu // 37 // paDhiUNa paDhama gAhA purao paDhiUNa kavvapayajuyalaM / ullAlayasaMjuttaM kuMDaliNI hoi suniruttaM // taM kuMDaliNi nirutta matta tevanasau kijjai diDhabaMdha tha saMjutta addha pAya tha su Thavijjai / ullAlayasaMjutta eNipari buhiyaNu kijjai taM kuMDaliNI chaMdu paDhama jahi gAha paDhijjai // 30 // so caMdAiNi chaMdo jeNa paDhijjaMti paDhama gaahaao| kAmiNimohaNa purao mattA assIyasaMjutto // matta assIi jo hoi nIruttao paMcakala savva sasikala tha sNjutto| kAmiNImohaNo purau pADhijjae sovi caMdAyaNI chaMda salahijjae // 39 // atha strInAmnA prAkRtacchandasAM nAma / atra prathamaM dvipadIchandaH / pAde pAde SoDaza mAtrA bhavanti prAnte ca jagaNo bhavati / tatpaddhaDIti chando budhA jAnIta / atra prAyaH pAde pAde dvitIyacaturthacatu:kale eva jagaNo bhavati nAnyatretyAmnAyaH // 36 // atra chandasi thakArAH sarvepi pAdapUraNArthAH / ThAma ThAmatti pAde pAde // 37 // prathamaM gAthAM paThet tatogre kAvyapadayugalaM paThet / kAvyasya SaTpadApekSayA pAdacatuSTayasyApi pAdayugalasaMjJA / evaM SaNNavatimAtrAmaya-ullAlakasaMyuktaM tat kuNDalinI nAma cchando bhavati // 38 // sarvepi gaNAH kAminImohanachandasi paJcakalA bhavanti tepi sasikalatti SoDazasaMkhyA bhavantIti / / 39 // 36.1 paga for paya C; 2 pAuharu jagaNu for pAUharu gaNu B; 4 paddhaDI for paddhaDiya B. 37.1 hohiM D; dhruvamatta for dhruvamattai B; 2 aMti for aMtu D; 37.3 khoNi for SoNi D. 38.4 dRDhabaMdha B. 39.1 caMdAiNa CD; 4 matta asIehiM for mattA assIya. D; 5 asIya B assIu D for assIi ju for jo B; AC drop the word; nIruttayaM ABC; 6 saMjuttayaM ABC; 7 kAmiNImohaNaM B.

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App. II-chandakozaH 107 saTThi tha mattaha hoi nirutta caupaya paMcakala tha saMjutta / panaraha mattaha payaha pamANi lahucaupaiyA chaMdu viyANi // 40 // caupai ikku jamakku vi dIsaha bhaDila chaMda taM buha tha salIsai / jamaku hoi jahiM bihupayajuttara maDila chaMdu taM ajjuNi vuttau // 41 // pai pai annu jamakku raijjai solasa matta pamANu vi kijji| savvamatta jagaNu vi ciMtijjai minnamaDilla nAma tasu dijjai // 42 // paya paDhamasamANau tIyau jANau matta aDhAraha uddharahu / biya cautha niruttara teraha mattau ghatta matta bAsaThi karahu // 43 / / savvANaM dIhA sohANI bAsaTThI mattA mehaannii| ANIyA chaMdA rehaNI sA pattAmehA mehaNI // 44 // sasimattapari?u aMsagariTThau muttiu aggali jAsu jaNabaMdhahaM sArI savvapiyArI nimmala lakkhaNa tAsu / jaNu paMDiu bujjhai tAsu na sujjhai hakka viyANau bheo suvi jaMpivi nattahaM ciMtavayaMtahaM bhAsai piMgalu eo // 45 // tathA caturpu pAdeSu prAnte paJcakalaM bhavati // 40 // sarvatra jagaNazcintyate prAkRtatvAt tyajyate pAdAnte iti zeSaH // 42 // yatra sarvepi dIrghA bhavanti navaraM tRtIyacaturthayoH pAdayoH saptamo laghurbhavati sA mehANIti bhavati kIdRzI prAptamedhA medhayA buddhayA prAptA yA sA tayA // 44 / / yatra prathama sasitti SoDaza mAtrAH tatopi aMsa iti guruH tena gariSThaM sahitaM tadane ca mauktikaM dvAdazamAtrakaM kathyate / evaM pAde pAde triMzanmAtrAH / kIdRzI sA jane bandhena racanIyA sArA sarveSAM priyA / tasyeti sAmAnyapaNDitasya na zudhyati // 45 // 40.3 paNaraha D; pamANu D. 41.1 ekku for ikku D; s for vi D; 2 buDya sarIsai D, 3 pai for paya BD; 4 maDilla BD; buhaNa for ajjuNi D. 42.2 solaha D; 3 savvattha ya for savvamatta D. 43.1 tIna for tIyau B. 44.3-4 rehANI-mehANI ABCD; 45.1 paridiu for paridRu D; 3 paMDiya for paMDiu D; ThiyANau for viyANa3 D; teo for bheo ABC, bheu D; 4 ehu for eo D.

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108 savRttikaH kavidarpaNaH pavANi bhaTTa akkharA lahU gurU niraMtarA / pavANi dUNiyANae jo narAyachaMdu jANa // 46 // daha matta pau kijja paMca suvijja / kaM eyAvalI chaMdu // 47 // pumvaddha paDhi dohaDau paJcadau gAhANa | cUDAmaNi jANijjahu majjhe sayalANa chaMdANa // 48 // ThAmi ThAmi caupaya lahujuttau tiyalu paMcayalu vAvi niruttau / sayala matta causaTThi kijjae mAlaI tha chaMdo muNijjae // 49 // ye Thavi paumAvatI ThANaM ThANaM caumattA gaNa aTThA dhruva kanA karayalacalaNe vippo cAre gaNa ukkiTThA ye / jai paDai bhohara harai manohara pIDai taha nAyakkataNUM / narahaM ubvAsa kavi ninnAsai chaMdaha lAvai dosa ghaNUM // 50 // sAmanneNaM bArasa-bhaTThArasa - bAra - panara mattAo / kamaso pAyacaukke gAhAe huMti niyameNaM // 51 // gAhAidale caucaumattaMsA satta aTTamo dukalo / evaM bIyadale vihu navaraM chaTTo i egakalo // 52 // yatra sthAne sthAne caturSvapi pAdeSu laghuyuktaH trikalaH paJcakalo vA gaNo gavati / sarvA api catuHSaSTirmAtrAH kriyante // 49 // yaduktam -- gurujua kannaM guruaMti karayalaM payaharaMmi gurumajjhe / AigurUNa ya calo vippo savveM huesu // ( Cf. vrttajatisamuccaya I. 19) iti krameNa teSAM saMjJAH pUrvAcAryaiH praNItAH / eteSu padmAvatIchandasi catvAro gaNA bhavanti / madhyagurustu na bhavati / yadi payodharagaNaH patati tadA manoharaM vastu harati / tathA nAyakaH chandasi puruSAdivarNaH tasya doSagaNaM lagayati sajjayatItyarthaH // 50 // 47.2 paMcakala B. 49.1 ThAmaThAma D; 2 vA for vAvi AC; 4 ya for tha D. 5001 ya for ye A; aTThAe for aTThA ye D; 2 calaNo AB; calaNaM D; vippA D; guNa for gaNa C; ukiTThAe for kaTThA ye D; 3 cUra tasu nAyakkataNaM D; 4 nau nAsara for ninnAsara D; ghaNaM for ghaNUM D. 5104 niyamApa for niyameNaM D. 52.4 chaTTo ihegako D.

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App. II - chandaH kozaH paDhamadale chahaMso gurumajjhe hoi sabvalahuo vA / visamaMso puNa dosu vi dalesu na hu hoi gurumajjhe // 53 // visamaMsA caubheyA duio turio ya huMti paMcavihA / duvigaviho chaTTo ega viho aTTamo aMso // 54 // chabvIsaM patthArayagAhA cattAri jAigAhAo / paMca ya sahAvagAhA visesagAhAu cattAri // 55 // lacchI kittI kaMtI gaMgA goNI kuraMgiNI khoNI / lIlA laliyA raMbhA baMbhANI mAgahI mehA // 56 // mAlA bAlA haMsI vINA vANI taraMgiNI tArA / siddhI buddhI riddhI gaMdhavvI kiMnarI juNhA // 57 // tIsaM vannA sattAvIsaM dIhA ya tinni ar3IhA / jIe sA bhaillA nAyavvA hoi eyAsu // 58 // laliyayaramiliyabhavirala bahulahuyara niyararaMiyaubhayadalaM / huyavahasaramiyala hugurudugajuyamiha muNaha caramayaraM / / 59 / / lacchI vippI mehA suddI jANeha khattiNI esA / paDupayaDiyavaralahuyaraviraiyapayapavaracaramadalA // 60 // paDhamadalamiliyaniruva malavaNimaguNaniuNala huyapahiyataNU / pacchaddhe dIhehiM jAsA jA sA vaissI sA // 61 // paDhamataijjA pAyA bArasamattAu neva laMgheti / jIse sA gAhA viya sahAvao bhannae patthA // 62 // jIe puNa paDhamataijjaehiM pAehiM laMghiyA mattA / sA viulA nAma kaIhiM daMsiyA chaMdasatyaMmi // 63 // jIe dalesuM dosuM pi docauthayA hu [hoMti] gurumajjhe / dIhaMsaruddhapAsA havijja sA nUNamiha cavalA // 64 // eso vihI ya jIe dalaMmi AillayaMmi hoi phuDaM / muhacavalA nAma bhave sA gAhA ittha chaMdami // 65 // eso vi vihI jIe savvo vi havijja uttaradalaMmi / sA hoi ittha gAhA jayaMmi nUNaM jahAcavalA // 66 // 10 5803 jAe for jIe D. 6102 rahiya for pahiya D. 63.4 bhAsiyA for daMsiyA D: 66.4 jahana for nahA D.

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savRttikaH kavidarpaNaH sA puNa visesarUvA hoi vigAhA phuDaM loe| jA gAhAvi paDhijai kaIhiM vivarIyaubhayadalakaliyA // 67 // jIse paDhamilladale tIsaM mattAu tIsa biiydle| sA sahimattakaliyA gII bhaNiyA jayaMmi bibuhehiM // 68 // sagavIsaM sagavIsaM mattAo daladuge jattha / sA cauvAsumattA uvagII gijjae loe // 69 // bAsaTThI mattAo kahiyA gAhiNIi chaMdami / bAraTArasabArasavIsaM ca kameNa causu pAesu phuDaM // 70 // patthArachaMdasaMkhA egUNA akkharAisaMjuttA / gAhANaM dUhANaM bhakkharasaMkhaM payAsei // 71 / / vanA nirAiduguNA lahuAijuA kahaMti lahusaMkhaM / vanavisuddhA mattA phuDaM payAsaMti gurusaMkhaM // 72 // payaDeha chaMdasaMkhaM akkharasaMkhA aNAi ekajubhA / chaMdANaM joNImo jANaha pAUNamattAe // 73 // iya pAiyachaMdANaM kaivayanAmAiM suppasiddhAiM / bhaNiyAI lakkhalakkhaNajuyAI iha chaMdakosaMmi // 74 / / iti ratnazekharaviracitaH chandakozaH samAptaH // ekayA mAtrayA pAdonA yonirbhvti| catasRbhirmAtrAbhistisro yonaya iti gAthAbhAvArthaH // 73 // zrImannAgapurIyatapAgacchagaganamaNDananabhomaNizrIvajrasenasUriziSyazrIhematilakasUripaTTapratiSThitazrIratnazekharasUribhiH kathitAnIti // 74 | samAptA ceyaM zrIratnazekharasUrisaMtAnIya bhaTTA0 zrIrAjaratnasUripaTTasthitazrIcandrakIrtisUriviracitA chandaHkozanAmagranthasya ttiikaa| 67.1 puNu for puNa D. 70.4 AC add hoi before phuDa which latter is dropped by B 74.1 kazvainAmAiM BD.

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APPENDIX III zrInandiSeNIya-ajitazAntistavasya jinprbhkRtttiikaantrgtchndolkssnnaani| 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 Ajitasantistava. 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 Trimatra, Caturmatra, Pancamatra and Sanmatra Gana. KD = Kavidarpana; S = A long letter; I = A short letter. neyA mattAchande duticaupaMcachakalA gaNA savve / dutipaMcabhaTTaterasabheillA kacaTatapanAmA // (KD. I. a). // muNiTA guru tattha na jo visame chaTe u majjhakA paDhame / dUe u dalaMmi lahU chaTe sesaM samaM gAhA // 2 // duiyA chaTe paDhamAu sattame lAu kuNaha uvridle| nalahuMmi paMcame paDhamayAu iha taladale viraI // 2 // ajiyaM jiyasabvabhayaM saMtiM ca pasaMtasavvagayapAvaM / jayaguru saMtiguNakare do vi jiNavare paNivayAmi // 1 // gaahaa| vavagayamaMgulabhAve tehaM viulatavanimmalasahAve / niruvamamahappabhAve thosAmi sudihasabbhAve // 2 // gAhA / [For vv. 2-2A cf. KD. 2. 4, 50. L. 2a muniTA; 2c bIe.] paMcamaM lahu samvattha sattamaM ducautthae / chaTheM puNa guruM jANa silogaM biMti paMDiyA // 3 // sabvadukkhappasaMtINaM savvapAvappasaMtiNaM / sayA ajiyasaMtINaM namo ajiyasaMtiNaM // 3 // silogo| [Cf. Nanditadhya, Gathalaksana v.91). visamesu dunni TagaNA samesu po To tato dusu vi jattha / lahuo kagaNo lahuo kagaNo taM muNaha mAgahiyaM // 4 // ajiyajiNa suhappavattaNa tava purisuttama nAmakittaNaM / taha ya dhiimaippavattaNaM tava ya jiNuttama saMti kittaNaM // 4 // maaghiyaa| [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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112 . savRttikaH kavidarpaNaH lahudu-guru-TagaNachakkaM sabvesu paesu paDhamataiyaMmi / ducautthe jamiyamiNaM AliMgaNayami chaMdaMmi // 5 // kiriyAvihisaMciyakammakilesavimukkhayaraM ajiyaM niciyaM ca guNehi mahAmuNisiddhigayaM / ajiyassa ya saMtimahAmuNiNo vi ya saMtikaraM sayayaM mama nivvuikAraNayaM ca namasaNayaM // 5 // AliMgaNayaM / [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]. purisA jai dukkhavAraNaM jai ya vimaggaha sukkhakAraNaM / ajiyaM saMtiM ca bhAvao abhayakare saraNaM pavajjahA // 6 // mAgahiyA / [See above on v. 4]. lahutagaNacauga-guruNo pAyatie, lhuytdug-ttgnndurg| lahutagaNo paMtagurU saMgayayaM raiyaaNupAsaM // 7 // arairaitimiravirahiyamuvarayajaramaraNaM suraasuragurulabhuyagavaipayaupaNivaiyaM / ajiyamahamavi ya sunayanayaniuNamabhayakaraM saraNamuvasariya bhuvidivijamahiyaM sayayamuvaName // 7 // saMgayayaM / matrasada 4 contains twana with all shot [Visama Catuspadi : Padas 1 to 3 contain four taganas i.e. Pancamatras each containing all short letters, and a long letter at the end. Pada 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). gurulahuduTagaNapaNagaM gurU ya sovANayaM samapaehiM // 8 // taM ca jiNuttamamuttamanittamasattadharaM ajjavamaddavakhaMtivimuttisamAhinihiM / saMtikaraM paNamAmi damuttamattitthayaraM saMtimuNiM mama saMtisamAhivaraM disu||8|| sovANayaM / [Sama Catuspadi : This is really a Varna Vrtta. Each Pada 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]. ta-ca-pa-ta-TadugaM tadugaM po TacaukkaM ta-ca-tatiga-gurugo / ca du, To, ca cau, Ta, cadurga, ta, ca tinni, Ta egadasa ya, guru veDho // 9 //

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113 App. III--jinaprabhIyam sAvatthipuvvapatthivaM ca varahatthimatthayapasatthavitthiNNasaMthiyathirasirivacchavacchaM mayagalalIlAyamANavaragaMdhahatthipatthANapatthiyaM saMthavArihaM; hathihatthabAhuM dhaMtakaNagaruyaganiruvahayapiMjaraM pavaralakkhaNovaciyasomacArurUvaM suisuhamaNAbhirAmaparamaramaNijjavaradeva duMduhi niNAyamahurayarasuhagiraM // 9 // veddho| [Vestaka does not appear to be a regular metre divided into Padas; it rather resembles later Curnika or rhythmical prose. The definition merely records the Matra 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]. TagaNadurga lahuguruNo; TagaNatigaM lahugurU ya; TagaNatigaM / dusaricchaM aMtapayaM rAsAIluddhayaM chaMda // 10 // ajiyaM jiyArigaNaM jiyasavvabhayaM bhavohariuM / paNamAmi ahaM payao pAvaM pasameu me bhayavaM // 10 // raasaaluddho| [Visama Catuspadi : 1st Pada :-4, 4, IS; 2nd :-4, 4, 4, IS; 3rd:4, 4, 4; 4th :-4, 4, 4, IS; i.e., the same as the 2nd]. po tadurga lahuguruNo Tachakka dugurU Tasatta lhugurugaa| pa-Tadu-ta-ca-gurU nava TA dulahuguru Tacau do gurugA Tadu-ca-gurujuyaM TatigaM dulahugurU avaraveDhao chaMdaM // 11 // kurujaNavayahatthiNAuranarIsaro, paDhamo tao mahAcakkavattibhoe mahappabhAvo, jo bAvattaripuravarasahassavaranagaranigamajaNavayavaI, battIsArAyavarasahassANujAyamaggo, caudasavararayaNanavamahAnihicausahisahassasapavarajuvaINa suMdaravaI, culasIhayagayarahasayasahassasAmI, channavaigAmakoDisAmI, AsI jo bhArahammi bhayavaM // 11 // veddho| [See on 4.9 above. In the compound beginning with bAvattari I have adopted jaNavayavaI for jaNavayahivaI of ws and channavai for channavaI 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.] Tadu-lahudu-gurU paDhame, duie; Tadu-lahu-gurU pae tie| turie TadugaM sagurU rAsAInaMdiyaM chandaM // 12 // taM saMtiM saMtikaraM saMtiNNaM svvbhyaa| saMtiM thuNAmi jiNaM saMtiM viheu me // 12 // rAsAnaMdiyayaM / [Visama Catuspadi : 1st :-4, 4, IIS; 2nd :-4, 4, IIS; 3rd :-4, 4, IS%B 4th :-4,4,S.]

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194 savRttikaH kavidarpaNaH ta--ta-Tadu-lahudu-gurugA Aiduge ta-Ta-ta- Tatiga-dulahu-gurU / turie ta-Ta-ta-TajuyalaM cagaNa-gurU cittalehatti // 13 // ikkhAga videha narIsara naravasahA muNivasahA navasArayasa sisakalANaNa vigayatamA viyarayA / ajiuttamateyaguNehi mahAmuNi amiyabalA viulakulA paNamAmi te bhavabhayamUraNa jagasaraNA mama saraNaM // 13 // cittalehA | [Visama Catuspadi : 1st and 2nd :-5, 4, 5, 4, 4, IIS; 3rd :-5, 4, 5, 4 x 3, IIS; 4th : 5, 4, 5, 4 x 2, 3, S.] caaTTha gurula hucanavaga nagaNo cabhaTTha nagaNo nagaNo ya / dasa cagaNA taha nagaNo cagaNo guru donni nArAo // 14 // devadANaviMdacaMdasUravaMda haTThatuTTha jiTTha paramalaharUva dhaMtaruppa - paTTaseya suddhaniddhadhavaladatipaMti saMti, sattikittimuttijuttiguttipavara dittateyavaMda dheya savvaloyabhAviyappabhAvaneya paisa meM samAhi // 14 // nArAo / [This metre, ie, Naraca, too, is like Vestaka; it is not divided into Padas, and resembles a Curnika. 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.] visame kalANa chakaM samesu aDagaM NiraMtaraM na hu taM / aMte ragaNo yagaNo kusumalayAnA machaMdami // 15 // vimalasa sikalAi reyasomaM vitimirasUrakalAireyateyaM / tiyasavaigaNAireyarUvaM dharaNidharappavarAireyasAraM / / 15 / / kusumalayA / [This is another name of Aupacchandasaka; see KD. 5. 2] tagaNo TagaNo lahu guru; pagaNo TagaNo ya dulahu guru duie / evaM ciya paccaddhaM bhuyaMgapariraMgiyaM chaMdaM // 16 // satte ya sayA ajiyaM sArIre ya bale ajiyaM / tavasaMjame ya ajiyaM esa thuNAmi jiNaM ajiyaM || 16 || bhuyaMgapariraMgiyaM / [Ardhasama Vrtta : Odd Padas :-5, 4, IS; Even Padas; 6, 4, IIS]. bharanabhanagaNalahugurU sabvapaesuM tahA jaI dasame / savvaM takkharajamiyaM chaMM khijjiyayanAmaM taM // 17 //

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115 App. II-jinaprabhIyam somaguNehi pAvai na taM navasarayasasI teuguNehi pAvai na taM navasarayaravI / rUvaguNehi pAvai na taM tiyasagaNavaI sAraguNehi pAvai na taM dhrnnidhrvii|| 17 // khijjiyayaM / [Khijjiyaya is another name of the Varna Vrtta called Vamsapatrapatita, for which see KD. 4.84.] TagaNacaukkaM lahuguru pAyatie TagaNatagaNaTagaNadugaM / lahuguru turie jANaha laliyayanAmaMmi chaMdaMmi // 18 // titthavarapavattayaM tamarayarahiyaM dhIrajaNathuyacchiyaM cuyakalikalusaM / saMtisuhapavattayaM tigaraNapayao saMtimahaM mahAmuNiM saraNamuvaName / / 18 // laliyayaM / [Visama Catuspadi, where Padas 1 to 3 are equal and contain 4x4, IS each and the 4th Pada has 4, 5, 4, 4, IS.] TappaNagaM ja lahugurU patteyaM sattavIsa mttaao| kisalayamAlAchaMdaM jANaha chaMdesu niddiSThaM // 19 // viNaoNayasiraraiyaMjalirisigaNasaMthuyaM thimiyaM vibuhAhivadhaNavainaravaithuyamahiyacchiyaM bahuso / airuggayasarayadivAyarasamahiyasappabhaM tavasA gagaNaMgaNaviharaNasamuiyacAraNavaMdiyaM sirasA // 19 // kisalayamAlA / [Sama Catuspadi: A Pada has 4 X 5, ISI, IS = 27 Matras.] lahucaduga TagaNa lahuguru; tadugaM lahuguru; pagaNa Ta lhugurugaa| cadugaM TaNago lahuguru terakalaM savvao sumuhachaMdaM // 20 // asuragarulaparivaMdiyaM kiMnaroruganamaMsiyaM / devakoDisayasaMthuyaM samaNasaMghaparivaMdiyaM // 20 // sumuhaM / [Sama Catuspadi : Each Pada has 13 Matras; but the scheme is different in different Padas as the definition understands : Thus 1st : III, III, 4, IS; 2nd : 5, 5, IS; 3rd : 6, 4, IS; 4th : 3, 3, 4, IS.] dulahugurU dulahugurU patteyaM vijjuvilasiyaM chaMdaM // 21 // abhayaM aNahaM / arayaM aruyaM / / ajiyaM ajiyaM / payao paNabhe // 21 // vijjuvilasiyaM / [A Sama Catuspadi : Each Pada has IIS, IIS. It is virtually a Varna Vrtta.]

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saMvRttikaH kavidarpaNaH tadu Ta tacau To tatigaM lagurU pa Tadonni dugurugA veDho // 22 // AgayA varavimANadivvakaNagarahaturayapahakarasaehi huliyaM sasaMbhamo yaraNakhubhiyaluliyacalakuMDalaMgayatirIDasohaMtamaulimAlA // 22 // veDho / [Another Vestaka; see above on v. 9. This contains : 5, 5, 4, 5 x 4, 4,5x3, IS, 6,4, 4, SS.] paDhame Ta duguru evaM sesesu Ta satta gurujugaM aMte / patteyaM battIsaM mattAo rayaNamAlAe // 23 // jaM surasaMghA sAsurasaMghA veraviuttA bhattisujuttA __AyarabhUsiyasaMbhamapiMDiyasuTThasuvimhiyasavvabaloghA / uttamakaMcaNarayaNaparUviyabhAsurabhUsaNabhAsuriyaMgA gAyasamoNayabhattivasAgayapaMjalipesiyasIsapaNAmA / / 23 // rynnmaalaa| [A Sama Catuspadi; each Pada has 8 Caturmatras, the last consisting of two long letters. The metre is very similar to Dandaka of CK. 30 and Padmavati of CK. 50. In the former, the Caturmatras in the even places are always Madhyaguru, while here they are Sarvaguru in the 1st Pada, and Adiguru in the others, the last Caturmatra always being a Sarvaguru. As a matter of fact, this Adiguru Caturmatra is employed for every odd Caturmatra in all the Padas. The internal Yamaka is noteworthy in both Dandaka and our metre.] pagaNo TadugaM gurugo patteyaM khittayaMmi chaMdami // 24 // vaMdiUNa thaviUNa to jiNaM tiguNameva ya puNo payAhiNaM / paNamiUNa ya jiNaM surAsurA pamuiyA sabhavaNAi to gayA // 24 // khittaya / [A Sama Catuspadi: This and the next one are in the Rathoddhata metre, having SIS, III, SIS, IS or the ganas ra, na, ra, la and ga in each Pada; but in the present case, the initial long letter is substituted by two short ones in Padas 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 Pada. As a Matravstta, this is the same as Vadana of KD. 2. 21. In majority of mss. the 1st Pada reads thouna for thaviuna, 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 Varna Vitta is employed for Prakrit poetry a tendency to use one long for two short in the original is rarely observed.] ranaralagA patteyaM khittaya chaMdaMmi vA jANa // 25 // taM mahAmuNimahaM pi paMjalI rAgadosabhayamohavajiyaM / devadANavanariMdavaMdiyaM saMtimuttamamahAtavaM name // 25 // khittayaM / (A Sama Catuspadi Varna Vstta called Rathoddhata; see above on the last stanza and below on v. 26.]

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App. II-jinaprabhIyam khittayachaMdaM caupayajamiyaM dIvayamaDilanAma // 26 // aMbaraMtaraviyAraNiyAhiM ___ laliyahaMsavahugAmiNiyAhiM / pINasoNithaNasAlaNiyAhiM sakalakamaladalaloyaNiyAhiM // 26 // dIvayaM (akhi [A Sama Catuspadi Varna Vitta called Svagata which has ra, na bha, ga and ga in its Pada. But, as in the case of Rathoddhata 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 gana in Pada IV. As a Matra Vstta, it is the same as Khittaya or Ksiptaka with 16 Matras 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 adila when all the 4 padas have a common Yamaka. See, however, note on KD. 2. 21.] TappaNagaM donni gurU paDhame turie ya; Tachaga guru ego / dutie; caupayajamiyaM jANaha cittakkharaM chaMdaM // 27 // pINaniraMtarathaNabharaviNamiyagAyalayAhiM maNikaMcaNapasiDhilamehalasohiyasoNitaDAhiM / varakhiMkhiNineurasatilayavalayavibhUsaNiyAhiM raikaracauramaNoharasuMdaradaMsaNiyAhiM // 27 // cittakkharA / [An Ardhasama Catuspadi : Padas I & IV have : 4 X 5, SS; Padas II & III have 4 X 6, S; thus 24 and 26 Matras respectively. Ali Padas have a common Yamaka. This is a peculiar type of Ardhasama Catuspadi, where the 1st and the 4th Padas are similar and so are the 2nd and the 3rd. As a matter of fact the 2nd and 3rd Padas are identical with the 1st and the 4th, except for the two short letters which are added at the commencement in the former two.] cagaNegArasa gurugo caudasa cagaNA ya nagaNa solasa cA / TagaNo cagaNA tinniu avaraM nArAyachaMdagaM jANa // 28 // devasuMdarIhi pAyavaMdiyAhi vaMdiyA ya jassa te suvikkamA kamA appaNo niDAlaehi maMDaNoDDaNappagAraehi kehi kehi vI avaMgatilayapaTTalehanAmaehi cillaehi saMgayaMgayAhi bhattisaMniviTThavaMdaNAgayAhiM huMti te vaMdiyA puNo puNo // 28 // naaraao| [This is another Naraca; 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, Caturmatra 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 Gatha metre, I am adopting the reading tagano cagana tinniu against tagana tinniu of ws.] dulahugurU dulahugurU gurU ya savvesu naMdiyaM chaMdaM // 29 //

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savRttikaH kavidarpaNaH tamahaM jiNacaMdaM / ajiyaM jiyamohaM / / dhuyasavvakilesaM / payao paNamAmi // 29 // naMdiyayaM / [This is a Varna Vrtta Sama Catuspadi: Each Pada has two Saganas or Antyaguru Caturmatras, followed by a long letter. Neither the metre nor its name is mentioned by earlier Sanskrit or Prakrit prosodists.] tagaNo pagaNo tagaNo Ta ta Ta ta TagaNo gurU pa Tadu gurugo| bArasa TagaNA sajaI bhAsurayaM jANa aNupAsaM // 30 // thuyavaMdiyassA / risigaNadevagaNehiM // to devavahUhiM / payao namaMsiyassA // jassa jaguttamasAsaNayassA bhattivasAgayapiMDiyayAhiM / devavaraccharasAbahuyAhiM suravararaiguNapaMDiyayAhiM // 30 // bhAsurayaM / [Bhasuraka is really a strophic couplet. The metre of the 1st stanza is an Ardhasama Catuspadi, whose odd Padas contain 9 Matras and even ones contain 12 Matras each. The former are made up of a Caturmatra and a Pancamatra (Adyalaghu), while the latter contain 3 Caturmatras, the last consisting of two long letters. The metre of the second stanza is Rasa of VJS. IV. 85, which is a Sama Catuspadi, with four Caturmatras, the last of which shall always be a Sarvaguru, in each Pada. 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 panamiyassa) S. Then 64, 4, S; 4 x 12.] terasa cagaNA nagaNo nava cA nagaNo ya tIsa cA gurugo| cagaNaTArasa evaM avaraM nArAyachaMdayaM jANa // 31 // vaMsasaddataMtitAlamelae tiukkharAbhirAmasaddamIsae kae ya suisamANaNeyasuddhasajagIyapAyajAlaghaMTiyAhi valayamehalAkalAvaneurAbhirAmasaddamIsae kae ya devanaTTiyAhi hAvabhAvavibbhamappagAraehi nacciUNa aMgahAraehi vaMdiyA ya jassa te suvikkamA kamA tayaM tiloyasavvasattasaMtikArayaM pasaMtasabvapAvadosamesahaM namAmi saMti muttamaM jiNaM // 31 // naaraao| [Another Naraca; see above on vv. 14 and 28. As a matter of fact we have here 72 Trimatras, 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 Trimatras in a slightly different way. After the 54th Trimatra, it mentions a long letter and then 18 Trimatras 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 Trimatras contain three short letters each.]

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App. III jinaprabhIyam cagaNo TagaNacaukkaM gurU tahA laliyayaM avaraM // 32 // chattacAmarapaDAgayajavamaMDiyA jhayavaramagaraturayasirivacchasulaMchaNA / dIvasamuddamaMdaradisAgayasohiyA satthiyavasahasIharahacakavaraMkiyA // 32 // laliyayaM / [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] Tacaukke navabArasalahuhiM sA vANavAsiyA hoI // 33 // sahAvalaTThA samappaiTThA adosaduddA guNehi jihaa| pasAyasiTThA taveNa puTThA sirIhi iTThA risIhi juThA // 33 // vaannvaasiyaa| [Vanavasika is one of the metres of the Matrasamaka group dealt with at KD. 2. 19-20. Its Pada has 16 Matras divided into four Caturmatras, where the 9th and 12th Matras are represented by short letters.] aDakala ragaNo lahuguru savvehi tahavaraMtiyA hoI // 34 // te taveNa dhuyasavvapAvayA svvloyhiymuulpaayvaa| saMthuyA ajiyasaMtipAyavA tu me sivasuhANa dAyayA // 34 // avaraMtiyA / [Aparantika is a Sama Catuspadi, derived from the even Padas of the Vaitaliya; cf. KD. 5. 7. Its Pada has : 8, SIS, IS.] evaM tavabalaviulaM thuyaM mae ajiyasaMtijiNajuyalaM / vavagayakammarayamalaM gayaMgayaM sAsayaM viulaM // 35 // gAhA / taM bahuguNappasAyaM mukkhasuheNa parameNa avisAyaM / nAseu me visAyaM kuNau ya parisA vi ya pasAyaM / / 36 / / gAhA / taM moeu ya naMdi pAveu ya naMdiSeNamabhinaMdiM / parisA vi ya suhanaMdiM mama ya disau saMjame naMdiM // 37 // gAhA / [For Gatha, see above on vv. 1 and 2. Mark, however, the Antya Yamaka, which is found even in v. 2.] kavidarpaNamupajIvya prAyeNa cchandasAmiha stotre / svaparopakArahetorabhidadhire lakSaNAni mayA // 35 // / iti jinaprabhIyaTIkAntargata-chandolakSaNAni /

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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 : sU (zU) ro for zUro ; 1.19 : gAthA baddhaM for gAthAchandasA; 1.20 : lakSyala [kSa]NAbhyAM for lakSyalakSaNAbhyAM. P. 2 : 1. 2 : vantasthAne for vata: sthAne; 1.3 : kalA mAtrA for kalA tanmAtrA; 19: tigA (yA ) for tige; 1.13 : gurulaghu kramazaH for gurulaghavaH kamaso; 1.15: tiyatti for tigatti; 1. 16 : pramANameSAmiti kaH for pramANameSAmiti trikAH ; pa ( ka )sthAne ya uktaH for yasthAne ga uktaH; 1. 19 : gurulaghu prAha for guruladhvatrAha; 1. 26 : nAgarau ( ga ) kArAkRti for S ukArAkRti; 1 28 : gurusaMjJam for guru jJeyam. P. 3 : 1. 2 : vibudhairvihitaM for vihitaM vibudhaiH; 1.6 : dravhanhapamuhakkharANaM puvvillA na guruNo jahA disaM for the line [The 1st Caturmatra is where the letters preceding and are not considered as long. Ed. ]; 1.14 : nikkiva for Nikkiva; 1.18 : ityete'pabhraMza for ityete cApabhraMza; 1. 20 : uttarai for uttaraha; 1. 25 : egaMtiNa for ekaMtiNa; 1.28 : ' dravhanda' for illAha; 1. 30 : tanhA for taNhA. P. 4 : 1. 3 : jahAdiTTheti for jahAdiTThamiti ; 1.4: guru (ra) vo yathA for guravo yathA; 1.7 : cchasi (zi) grahepi for cchazigra hepi; 1.11 : tilaka[indu]rathendu for tilakabindurathendu; 113 : zUcita: for sUcitaH; 1.17 : evaM zeSA api for evaM zabdA api; 1.19 : ya jaI for a jaI; and savvattha for savvatta; 1.21 : puNvAparabhAgA for puvvAparabhAyA; 1. 27 : zrutyoH sukhahetu for zru[ ti] sukhahetu; 1.29 : kalitamastoma for kalimalastoma. P. 5 : 1.3 : sarvatrAnuvartya for sarvatrAnuvRttaM; add zlokArthe after vizeSeNa; 1.5 : notsekaM for notsAha 1.11 : ante ca sA syAt for cAnte sA syAt ; 1. 14 : avyayo for avyayaM; 1. 15 : tadaivAyaM for tadevAyaM; 1. 16 : vAraNaghaTA for vAraNapadA; 1. 20 : drop tya in kevalArthetyavyayam, add iyaM after it and read pAdAnte for padAnte; 1.25 : gAdi for tryAdi; 1.27 : yadi for yati ; 1.30 : pUrvasyAntavat for pUrvavatsyAt. P. 6 : 1.3 : nahArSIt for nakArSIt ; 1.4: tadAvat (tadvat ) for tadvat ; 1.6 : dRzyo for dRSTo; 1.7 : bhavyAbja for bhavyAya; 1. 23 : asyAcArtho for asyAstvartho. P. 7 : 1. 3 : havaMti for huvaMti; 14 : ducau for bicau; 1.9 : itirvivakSArtho for iti viviktArtho; 1.10 : vivakSeyaM for vivakteyaM; add dvipadIcatuSpadI before paJcapadI; 1. 13 : dvI (dvi ) pardI for dvipada; 116 : kA ( ka ) lAhiM for kalAhiM, 1.24 : paJcadazabhiH for paJcadaza; 1.25 : vandinAM for bandInAM; 1. 27 : veho for boho; vao for gao; 1. 28 : vao for balo; 1.29 : vAmo for kAmo; 1.30 : paMcavIsatti for paMcaviMsatti. P. 8 : 1.1 : ullAlayAu for ullAlayaMmi; 1. 2 : vaddhamANehaM (hiM) for vaDamANehiM ; 1.9 : at the

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CORRECTIONS ] savRttikaH kavidarpaNaH 121 end add joikkhutti dIpaH // [ 3-1 || ]; 119 : catuHSaSTidvipadIbhedAH for catuHSaSTibhedAH; 1.26 : kaH kagaNo for kagaNo; 1. 27 : madhyagurusarvalaghU for madhyaguruH sarvalaghuH and sarvatretthaM for sarvetyarthAt. P. 9 : 1. 5 : laghu ca nalaghu tasmin for laghuzca nalaghustasmin; 1.7: add viratiM before kuruta; 1.9 : prAcInasUtragAthA for prAcInagAthA; 111 : lakkhA for lakkho; 1.17 : koDi for koDI; 1.18 : jJeyaM for neyaM; 1.24 : daladugamuhaM for daladugamuhe; 1.29 : sA for [sA]; ubhayato for ubhayor . P. 10 : 1.30 : ekaikaguru for ekaikaM guru; 1.31: agADha[gADhA ] for agADhagADhA; 1.3233 : sarvaguruTa: antyaguruTaH AdiguruTaH; sarvalaghuTaH madhyaguruTaH for sarvaguruH TaH antyaguruH TaH etc. P. 11 : 1. 1 : udAharaNAni for udA0; vicchuya for viMchuya; 1.2: jhaNahaNaMto for jaNa haNato ( ja corrected to jha ); piya for pia; 1.4 : [jhaNajhaNan for janaM ghnan ]; 1. 12: kaDu for kaTu; 1.29 : real for ammo. P. 12 : 1. 1 : abvo for ammo; 1.4 : diTThamAyanniyaM va for dipAyaM niyaMba; 1.6 : [dRSTamAkarNitaM vA for dRSTaprAyaM nitaMtra ]; 1. 11 : anvo for ammo; 1. 15 : lalitA ya bhathA (lalitA yathA ) for lalitA yathA; 1. 21 : tUlI taMbolaM for tUlA tevAlaM (?) P. 13 : 1. 18 : vahU'ti for vaTTa ( N) ti; divasA for vivasA; 1.20 divasA for vivazA; 1. 22 : adi (ddi ) vAi viyaMbhaMgi (ti) for ya ( No ) diTThAI viyaMbhaMti. P. 14 : 1. 8 : nahaMkaM for garhakaM; jUyaM for jujjhaM; 1.10 : [ dyUtamiva for yuddhamiva; 1.17: raNayaraNaya ( raNaraNaya) for raNaraNaya; 1.31: siddhiryathA for siddhI yathA (siddhiryathA ). P. 15 : 1. 10 : garuyaM for gahaNaM; 1. 12 : gurukaM for gahanam ; 1.24 : jimvai for jimaha; 1.26 : [vRNoti for vRNvatI ]. P. 16 : 1.3 : vahuruiya for vahu ruiya; suham for muham; 15: [ vadhUrucita for vadhUH rucita; rabhasasukhaM for hRSTamukhI: ]; 1.12 : lahalahira for XX lahira; 1.13: suhavibhavaM for suhavihavaM; 1.16 : pAdala ( li) for pAdalipta; 1. 22 : anvo for ajjo; 1.26 : vaizyA for vazyA; 1. 27 : mahavirahiya for ayi virahiya; 1.28 : nIsaMdehaM taM re for niHsaMdehaM taM te; 1. 29 : [mativirahita for ayi virahita ]. P. 17 : 1.30 : madhyakAvityarthaH for madhyake ityarthaH / P. 18 : 1. 1 : etAH for evaM; 18 : patto for zallo; 1.20 : skandhamiti for skandhakamiti; . 13 : nimmalA for NimmalA; add gII at the end; 1. 18 : uya for uva; 1.19 : add | uvagII at the end; 1. 26 : add uggII at the end; 1.30 : athiracciya jiya for athirajji jibba; 1.31 : add khaMdhaM at the end. P. 19 : 1. 23 : AdyagAthAyAM for AdyagAthAyA; 1.24 : jAtIphalaM for jAtiphalaM; 1.25 : jAtIphalaM for jAtiphalaM; 1.30 : jAtIphalAdiSu for jAtiphalAdiSu; gAthAyA for gAthA. P. 20 : 1. 12 : labbhai for lakkhai; daiyassa for dayiassa; 1. 14 : labhyate for lakSyate; 1. 18 : kuM (kiM) for kiM; . 21 : jAtIphalaM for jAtiphalaM; 1. 27 : nibbhA (vbha ) raM for nibbharaM. P. 21 : 1. 9 : namaMta for NamaMta; 1.16: cAlukkacaMda for telukkacaMda; 118: muNirAya for munirAya; 1.24 : bhuyaNaMtarAla for bhuvaNaMtarAla; 1. 25 : na hohI for Na hohI; 1.31 : tubhr for tujjha. 1.26 : jAtIphala for jAtiphala; 1.32 : dvitIyaturyayoH for P. 22 : 1. 15 : kalAva for kalApa; dvitIyacaturthayoH .

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122 savRttikaH kavidarpaNaH [CORRECTIONS ____P. 23 : 1.2 : paMcANaNalaliyA for paMcAnanalaliyA; 1.20 : samAMhi for samAdhi; 1.22 : Is it duhi iha instead of duha ihi of the ms. ?; 1.25 : muggalatti for muggalutti; 1. 26 : sahayAravaNi for sahayAravaNI; 1. 31 : [u]vadohaya for uvadohaya. - P. 24 : 1. 3 : viSamAhibhyAM for viSamAghibhyAM; kalAdvikA[dhi]kAbhyAM for kalAdvikAdhikAbhyAM; 1. 11: daddhaDa for daddhaDhaH 1. 21 : mairahaM for mairai; veyaraNihiM for veyaraNihi; 1. 22 : lulahiM for lulahi. . P. 25 : 1.5 : lakalakitti for lakalakatti; 1. 10 : kUlavAlako for kulavAlako; 1. 11 : na for Na 1. 16 : paJcamASTamalaghU for paccamASTamI laghU; 1. 18 : nigasijjaMtaM for nigamijataM; mannahiM for mannahi; 1. 20 : [nigrasyamAnaM for nigamyamAnaM]; 1. 22 : ummattA for unmattA; 1.24 : jA(A)ukhayaM for AyukhayaM. __P. 26 : 1.5 : nAmI for na; 1. 12 : sI(si)rIu for sirIu; 1. 16 : bhiranizaM for bhinityaM 1. 30 : mutta(ttA)valiyA for muttAvaliyA; 1. 31 : read gItiH at the end. P. 27: 1. G : nhANa for NhANa; 1. 10 : tuhuM for tuha; 1. 11 : add spaSTam after line 14; 1. 16 : guruhu~ for guruhaM; 1.17 : maDilA for [maDilA]; 1. 22 : add vyatyaya after lo vA; 1. 21 : niya(a)Di; 1. 22) : zaziza(zi)lAyAM for zazizilAyAM. ___P. 28: 1.5 : zU(sU)cayati tathAhi for sUcayati; 1.6 : maJjarI for maJjirI; 1. 8 : trayaM cAvalambakAkhyaM for trayamavalambakAkhyaM; 1. 11: payanakkhakaMti for payanakkhu kati; rupyaddhaDiAi for kampajjhaDiAi; 1. 14 : nakkhatti for nakkhutti; I. 1.5 : cha for (?); 1. 23 : mayaNAvayAro for [mayaNAvayAro]; 1.25 : madanApadrakSaNe for madanApadArakSaNe. _P: 29 : 1.2 : TappaMcaga lahU for TagaNapaMcaga lahu; 1. 10 : buTTa for buDha; 1. 11 : yamakitAMhitvAmnAyAt for * nAnAt ; 1. 26 : nemijiNavaro for jiNavaro. . P. 30 : 1. 3 : kevalanANa for kevalaNANa; 1. 4 : jiNanAhA for jiNaNAhA; 1. 8 : add rAsayaM / spaSTam // 23.3 / / at the end; 1. 24 : droNyAkRti for droNAkRti; 1. 26 : kaDhiNa for kaThiNa. __P. 31 : 1. 1 : utkarAn for utkaraH; 1. 8 : punarekaH for tvekaH; 1. 12 : raMgo for riMgo; 1. 13 : rutto(?) for tatto; 1. 14 : mayamao for mayamayo; 1. 15 : maiharo for maibhavo; 1. 20 : add yadvA after rAsAvalayapUrvArdha; 1. 22 : muhu(ha)rAsA for muharAsA; 1. 25 : rAsAvalayaM for [rAsAvalao]. P.32: 1.2: unhu for uNhu; 1.28:navari for NavAra __P. 33 : 1. 8 : mattA for [mattA]; 1. 12 yadavocaM for yadavoca-; 1. 11 : vuccai for uccai; 1. 16 : nihaNA for NihaNa; mahuyariyA for mahuariyA; 1. 17 : iya mattavilAsiNiyA for [iya] mattavilAsiniyA; 1. 29 : egArasahiM for ekArasahiM; 1. 30 : ravIhiM va for ravi(vI)hiM ya. __P. 34 : 1. 1 : duiyANa for bihuyANa; 1. 2 : tahayacchahANa for tayachaTTaANa [ya]; 1. 10 : vakSya mANe(Na)sya for vakSyamANasya; 1. 11 : chaDDaNiketi for chaDaNiketi; 1. 12 : muddhaya for maya (muddhaya); namiya for Namiya; 1. 20 : naMdaNa for NaMdana(Na); 1. 21 : ms. reads guNagumaNi wrongly for guNamaNi; 1. 23 : dhrasaka for dhasaka; add spaSTam after this word. ___P.35 : 1. 1 : kuDDaH for kuDDa; 1. :) : dIsahiM for dIsa hi; 1. 1) : yataH for evaM; 1. 14 : zeSAMhi for zeSAddhi; 1. 17 : yadavocaM for yadavocac; 1. 27 : chaDDaNikA for chaDaNikA; 1. 30 : puNu for puNa.

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CORRECTIONS ] vRttikaH kavidarpaNaH 123 P. 36 : 1. 10 : caMpaikusumAInAmiyAo for caMpayakusumAiNAmiyAo; paNapannA for paNavannA; 1. 11 : nayaNa for NayaNa; 1. 15 : nAmehi for NAmehiM; 1. 17 : sarisaehiM for sarIsa ehiM ; 1. 30 : kuGkumAdyA tu for kuGkumAdyAstuH; 131 : add prAguktA eva after dvipadIbhedAH / : P. 37 : 1. 2 : jANamaNupAso for jANa aNupAso; 1. 7 : dhavalaniheNa for dhavalamiheNa; 1. 11 : tatrASTapadaM for tatrASTapada 1 17 na for Na; kiMvi for kiMci; 1. 22 : zabdaH saMmitArthaH for zabdA 'saMmitArthAH ; guNadhavala bhramaradhavalAdiH for guNadhavalAdiH ; 130 phulaTakaM for phulaDaka; 1.31 : catuSke tasya for catuSTaye yasya; 1 32 : utsAha for ucchAha; 1.33 : add tevi after miseNa; dhavalA for ghavalaM. P. 38 : 1. 1 : iya maMgalAvi tannAmapuvvayA maMgalArtha saMbaddhA for the line; 1. 8 : ms wrongly reads pulla for phulaM; 1. 22 : najjai for najjhai; 124: junhA for juhA. P. 39 : 1. 6 : add chappaDa at the end; 111 nayaNa for [nayaNa ]; 1.15: bhAsiNihi for bhAsaNihi; 1. 25 yu (mu ) ddhi for muddhi; P. 40 : 1. 4 : lhUsaDau for lhasaDau; 1.6: remove brackets; vividha for vihava; 1.12 : vividha for vibhava; 1.17 : mANamaDappa (pha) ru for mANamaDampharu 1.20 : mANakki for mANikka; 1.27 : kuGkume [na] for kuGkumena. P. 41 : 1. 10 : dhuNiyaH for ghuNiya; 1. 11 saMdhukkiya for saMbhukkiya; dusahu for hu sahi; 1. 16 : dhuta for ghUrNita; 1 25 : kimbaivi for kiMvai. P. 42 : 1. 6 : talaDahi for tallaDihiM; 1.16 : hiTThayaMmi for heyaMmi, 1.24 add spaSTaM at the end of the line; 1. 25 : nala for Nala; 1. 28 : ki na for kiNa. P. 43:1.: ktva-i-iu ivi for ktvA i-iu- ivi; 114 add militau before taralaM; 1. 23 : dhavaliu for dhavalio; 1.28 : add taralaM at the end. 1 P. 41 : 15 : nAliya for nAlia; 1.6 : vatthuvayA; for vatthuvayaNa; 1. 10 : vastuvadanakaM for vastuvadanaM; 1.11 : yasyAmiti for yasyAM sA; 115 : ujjiMti for ujaMti; 1.16 : bulaM (laM) tI for bullaMtI; 1. 17 : jalullUya for jalullaya; add spaSTA at the end of 1. 18. P. 45 : 1.7 : maJjarI for maMjirI; 1.9 : ha ( da ) hi for dahi ; 1.10 : vaMza ( kha )Na for vaMkhaNa baMdiNa for baMdINa; 1.12 : nArIyaNi for nAriyaNi; vujjhae for bujjae; 1.14 : add duhaMgiyA at the end. P. 46 : 1. 4 : o for to; vatthU for vatthu; 119 : mAla[va] for mAla (va); 1.30 : vajraMti for vajjhati; 1.34: payaDa for payau. P. 47 : 1. 11 : add atha before khaNDayugalAnte; 1. 16: ghattAdugaM for ghattAduyaM; 1. 27 : paddhaDiyA for pajjhaDiyA 1 32 : mairA for mahurA. P. 48 : 1. 6 : zU(sU ) canAdavalambakaH for zUcanAvalambakaH; 1.8 : ugghosaNa for payAsaNa; 1.9 : takkarA for takkaro; 1. 10 : suhayarA for suhayaro; 1. 12 : unhA for uNhA; junhA for juNhA; 1. 13 : jhaMkAra for huMkAra ; mahu ( muha ) liya for muhaliya; 1. 23 : tribhistribhaGgI for tribhistribhistribhaGgI; 1. 25 : bhaMgadhare for bhaMgidhare; 1. 25 : hiMDolA for hiMdolA; 1. 27 : moyamae; for moamae; 1. 31 : cittae for cettara; na for Na.

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124 savRttikaH kavidarpaNaH [ CORRECTIONS __P.49 : 1. 10 : paddhaTikA for paddhaDikA; 1. 12 : maMDali for maMDalI(li); nAmihi for NAmihi; 1. 16 : tiNa for tiNi; 1. 18 : nivesa for Nivesa; 1. 19 : huyau for huvau. __P. 50 : 1. 13 : catuHpadI for catuSpadI; 1. 26 : catuHpAdI for catuSpAdI; 'tataH sesaM' for 'to sesaM'; 1. 27 : catuHpAdI for catuSpAdI; 1. 29 : uNhigaNuThubha for uNhihaaNuhubha. _P. 51 : 1. 8 : tR(tri)STup ca for triSTup ; 1. 10 : add saMskRtiH 24 after 23; 1.11 : ekAkSarAMhi for ekaikAkSarAMhi. __P. 52 : 1. 6 : add gIstriyoH before ekenAMhiNA; 1. 8 : migI for mRgI; 1. 18 : vijhUmAlA for vijjUmAlA; II. 23-25 : The words vasavo lagAH pramANikA, vyutkrame samAnikA tu and ito'nyadvitAnam are not in the ms. They are inserted by mistake; 1. 26 : anyat for anya. ____P. 53 : 1. 1 : mo no [yo] for mo no yo; 1. 3 : The ms. wrongly reads motomAmo for mo no yo; 1. 7 : narajagA iyaM for narajagadvayaM; l. 6 : caMpayamAleyaM for caMpakamAleyaM; 1. 10 : dodhaga for dodhaya; 1. 19 : jaH sastagau gaH for jasta(sto)gau; 1. 20 bhasto for tau; 1. 22 : dunha for duNha.. ___P. 54 : 1. 3 : mimaM for miNaM; 1.11 : va(na)duga for naduga; 1. 16 : add nizRNuta after tAmarasa; 1. 17 : jJeyA for zeyau; 1. 24 : gazcandrikAyAM for gazca candrikAyAma. ____P.56 : 1. 4 : pabhaddayaM for pabhaddakaM; 1. 5 : Drop yo atter chaMda; 1. 21 : [yatra] for yatra; 1. 29 : yamanasabhalA gaH for yamanasabhalagaiH. , P. 66 : 1. 3 : niHpannikA for niSpannikA; 1. 6 : vikkIliyaM for vikkI DiyaM; 1.16 : add sapta bhizcetyarthaH after yatiH. P. 57 : 1. 1 : la(ju)gala for jugala; 1. 6 : nihaNa for NihaNa. . P. 59 : 1. 27-28 : na ceyaM pathyayA for na ceyaM pathyA(thya)yA. ' P. 63 : 1. 13 : zU()citam for sUcitam; 1. 15 : guru(ra)vo for guravo. P. 64 : 1.8 : aSTAsu for aSTasu; 1. 10 : teSvaSTAviha for teSTAviha; 1. 12 : teSvasAkAH for teSvasAkA; 1.16 : aSTAbhyaH for aSTabhyaH.

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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 Svopajna Vstti on Chandonusasana I.1. The word jayadevadih 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. Sura 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 Matra, the Varna and both. He is again mentioned as the author of the technical terms for the different Matra 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 Matra metres, five Ganas respectively consisting of 2, 3, 4, 5 and 6 Kalas or Matras should be known to exist. They are respectively of 2, 3, 5, 8, and 13 kinds and are called ka, ca, ta, ta and pa.' V. 3: Read tiya for tige which is a misprint. See corrections. In the com mentary read trayah pramanamesamiti kah, the sentence gives an authority for the use of the termination ka after the numeral. The * ms. reads pasthane ya uktah; but the correct reading seems to be kasthane 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 Ratnamanjusa and the Janasrayi. Their technical names of the Ganas are essentially different. V. 4: 'A long letter, a letter which is accompanied by Anusvara, or followed by a simple consonant, a Visarga, or a conjunct consonant is here counted as a Dvimatra ; 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 Pada'. 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 nagara

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126 savRttikaH kavidarpaNaH [ BRIEF NOTES gakarakrti sthapyam 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 Virahanka has said at Vittajatisamuccaya 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 Virahanka directs at the same place. Janasrayi 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 Chandonusasana has almost the same thing to say: 'A Guru should be known by the Samjna (j.e., technical name) of ga, should have 2 Matras (as its syllabic contents) and should be bent like the letter ga of the Nagari alphabet ; a Laghu should be known by the name la, should consist of 1 Matra, should be straight and resemble a raised finger.' 1.3. The letter ra in the old Devanagari 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 va 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 Samanika the last letter must be a short one and no option mentioned above is allowed here. Similarly, at the end of metres like the Vamsastha, 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 are 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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UDDESA 1] savRttikaH kavidarpaNaH 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 tii and virahao for virahau, 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 jaim, taim and duhaim ; 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 pasamsaun and short ham in jaham 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 goalovi 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 un, ham, hin, hum as also about e and o combined with a consonant occurring in the body of a word applies to the Apabhramsa 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-pamuhakkharanam puvvilla na guruno jaha 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 nhayavva and dra in drahe do not cause Gurutva to the letters which precede them. Even in the defining stanza, v. 6, lha and nha 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 nusasana-Svopajna-Vitti. 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 Pada, (but) regularly at the end of the half of a sloka. (It takes place) also at the end of a word which contains three or more letters in it in the middle of a Pada). 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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128 savRttikaH kavidarpaNaH [BRIEF NOTES 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 Chandonusasana, chapter I. In illustration No. 11, the Yati at the end of the first Pada 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 Pada; 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 narayana and its distribution over the two Padas is not admissible in No. 20. Illustrations Nos. 21, 22, 23 and 27 constitute what is called the Yatyupanisat 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 samudradipadante ca for gadicchinnapadante ca and in v. 22b he reads

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UDDESAS 1-2 ] Pracao: 129 samudradau for gakaradau ; this means that the earliest Yati in the middle of a Pada comes after the 4th letter according to Halayudha, while according to Hemacandra, it can come even after the 3rd (Hemacandra's symbol for 3 being ga according to Chandonusasana 1.16). Among the illustrations, Nos. 26 and 30 are supplied by the commentator himself, while the others are borrowed either froni Halayudha or from Hemacandra. In No. 30 which is in Arya metre, the pleasant Yati according to the commentator is after the 5th Matra 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 Svayambhu (1.71) according to which Yati is not regarded as compulsory even in the Sanskrit Varna Vrttas according to some ancient writers like Mandavya, Bharata, Kasyapa and Saitava. Incidentally, while commenting on this stanza, he mentions a threefold classification of metres into Sanskrit beginning with Ukta, Prakrit beginning with Ripucchandas and Apabhramsa beginning with Utsaha ; this is according to Hemacandra's Chandonusasana, 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 Matra, the Varna and the Ubhaya Chandases and this is based on the triple unit of scansion, namely, the Matra, the Varna and both combined. UDDESA II V. 1: The Matra Vrttas are divided into 11 classes according as they contain 2, 4, 5, 6, 7, 8, 9, 10, 11, 12 or 16 Padas 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 Satpadis are strophic couplets and at least one kind of the Astapadi is a simple metre. Vv. 2-3: Among the Dvipadis, the two Ullalas, the Kumkuma and the Karpura, which are the favourite metres of the Magadhan bards and are essentially Apabhraisa metres, are defined here at the commencement. The former, i.e., the Kumkuma, contains 2 Dvimatras (kadugam), 1 Caturmatra (to), 2 Dvimatras (kaduga), 1 short letter (lahu), 2 Dvimatras, 1 Caturmatra, 2 Dvimatras and 2 short letters

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savRttikaH kavidarpaNaH [ BRIEF NOTES at the end of all, in each half or Pada, which thus has a total of 27 Matras in it. The Yati is after the 15th Matra in each half. The mention of 2 Dvimatras instead of 1 Caturmatra in the definition is to prohibit the use of a Jagana or the Madhyaguru Caturmatra, as the commentator explains. In actual practice, the last three Matras at the end of the first of the two parts of a Pada, caused by the presence of the Yati at the 15th Matra, are represented by short letters, though in theory we may have a long letter for the 14th and the 15th Matras; while the second part consists of 1 Dvimatra, 1 Ca urmatra of any kind, 1 Caturmatra which must not be a Jagana and 2 short letters at the end. This Dvipadi is comparable with the Upagiti in respect of the number of the Matras in each Pada; but the Yati in the Upagiti comes after the 12th Matra, while here it is after the 15th ; and besides the constitution of the last 15 Matras in the Pada materially differs in the two metres. The second Ullala called Karpura is but an extension of the Kumkuma by a single Matra or a short letter, at the end of each Pada ; so that both the parts of the Pada, caused by the presence of the Yati, end in three short letters in actual practice, as said above. The third Dvipadi is the Mauktikadaman which has 32 Matras in each of its 2 Padas. The Yati is after the 12th and then again after the 8th Matra, thus twice in each Pada. The 32 Matras are made up of 8 Caturmatras 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 Caturmatras and thus the Matra Ganas are to be kept separate. This Dvipadi is mentioned by Hemacandra, Chandonusasana, 7.19; Rajasekhara, Chandahaekhara, 5.188 and Svayambhuchandas 6.144. The rhyme at the end of the Padas is of course to be understood as in the case of other Apabhramsa 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 Chandonusasana, 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 Chandonusasana, which defines all of them in Ch. 8 and concludes evam dvipadidhruva catuh sastih. As regards the Yati, Prakrit prosodists reeognize it only in the case of the Dvipadas; and here, too, the tendency is to break the line

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UDDESA 2 ] savRttikaH kavidarpaNaH 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 Padas, so that the former Dvipadi is turned into a Catuspadi or a Satpadi. The example of the Gatha 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 Gathas 2, 35, 36 and 37 of the Ajita-Santi Stava in Appendix III, each Pada came to be divided into two and so the Gatha 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 Gatha and its varieties, namely Pathya, Vipula and Capala. In his introductory remarks, the commentator rightly describes the Gatha as a Catuspadi following the Kavidarpana as shown in para 9 of the Introduction. But, as he unconsciously follows Hemacandra, he remarks a little further, dalagrahanat asyam na pada-vyavastha : 'There is no division into Padas or quarters in this metre since the Dala or the half alone (and not a Pada) is mentioned (by the author in his definition)'. Remembering, however, that he had described the Gatha as a Catuspadi, he then quotes the view of Trilocanadasa, according to whom the Gatha has 4 Padas 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 Caturmatras (muni-ta) and a long letter; among these, a Jagana does not occur at odd places, but at the sixth place, only those Caturmatras which have a Dvimatra 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 Gatha. 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 Caturmatra of the first half when it consists of all short letters, but when the 7th Caturmatra in the first half and the 5th Caturmatra in the second half similarly consist of all short letters,

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132 savRttikaH kavidarpaNaH [BRIEF NOTES 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 Caturmatra 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 Ganas 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 Gatha 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 (Gatha), obtained by a mutual multiplication of all the possible varieties of each of the 16 Ganas of a Gatha is 8 crores, 19 lacs and 20 thousand.' A Caturmatra 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 Gatha 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 (Gana-bhedas) are to be multiplied together for obtaining the total number of all the possible varieties of a Gatha, caused by an ever-new arrangement of short and long letters in them. Sec Virahanka, Vsttajatisamuccaya, 6.53. V. 7 : 'A Gatha which has a Yati after the 3rd Gana in both the halves, is Pathya; that which is not so, is Vipula. A Capala is (characterised) by the Jaganas at the 2nd and the 4th places, surrounded (i.e., preceded and succeeded) by a long letter.' In the Pathya, 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 Vipula, a word is distributed over the 3rd and the 4th Caturmatra Ganas, in one or both the halves. On the other hand, while the 2nd and the 4th Ganas in one or both the halves of the Capala 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 Vipula and Capala 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 Gatha

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U DDESA 2 ] savRttikaH kavidarpaNaH 133 are mentioned by some others too. It should be noted that no such kinds are mentioned in the case of the Pathya, since a Mukha Vipula includes what may be called a Nitamba-Pathy, and a Nitamba-Vipula includes what may be called a Mukha-Pathya. Hence the name Pathya is reserved for that kind alone in which the Yati occurs at the end of the 3rd Gana in both the halves. As regards the other varieties of the Gatha based on other principies, the commentator quotes 3 stanzas, Nos. 5-7, (also quoted by Hemacandra), which are very likely reproduced from Nanditadhya's Gathalaksana vv. 40-42. According to these, a Gatha 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 Amsa 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 Gatha according to two different principles. Thus a Gatha which contains all long letters in both the halves (except the 3 compulsory short, ones), is Brahmani; that which has all long leiters (except the 2 compulsory short ones) only in the first half, is Ksatriya; that which has all long letters (except the compulsory short one), only in the second half, is Vaisya; and finally, that which has all short letters, except the 2 compulsory long ones, is Sudri. Further, a Gatha is called Gadha when only the two kinds of Caturmatras, namely, the Sarvaguru and the Madhya-guru, occur in it one after the other in succession; it is Agadha-gadha when the Antya-guru and the 'Madhya-guru similarly alternate in it. In the Dara-gadha, the Adi-guru and the Madhya-guru, and in the Sarala-gadha, 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 Caturmatras. 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 Gatha is introduced in them by way of Mudra. 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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134 savRttikaH kavidarpaNaH [BRIEF NOTES varieties of a Gatha, 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 Gatha, viz., Giti, Upagiti, Udgiti and Skandhaka. 'A pair of the first half of the Gatha is a Giti; 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 Caturmatra (in each half). The commentator here explains how each of the three Gitis (i.e., Giti, Upagiti and Udgiti) is sixteenfold like the Gatha. The sixteen kinds of the Gatha 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 Arya, which is the same as the Gatha, is 64-fold. The iwo stanzas are perhaps borrowed by both from Halayudha's commentary on Chandassutra 4.23, with the necessary changes occasioned by difference of views about the Skandhaka as a derivative of the Gatha. Halayudha counts the Skandhaka too as a derivative of the Gatha, while Hemacandra and our author do not think so; so that according to Halayudha the Arya 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 Aryagiti 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 Praksta 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 Gana consists of a single short letter in the upper and the lower half. When one of the two halves is that of a Giti and the other that of a Skandhaka it is called Samkirna Skandhaka,

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DDESA 2) Aghi magan: 135 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 Giti, namely, Ripucchandas and the others, as also the eight kinds of a Gatha such as Gatha and others; since it is said.' The commentator adds that there is also the 9th variety of the Gatha namely the Jatiphala, 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 Giti is called Ripucchandas when the 7th Gana (in both halves) is a Tagana, i.e., a Pancamatra; it is called Lalita when the 3rd Gana (in each half) is so. When both the 3rd and the 7th Ganas (in each half) are so, it is Bhadrika and it is Vicitra when Taganas, i.e., Pancamatras, are employed at will (for any of the Caturmatras) except the 6th (which must always be a Madhya-guru or a Sarva-laghu Caturmatra as required by the peculiar rhythm of the Gath, and as said above in v. 4). By an addition of a pair of Catursmatras each time before the last long letter in the first half of a Gatha, (we get in succession, Gatha (with 9), Udgatha (with 11), Vigatha (with 13), Avagatha (with 15), Samgatha (with 17). Upagatha (with 19) and Gathini (with 21 Caturmatras in the first half). On the other hand, if, (after the Gathini), pairs of Caturmatras are added at will (at the same place), (we have) a Malagatha, which is (therefore called) a Mahachandas.' The commentator mentions also the Jatiphala which contains 8 Caturmatras before the last long letter in the first half of a Gatha. He also says at the end of his commentary on the stanza that 8 similar derivatives can be had even from the Jatiphala by adding each time a pair of Caturmatras before the long letter at the end of the first half of the Jatiphala. The second half is, however, always that of a Gatha in all these derivatives of the Gatha. Vy. 14-18 : These define 10 Ardhasama Catuspadis; they are: "Panca. nanalalita is made with 12 and 10 Matras in its odd and even Padas respectively, Malayamaruta with 9 and 10, Rasa 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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136 savRttikaH kavidarpaNaH [ 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 Padas). Upadohaka is made, they say, with the uneven Padas of a Dohaka, but with 1 Matra less, and the Samdohaka with an addition of ? Matras (to the same Padas). (In both cases, the even Padas shall be same as in the Dohaka). An Uddohaka is made with all the Padas having 13 Matras each; (and) a Cudaladohaka with a Tagana, i.e., a Pancamatra, at the end of the even Padas (of a Dohaka). Where we have 2 Caturmatras in the odd Padas, and a Sanmatra and a Caturmatra in the even ones, and then in both, a short letter, a Dvimatra, a short letter and a Dvimatra (in succession), know that to be the Magadhika. As usual the author composes his own illustrations, but in the case of the Malayamaruta, he quotes a stanza from an unknown author. From these, Pancananalalita is defined in the midst of other Ardhasama Catuspadis according to their scheme by Rajasekhara (5.100) and Hemacandra (6.20, 87), but is not mentioned by Svayambhu. Malayamaruta is similarly defined by Svayambhu (6.42), Rajasekhara (5.79) and Hemacandra (6.19, 23). Rasa is mentioned by all the three under the name Ravanahastaka (6.13; 5.47; 6.19.9 respectively). For Rasaka, which is a Sama Catuspadi, see below v. 23 and note. In the case of the Dohaka, cur author's definition agrees with that of the Prakrta Paingala and the Chandahkosa, while according to Svayambhu, Rajasekhara and Hemacandra, a Dohaka must contain 14 and 12 (instead of 13 and 11 of our author) Matras in its odd and even Padas respectively. Our author's Dohaka is called Kusumakula-madhukara by them; his Avadohaka in v. 15 is called Vibhramavilasitavadana by these three authors, while the Praksta Paingala (1.170) and the Chandahkosct v. 25) both call it Scrattha. Similarly his Upadohaka and Samdohaka in v. 16 are defined by the three authors under the names of Makaradhvajahasa and Madanavilasa 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 Cudaladohaka is their Kaminikridanaka, but is called merely Culika by the Praksta Paingala (1.167) and the Chandahkosa (v. 26). The last, i.e., Magadhika, 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 Padas of the Vaitaliya (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 Matra Vrttas. In the

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UDDES A 2 ] savRttikaH kavidarpaNaH 137 illustration of the author, this option is exercised only in the case of the 1st long letter of the Ragana in the first Pada. Our author's definition closely follows the wording of Hemacandra, who defines Magadhi among the Sanskrit metres derived from the Vaitaliya at Chandonusasana 3.62. Among the Prakrit Ardhasama Catuspadis, Hemacandra defines the same metre under the name Vasantarekhika at Chandonusasana 6.19, 54. At this last place, the 2nd long letter of the usual Ragana in the third Pada 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 Pada was very probably not generally exercised in view of the general rule mentioned at Kavidarpana 1.4 above. Vv. 19-20 : Four Caturmatras, but never with a Jagana at the commence ment, where a long letter stands at the end and the 9th (Matra) is (represented by) a short letter, (make) a Matrasamaka; and when the 5th and the 8th (Matras) are similarly (represented by) short letters, it is Visloka. It is Citra when even the 9th (Matra) is so represented by a short letter) ; (when) the 9th and the 12th (Matras) are (represented by) short letters, it is Vanavasika. Upacitra is that in which the 9th (Matra) is represented by a long letter (together with the 10th), while Padakulaka (is made) with the Padas of all these.' These stanzas define the six metres of the Matrasamaka group, each of which has 4 Caturmatras in a Pada, but the position of the short or long letters in them is variously fixed. In none of these again, the 1st Caturmatra 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 Trimatras and a Caturmatra make a Muktavalika; a Sanmatra, 2 Caturmatras and a Dvimatra, on the other hand, make a Vadana. This last is called Madila when it has one common ending rhyme in all the four Padas and Adila when it has the same ending rhyme, separately in the first two and the last two Padas. Paddhatika has 4 Caturmatras; but in the last we may have only those (Caturmatras) which have a Dvimatra in their middle (i.e., the Madhyaguru and the Sarva-laghu), and a Jagana must not be used for an odd Gana. Two Caturmatras, and a Pancamatra make a Khanda, while four Pancamatras make a Madanavatara.' Of these five metres Muktavalika is not defined by any other author so far as I know;

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138 savRttikaH kavidarpaNaH [BRIEF NOTES Vilasini of Hemacandra, Chandonusasana 4.52, is almost identical with it, but the Caturmatra 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, Svayambhu and Rajasekhara. In the case of Madila and Adila, however, our author records a view which is wholly opposed to the one held by Virahanka (VJS., 4.32, 34), Rajasekhara (5.20), Syayambhu (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 Madila as our author main. tains and as Praksta Paingala 1.127 seems to imply. Hemacandra, on the other hand, gives Adila as the common name to both the varieties of the Vadana; but remarks at the end of his commentary that some call it Madila when all the four Padas have a common rhyme. According to Virahanka's Vsttajatisamuccaya 4.32-34, the word Adila would seem to have been used as a common name, like Galitaka and Rasa, by the Apabhramsa poets to signify a metre which showed. striking Yamaka and Anuprasa. It is quite likely that the name Adila 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 Maqila, 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, Adila alone evidently served the purpose of both. Among the prosodists Svayambhu (4.12) and Rajasekhara (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 Adila for the rarer single-rhymed type and adopt the name Madila 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 Maaila to the rarer single-rhymed type and reserves the older name Aaila for the commoner variety with two rhymes. The definition of the Praksta Paingala 1.127 agrees with this view, but its illustration has one single rhyme for all the four Padas. V. 22 cd : Khanda, as well as Upakhanda and Khandita, which are its derivatives, are designated as Avalambaka by Hemacandra, Chandonusasana 4.45-48. Madanavatara is known to all, but is called Kaminimohana by Ratnasekhara at Chandahkosa v. 10, when all the Pancamatras in a Pada are of the Ragana type. Nanditadhya, v. 78, gives Candranana as another name of the same metre. Perhaps, the

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U DDESA 21 savRttikaH kavidarpaNaH real name is Candrayana, which is given by the Chandahkosa 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 Vrttajatisamuccaya, 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 Chandonusasana 2.265, in a similar manner. The commentator supplements the author and defines other metres of the same class. Thus Hela has a Sanmatra followed by 4 Caturmatras, of which the 2nd and the 4th must be either Madhya-guru or Sarvalaghu. Adhikaksara has 5 Caturmatras, of which the 2nd and the 4th must not be Madhya-guru, followed by a Pancamatra in a Pada. This metre is defined by Virahanka at VJS. 4.24 and by Hemacandra at Chandonusasana 4.69. Manjari has 2 Trimatras, 3 Caturmatras and 1 Trimatra at the end in each Pada; Aravindaka has 1 Sanmatra, 1 Pancamatra, 1 Caturmatra, 1 Trimatra and 1 Dvimatra in succession in a Pada. These four metres are said to belong to the Paddhatika class of metres, while the two metres of the Khanda class are Upakhanda and Khandita. The former has in its Padas 1 Sanmatra, 1 Caturmatra and 1 Trimatra, while the latter has 1 Sanmatra followed by 2 Caturmatras in a Pada. The five metres which belong to the class of Madanavatara are, as the commentator mentions, Madhukari, Navakokila, Kamalila, Sutara, and Vasantotsava which have respectively 5, 6, 7, 8 and 9 Pancamatras in each of their Padas. These metres are defined by Hemacandra at Chandonusasana 4.75. 139 V. 23: 'A pair of Pancamatras, a pair of Caturmatras and a Trimatra make (the Pada of) a Galitaka; a pair of Trimatras, 3 Caturmatras, a Trimatra and a long letter (at the end) make (that of) a Khanjaka, and 5 Caturmatras followed by a short and a long letter make (that of) a Rasaka.' All these four names have been treated as common names by the poets and prosodists as the commentator tells us. Thus the Padantya 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 Chandonusasana 4.40. Padantya Yamaka and Anuprasa were the characteristics of a Khanjaka according to our commentator, but Hemacandra's directions at Chandonusasana 4.41-42 com. are that a Khanjaka has the Anuprasa, but not the Yamaka, even though all his illustrations of the Khanjakas

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140 savRttikA kavidarpaNaH [BRIEF NOTES given under Chandonusasana 4.42-75 have the Padantya Yamaka without exception. Virahanka's Khanjaka at VJS. 4.18 is, on the other hand, entirely different. This latter is an Ardhasama Vstta whose odd Padas contain a Caturmatra and a Madhya-laghu Pancamatra (SIS), while the even ones have an addition of 2 short letters before this Pancamatra. Sirsakas are couplets and triplets of stanzas in different metres and are a peculiarity of Prakrit and Apabhramsa poetry. As regards the Rasaka 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 Rasakas by Hemacandra at Chandonusasana 5.3-15 after quoting a stanza, which is also quoted by our commentator, which says that all Jatis may be called Rasas. See Introduction, para 10. Hemacandra, however, (and following him even our author in v. 14 above) seems to make a distinction between the Rasa defined at Chandonusasana 5.16 and the Rasaka defined at 5.3 and the following. The same appears to be the case with Virahanka, who considers Rasaka as the name of couplets or triplets or short poems, while he defines the Rasa (with 16 Matras in a Pada) at VIS. 4.85. Svayambhu is not very clear on the point; but he seems to have used the same term Rasa for both a short poem and a single stanza which contains 21 Matras in a Pada, with the Yati at the 14th at Svayambhuchandas 8.24-25. This latter is identical with Hemacandra's Rasaka (5.3), while his Rasa is only as Ardhasama Catuspadi having 7 and 13 Matras in its odd and even Padas. This Rasa of Hemacandra (already defined by our author above in v. 14) is identical with Ravanahastaka defined by him at 6.19.9. Our Rasaka with 23 Matras in a Pada is identical with that of Hemacandra'defined at 5.4. Svayambhu's Rasaka with 21 Matras in a Pada is called Abhanaka by Chandahkosa v. 17. A love poem of the Rasaka class, called Sandesa Rasaka is published in the Singhi Jain Grantha Mala No. 22, Bombay 1945-46. This contains a large number of stanzas in a metre which is called Rasaka or Abhanaka, by the commentator who quotes Chandahkosa v. 17 in support. V. 24: "That is Candralekhika where there are : 1 Sanmatra, 4 Catur matras and 1 Dvimatra (in a Pada); and a Dvipadi is that where there are : 1 Sanmatra, 5 Caturmatras of which the 1st and the 5th are either Madhya-guru or Sarva-laghu, and a long letter.' Candralekhika is really Candralekha of Hemacandra, Chandonusasana 4.60, since, the latter's Candralekhika is an Ardhasama Catuspadi with 15 and 10 Matras in its odd and even Padas defined at 6.20.102.

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UDDESA 2] Agfa fa &a 141 As regards the name Dvipadi applied to a metre which is really a Catuspadi, see Vsttajatisamuccaya, 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 Aranala whose Pada is identical with that of the Dvipadi, but it is extended by a long letter at the end; the second is Kamalekha whose Pada, too, is of the same type as that of the Dvipadi, but is devoid of the penultimate short letter which is compulsory in a Dvipadi. V. 25 : Rasavalaya has 1 Sanmatra, 1 Caturmatra which is not a Jagana, 1 Sanmatra and 1 Pancamatra (in its Pada) ; while in a Vastuvadana there occur 1 Sanmatra, 1 Caturmatra which is not a Jagana, another Caturmatra which has a Dvimatra in the middle (i.e, is either a Madhya-guru or a Sarva-laghu), yet another Caturmatra which is not a Jagana and 1 Sanmatra (at the end).' Thus the Rasavalaya has 21 and the Vastuvadana has 24 Matras in its Pada, 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 Padas 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 Caturmatras make Utsaha; the 3rd and the 5th have a Dvimatra in their middle, while the others are not Jaganas. Here, generally, in the Catuspadis, there is a rhyme of the odd and the even Padas.' This stanza defines the last Catuspadi, i.e., the Utsaha, with which, however, Hemacandra starts his treatment of the Apabhramsa metres in the fifth chapter of his Chandonusasana. Exceptions to the general rule about the Anuprasa or the Antya Yamaka are metres like Pancananalalita, Malayamaruta, Rasa, as also

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142 savRttikaH kavidarpaNaH [BRIEF NOTES the Dohaka and its derivatives, where the rhyme is of the even Padas and rarely also of the odd Padas among themselves. Gatha and its derivatives are not regular Catuspadis, 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. Anuprasa is a special feature of Apabhramsa poetry and the Gatha is essentially a Prakrit metre. Even the metres of two Padas like the Ullala and others have this peculiarity, as they are Apabhramsa metres. Vv. 27-28 : '(There are) two Pancamatras, 1 Caturmatra and a short letter in the 1st, 3rd and the 5th Padas, the Caturmatras in the 3rd and the 5th Padas being only those that have a Dvimatra in their middle; (while) in the 2nd and the 4th Padas (we have) a pair of Caturmatras and a Trimatra. This Matra, whose first half consists of the first) three Padas and whose 3rd and 5th Padas rhyme together, is of various kinds.' This normal Matra 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 Matra of the Chandahkandali seems to be the same as that of Hemacandra, i.e., containing respectively 16, 12, 16, 12 and 16 Matras in their Padas as against that of our author which has 15, 11, 15, 11, and 15 Matras, respectively, in their Padas. This is concluded from the word samacarana-nihana-tagane 'in the last tagana, i.e., Caturmatra, occurring in the even Padas', which evidently refers to the 3rd and not the 2nd Caturmatra in those Padas. The five divisions of the normal Matra of the Chandahkandali are as follows:-When the 1st Caturmatra in the 2nd and the 4th Padas is replaced by a Pancamatra either severally or jointly, the Matra is called Mattabalika thus having 16, 13, 16, 13 and 16 Matras in its Padas. When the 3rd Caturmatra in these same Padas is similarly replaced by a Trimatra, severally or jointly, it is called Mattamadhukarika, which has 16, 11, 16, 11 and 16 Matras in its Padas. We have probably to read cagane for tagane in the 3rd line of the quotation from the Chandahkandali as ta stands for a Pancamatra and not a Trimatra according to the Chandahkandali and the Kavidarpana. On the other hand, if the two Pancamatras at the commencement of the 3rd and the 5th Padas are replaced by two Caturmatras, severally or jointly, it is called Mattavilasini whose Padas have thus 16, 12, 14, 12 and 14 Matras in them. Similarly, if the Caturmatra in these same Padas is replaced by a Pancamatra, severally or jointly, it is called

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savRttikaH kavidarpaNaH Mattakarini, which thus has 16, 12, 17, 12 and 17 Matras in its Padas. A promiscuous mixture of the Padas of all these five kinds gives rise to the Bahurupa. The commentator does not give illustrations of any of these additional varieties of Matra. UDDESA 2 ] 143 Vv. 29-31 These stanzas define a Satpadi, variously called Ghatta or Chaddanika, 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 Matras. 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 Matras only; the 1st and the 3rd contain 8, 10, or 12, while the 3rd and the 6th have 11, 12 or 13 Matras 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 Tilakasuri, the 3rd to King Bhimadeva and 4 to 6 to King Kumarapala of Ahnilvad. They were obviously borrowed from existing literature. V. 32 Kirtidhavala is another Satpadi divisible into two equal halves whose three Padas respectively contain 14 (6,6,4), 8 (4,4), and 16 (6,6,4) Matras in them. The peculiarity of this metre is that its 1st Pada 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 Satpada, or a Sardhacchandas or a Kavya; and a Matra 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 Utpreksa 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 Chandonusasana 4.79 com. Two

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144 savRttikaH kavidarpaNaH BRIEF NOTES illustrations are given also of the Phulla ; in the 1st a Matra of the. usual type (15, 11, 15, 11, 15) is coupled with a Kumkuma, while in the 2nd, it is combined with a Karpura Ullala. 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 Rasas as mogada, as my friend Dr. Bhayani tells me. Any kind of the Matra 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 Caturmatras and a Dvimatra in the four odd (Padas) and with 2 Caturmatras in the even ones each; in it the odd and the even Padas rhyme. And the Doha and the Samdoha together make a Tarala. Also see Introduction para 14. V. 35: 'A Vastu (i.e., a Vastuvadana) and a Doha, a Doha and a Vastu vadana, so also a Dvipadi and a Giti make a Dvibhangi. A Matra 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 Suraprabhasuri. It seems to be from a Neminathacarita 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 Candrayana and Candrayani as defined by Ratnasekhara in his Chandahkosa vy. 32 and 39, where a Doha and a Kaminimohana or Madanavatara and a Gatha and a Kaminimohana are coupled together. Kundalika of the Chandahkosa v. 31 is only another name of our second Dvibhangi, since Kavya 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 Doha or a Gatha is employed first and is coupled with a longer metre like the Vastuvadana following next. The typical Dvibhangi illustrated by Hemacandra at Chandonusasana 4.78 is a pair of a Dvipadi and a Giti 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 Gatha and a Bhadrika Giti. Hemacandra has

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U DDESA 2. savRttikaH kavidarpaNaH 145 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 Satpadis 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 Karpura 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 Padas or is a Navapadi. It is a combination of a Matra and a Dohaka or its derivatives, Avadohaka and Upadohaka. This Dvibhangi is also known as the Radda and is defined by Virahanka at VIS. 4.30-31, Prakrta Paingala I. 133-143, Chandah kosa v. 34 and Hemacandra, Chandonusasana 5.23. Our author's illustration is a beautiful example of a Paramparita Rupaka 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 Ghatta make a Dvibhangi, and a Vastu coupled with an Ullala becomes a Tribhangi, while a pair of the Khandas and a Giti make (a Tribhangi called) Dvipadikhanda.' The illustration of the first Dvibhangi is a quotation from one Tilakasuri and it mentions a monk called Suraprabhasuri and a king of Malava; 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 Ghattas is another Dvibhangi; a Tribhangi is a Dvipadi, a Khanda and a Giti. A quartet of the Paddhatika 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 Kumarapala 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 Padas 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 Chandonusasana 4.80. As he also points out, all the Dvibhangis and Tribhangis are technically known as the Sirsakas, for which see Hemacandra, Chandonusasana 4.76-83.

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146 * [ BRIEF NOTES savRttikaH kavidarpaNaH UDDESA 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 Matra Vrttas, the defining verse was not also the illustrating one, as it is going to be in the Varna and the Ubhaya Vittas. This was so, because the Matra Vsttas 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 abhavat.. For the use of the technical name Vstta and Jati, see Introduction, para 15. V. 3: 'Among them, in the Sama Vstta, there are 24 classes of a Catus padi, beginning with (Ukta) which has only a single letter (in its Pada) and ending with (Utksti) which has 26 letters (in a Pada). Thereafter the Sesa (Vrttas) and then the Dandakas.' For the distinction between the sesa Vrttas and the Dandakas, see Introduction, para 15 end. UDDESA 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: Jaya is not mentioned by any one else. -V. 19 : For a discussion of the signification of the name Vitana see Intro duction paras 16 and 17. V. 21: This Makaralata with ma, na and ya Ganas is not mentioned by others; Hemacandra at Chandonusasana 2.102 mentions another Makaralata which has the ta, na and ma Ganas and which is called Kanakalata by Bharata 32.200. 33: Citta is rendered by the commentator by Sanskrit Citra; but this seems to be a mistake as seen from v. 73 below. Others call this metre Vrtta or Vinta. V. 40: See Introduction para 17 conclusion, for the signification of the word Upajati. V. 48: Priyamvada has the Ganas ja-bha-ja-ra; the Priyamvada of Hema

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147 UDDESAS 3-4 ] savRttikaH kavidarpaNaH candra (2.174) and Kedara (Vrttaratnakara 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 Praharanakalika like Jayakirti 2.173 and Ratnamanjusa 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 Candravarta and Ratnamanjusa 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 Asvagati is otherwise called Asvakranta by Virahanka (VJS., 3.32-33), Padmamukhi by Jayakirti (JK. 2.199), Sangata by Hemacandra (2.265) and Nila by Prakrta Paingala 2.170. V. 89: The text seems to read vitta and not citta 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 Jayakirti (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 malavittam in both the text and the commentary. Hemacandra calls it Malacitra at 2.381. Malavrtta of Jayakirti (2.266) is different V. 104: The name Sesa Jati must have been applied to all metres which were lomger than the metres of the Utkrti class, till the adoption of the Dandaka into the fold of the Sanskrit Varna Vrttas. See Introduction para 15. After that, by convention, a few longer metres which did not contain the repetition of the same Trika or Aksara Gana, as in the Dandaka, came to be regarded as the Sesa Vrttas. They are called Mala Vrttas by Jayakirti 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). Virahanka mentions only one Dandaka where after the initial 6 short letters, 10 Raganas are used in each of its four Padas:

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148 savRttikaH kavidarpaNaH BRIEF NOTES but he permits any number of these Ganas, if the same number of them is employed in all the Padas. 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 Candavrstiprapata, Candavrsti-prayata or merely Candavrsti. The longest contained 16 of them and was known as Bhujanga as the commentator tells us. The author mentions only Sankha 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 Sangita) 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 Jayadaman, p. 147-148. Pingala at Chandassutra 7.32-35, mentions only one Dandaka, namely, the CandavTstiprapata and gives the common name Pracita to any other Dandaka. His commentator Halayudha, however, restricts this name only to those Dandakas which contain a smaller or larger number of Raganas, but this is against the practice of the later prosodists, who reserve the name for any Dandaka which does not contain the Raganas. Varahamihira knew and employed these Dandakas in his Brhat Samhita ch. 103; but he uses two more, Varnaka 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 Candavrstiprayata 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 Pada, provided, of course, the same number is employed in all the Padas. These two are mentioned only by Svayambhu and Hemacandra, besides by our author. Jayakirti'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 Naracas in the Ajita-santi-Stava, for which see App. III, Note on v. 14. ..

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149 UDDES A 4 ] savRttikaH kavidarpaNaH Vv. 110-117: These 8 verses define the 8 well known Ardhasama Varna Vrttas, 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 Vrttas 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 Padas; 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 Gatha. 'A Vaktra is that metre of the Anustubh class, where (in each Pada) 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 Pathya Vaktra if a Jagana (ISI) is substituted for the Yagana in the even Padas; the same is Viparita Pathya, if the Jagana (is substituted) for the Yagana in the odd Padas and the Yagana (is retained) in the even ones. That same (i.e., Viparita Pathya) again becomes a Capala, when its Jagana (in the odd Padas) is replaced by a Nagana (after the 4th letter). That is (called) Vipula Vaktra in whose even Padas, the 7th letter is always short.' It will be seen that in a Vaktra, the structure of the even Padas is restricted to a Yagana or a Jagana in repect of the 5th, the 6th and the 7th letters. Again, in each Pada, 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 Padas 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 Padas only. Any one of the 8 Ganas may be employed for these letters, but the employment of the different Ganas 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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150 savRttikaH kavidarpaNaH [ BRIEF NOTES for the Yagana in the even Padas. If a Jagana is used for the 5th, the 6th and the 7th letters in the odd Padas, and when the Yagana is retained in the even Padas as in the ordinary Vaktra, it is called a Viparita Pathya Vaktra. If a Magana is employed for them and if the 7th letter is short in the even Padas, i.e., when it behaves like a Pathya Vaktra in respect of its even Padas, having a Jagana to represent its 5th, 6th and 7th letters (it must be remembered that no other Ganas except ya and ja are possible here according to vv. 118-119), it is called a Ma-Vipula Vaktra; similarly, if any of the other five Ganas, namely, the bha, ra, sa, ta ana na, is employed for these letters in the odd Padas, it is respectively called Bha-Vipula, Ra-Vipula, Sa-Vipula, Ta-Vipula and Na-Vipula Vaktras. It will be seen that in the last six cases, namely, the Ma to Ta Vipulas, a new name, i.e., Vipula, is adopted, which is common to them all, the earlier three names, viz., Pathya, Viparita Pathya and Capala, being inapplicable and reserved for certain varieties only. Hence a definition is newly coined for Vipula in v. 120 cd. A Vipula Vaktra is that in which the 7th letter of the even Padas is short; but this definition is applicable even to the Pathya Vaktra and so we must understand Vipula to be a wider term and not coextensive with Pathya. Vipula is thus to be applied to all other cases of Vaktra which are not covered by Pathya. In short, Pathya is only a kind of Vipulato be exact--a Ya-Vipula, but it has been given a special name Pathya. See the remarks of the commentator on v. 120. V. 121: In the opinion of Saitava, a Vaktra becomes a Vipula Vaktra when the 7th letter is short in all the four Padas. This particular variety is, however, included in the Ta, Na and Bha Vipulas, where the last letter of these Ganas (i.e., the 7th of the Pada) is necessarily short. There is one more variety which is not covered by our author's scheme of Vipulas; it is the Ja-Vipula, namely, the one in which the 5th, 6th and 7th letters in all the Padas are represented by a Jagana, instead of by the usual Yagana. These six Vipulas, viz., those that have any one of the six Trikas out of the eight (excluding the Ya and the Ja Ganas), are mentioned also by Hemacandra at Chandonusasana 3.39; but other writers like Pingala (5.19), Jayadeva (JD. 5.12-15), Jayakirti (JK. 4.8-11), Kedara (VR. 2.27-30), Janasrayi 2.28, and Ratnamanjusa 4.20 mention only four, excluding the Ma-Vipula and Sa-Vipula. These are, however, added by Halayudha on Chandassutra 5.19. The remarks of Svayambhuchandas 3.10 are very interesting : He says :-'Vipula is of four kinds according to Saitava's view; (it)

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U DDESA 4] savRttikaH kavidarpaNaH 151 is of eight kinds (in the opinion of) Pingala. Who is able to define it in detail ?' His statement that Saitava admitted only four Vipulas is quite correct, since the 7th letter can be short in the odd Padas, 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 Vipula. But his remarks about Pingala are not quite accurate; for, in addition to the six Vipulas of our author, we may admit the Ja-Vipula on the strength of the word ca in Sutra 5.19 (even though Halayudha understands only the Ma-Vipula and the Sa-Vipula by the force of the same word), yet we can have only seven Vipulas, the Ya-Vipula being expressly called by him the Pathya in Sutra 5.14. Svayambhu's treatment of the metre is much different; he mentions only five kinds of it, namely, Vaktra, Suvaktra, Pathya, Pathya Vaktra and Capala Pathya. 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 Pathya ihe odd Padas are like those of the Vaktra and the even ones like those of the Suvaktra, while, in the Pathya Vaktra just the opposite takes place, i.e., the even Padas are like those of the Vaktra and the odd ones like those of the Suvaktra. In the Capala Pathya, the 5th, 6th and the 7th letters are short in the odd Padas, 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 Pathya). Here in the Kavidarpana, the six Vipulas are defined and illustrated in vv. 122-127. Illustration 122.1, 124.1, 125.2, 3, and 127.1, 2, 3 are quoted by Halayudha and even by Hemacandra, while 125.1 and 127.1 are given by Hemacandra alone. 126.1 seems to be reproduced from Halayudha, 123.3 and 127.5 are from Magha (2.44, 49), 123.1 is found even in the Kavyaprakasa and 122.3 is certainly from the Uttararamacarita of Bhavabhuti. *124.2 is already quoted in the Dhvanyaloka (NSP. ed.), p. 49. V. 128 : This verse defines the Visama Vstta called Padacatururdhva and the commentator supplements by defining the Pratyapida, Apida, Kalika, Lavali and Amstadhara, all of which are obtained by a little manipulation from the Padacatururdhva. Vy. 129-130: These two stanzas similarly define the Udgata and the Upasthitapracupita, both of which are Visama Vsttas. Even here, the commentator defines the derivatives of these two; they are thus, Saurabhaka and Lalita from the former and Vardhamana and Suddhaviradrsabha from the latter. Two more Visama Vsttas, namely, Saumy, and Jyotis are given by the commentator. In the former, the

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152 savRttikaH kavidarpaNaH [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, Chandassutra 4.50, 51 for the last two metres. Saumya is otherwise called Anangarkrida by others. UDDESA V V. 1: Vaitaliya group belongs to the category of Ubhayachandas; this chapter treats of these metres. In the odd Padas 6 Matras, in the even ones 8 Matras; thereafter, a Ragana (SIS), a short and a long letter (in both). That is the Vaitaliya. In the 8 Matras (of the even Padas) 6 short letters in succession must not occur; in both (again) an even Matra 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, Vaitaliya becomes Aupacchandasaka by the addition of a long letter at the end of every Pada. Some authors spell the name as Aupacchandasika. V. 3: "(It itself becomes) Apatalika 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 Matras in the even Padas (of a Vaitaliya), it is called Pracyika.' This same applies to the Aupacchandasaka and the Apatalika also; so that we have three kinds of the Pracyika, which is also known as Pracyavstti. V.5: 'It is called Udicyika if a long letter is similarly introduced after the initial Matra in the odd Padas.' The reading of the manuscript is corrupt, visame being expected in place of samesu. In Udicyika the even Padas are those of a Vaitaliya itself. Like the Pracyika this too is of three kinds, being possible in the case of the Aupacchandasaka and the Apatalika. The metre is otherwise known as Udicyavstti. V. 6: Similarly, a mixture of the Padas of these two earlier metres (Pracyika and Udicyika) is called Pravsttaka.' This too is of three kinds, being possible in the Vaitaliya as well as in the Aupacchandasaka and the Apatalika. 7.7: Aparantika arises from the even Padas of all (these Metres). This metre is naturally a Matra-Sama Vrtta and can be had from the three main metres as also from their derivatives. Thus we get three

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153 UDDESAS 4-6 ] argfacs: enfactor: Aparantikas from the three Pracyikas, but not from the Udicyikas and Pravrttakas, since the even Padas in the case of these two latter are identical either with those of the three main metres or with those of the three Pracyikas; so in all we have only six kinds of the Aparantika. V. 8: Caruhasini (similarly) arises from the odd Padas (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 Udicyikas. In the case of the Pracyika and the Pravrttaka, their odd Padas are identical either with those of the main metres or with those of the Udicyikas. So this too is of six kinds only. V. 9: That is Daksinantika, where there stands a long letter after the first Matra in all the Padas.' Thus we may get three Daksinantikas from the three main metres, three from the three Pracyikas, none from the Udicyikas and Pravrttakas as these are included in the three which we get from the main metres, six from the six Aparantikas (i.e. those which are obtained from the three main metres and from the three Pracyikas) and only three from the three Caruhasinis derived from the three main metres; thus we have only 15 kinds of the Daksinantikas. V. 10 Clever men should know that any metre is called Gatha when it has a smaller or larger number of letters in its Padas, or has a smaller or larger number of Padas 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 Matras 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 pratyayah: '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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154 savRttikaH kavidarpaNaH 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, Prastara and Samkhya, out of the six Pratyayas. Virahanka has given eight different kinds of a Prastara 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 Samkhya of the Matra 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, Nasta, Uddista and Lagakriya 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: jatyadhvayogas tu vsttadhvayogatulya eva iti noktah. "The adhvayoga of the Jatis is similar to that of the Vsttas 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-Gathalaksana. V. 4: This is found at Bharata's Natyasastra 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 Karpuramanjari II. 49. Vv. 16, 74, 78 and 80 are quoted without mentioning the source in the commentary on the Sandesarasaka (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 Radda in which the name Nanditadhya occurs, but it is not found in the work before us: It is as follows: jAsu virayaNi huMti paya paMca / paDhama ciya panaraha ya / bIya cAri gAraha niruddha(tta)u // taha tIyai paMcadaha / raDDubheu jANahu su suddhau // karahiya mohiNi miyanaNi / rAhAseNu(Ni) muNiMdu // aMtihiM dohau jasu havai / kavi naMdaDDa bhaNaMti //

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[155 savRttikaH kavidarpaNaH NOTES ON APP. II--Chandahkosa. Vv. 7, 16, 17, 21, 26, 32, and 41 of the Chandahkosa 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 totaka; 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: Kaminimohana is another name of Madanavatara for which see KD. 2.22. Vv. 12, 29 and 31: For the Ullala see Introduction, para 8. V. 17 : This Rasaka-Abhanaka is also called Catuspadika at SR. 86-87. V. 26 : SR. 113 employs the name Cudillau, which word therefore seems to have been substituted for Culiyau in CK. 26 by the commentators. This same stanza of SR. (113) mentions also Khadahadau and Gaha as the metres of vv. 115 and 116 respectively. The commentator on this stanza quotes a definition whose wording resembles that of Chandahkosa; 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 Bhramaravali metre and a Gatha. Bhramaravali 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 Gatha as two separate metres of vv. 115 and 116 in v. 113 according to his usual practice. This shows that Khadahadaya is separate from the Gatha and is the name of a single stanza.

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156] savRttikA kavidarpaNaH The definition quoted by the commentators mentions Ativallabha as another name of the Khadahadaka : It is as follows: sagaNA iya vIsa ya chaMdu dhuvaM lahu cAlisa vIsa gurU sumaNoharayaM / khaDahaDDayanAmahi nicca pasiddhapayaM aivallahu nAmi duIya ya taM kahiyaM / /

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TREE sanna para pramA rAjasthAna sarakAra rAjasthAna prAcyavidyA pratiSThAna ( Rajasthan Oriental Research Institute ) jodhapura sAvarAyAma MBein sUcI-patra rAjasthAna purAtana gama mAlA * pradhAna sampAdaka-padmazrI jinavijaya muni, purAtattvAcArya aprela, 1963 I0

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rAjasthAna purAtana grantha-mAlA pradhAna sampAdaka-padmazrI muni jinavijaya, purAtattvAcArya prakAzita grantha 1. saMskRta 1. pramANamaMjarI, tAkikacUr3AmaNi sarvadevAcAryakRta, sampAdaka - mImAMsAnyAyakesarI paM0 paTTAbhirAmazAstrI, vidyAsAgara / mUlya-6.00 2. yantrarAjaracanA, mahArAjA savAIjayasiMha-kArita / sampAdaka-sva0 50 kedAranAtha jyotivid, jypur| mUlya-1.75 3. mahaSikulavaibhavam, sva0 paM0 madhusUdana aojhApraNIta, bhAga 1, sampAdaka-ma0 ma0 paM0 giridharazarmA cturvedii|| mUlya-10.75 4. maharSikulavaibhavam, sva0 paM0 madhusudana aojhA praNita, bhAga 2, mUlamAtram sampAdaka-paM0 zrI pradyumna aojhaa| mUlya-4.00 5. tarkasaMgraha, annaMbhaTTakRta, sampAdaka-DaoN. jitendra jeTalI, ema.e., pI-eca. DI., mUlya-3.00 6. kArakasaMbaMdhodyota, paM0 rabhasanandIkRta, sampAdaka-DaoN0 hariprasAda zAstrI, ema. e., pI-eca. ddii.| mUlya-1.75 7. vRttidIpikA, monikRSNabhaTTakRta, sampAdaka-sva.paM. puruSottamazarmA caturvedI, saahityaacaary| mUlya-2.00 8. zabdaratnapradIpa, ajJAtakartRka, sampAdaka-DaoN. hariprasAda zAstrI, ema. e., pii-ec.ddii.| mUlya-2.00 hai. kaSNagIti. kavi somanAthaviracita, sampAdikA-DaoN. priyabAlA zAha, ema. e., pI-eca. DI., DI. liT / mUlya-1.75 10. nRttasaMgraha, ajJAtakartRka, sampAdikA-DaoN. priyabAlA zAha, ema. e., pI-eca. DI., DI. liT / mUlya-1.75 zRGgArahArAvalI, zrIharSakaviracita, sampAdikA-DaoN. priyabAlA zAha, ema. e., pI-eca.DI., DI.liT / mUlya-2.75 12. rAjavinoda mahAkAvya, mahAkavi udayarAjapraNIta, sampAdaka-paM0 zrIgopAlanArAyaNa bahurA, ema. e., upasaJcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura / mUlya-2.25 13. cakrapANivijaya mahAkAvya, bhaTTalakSmIdharaviracita, sampAdaka kezavarAma kAzIrAma zAstrI mUlya-3.50 14. natyaratnakoza (prathama bhAga), mahArANA kumbhakarNakRta, sampAdaka-pro. rasikalAla choTA lAla pArikha tathA DaoN. priyavAlA zAha, ema. e., pI-eca. DI., DI. liT / mUlya-3.75 15. uktiratnAkara, sAdhasandaragariNaviracita, sampAdaka-padmazrI muni zrIjinavijayajI, purA tattvAcArya, sammAnya saMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura / mUlya-4.75 16. durgApuSpAJjali, ma0ma0 paM0 durgAprasAdadvivedikRta, sampAdaka-paM0 zrIgaGgAdhara dvivedI, saahityaacaary| mUlya-4.25 2. karNakutUhala, mahAkavi bholAnAthaviracita, sampAdaka-paM0 zrIgopAlanArAyaNa baharA, ema. e., upa-saMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapUra / inhIM kavivara kI apara kRti zrIkRSNalIlAmatasahita / mUlya-1.50 18. IzvaravilAsamahAkAvyam, kavikalAnidhi zrIkRSNabhaTTa viracita, sampAdaka-bhaTTa zrImathurA nAthazAstrI, sAhityAcArya, jayapura / 16. rasadIdhikA, kavividyArAmapraNIta, sampAdaka-paM0 zrIgopAlanArAyaNa bahurA, ema.e. upasaMcAlaka, rAjasthAna prAcyavidyA pratiSThAna, jodhapura / mUlya-2.00 20. padyamuktAvalI, kavikalAnidhi zrIkRSNabhaTTaviracita, sampAdaka-bhaTTa zrImatharAnAtha zAstrI, saahityaacaary| mUlya-4.00 bahA " 11.50 pAlanArAyaNa vikalAnidhitaSThAna, jodhapa

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[ 2 ] 21. kAvyaprakAzasaMketa, bhAga 1 bhaTTasomezvarakRta, sampAdaka-zrIrasikalAla cho0 pArIkha, mUlya-12.00 22. " bhAga 2 mUlya-8.25 23. vasturatnakoSa, ajJAtakartRka, sampA0-DaoN. priyabAlA zAha / - mUlya-4-00 24. dazakaNThavadham, paM0 durgAprasAdadvivedikRta, sampAdaka-paM0 zrIgaGgAdhara dvivedI / mUlya-4.00 25. zrI bhuvanezvarImahAstotram, sabhASya, pRthvIdharAcAryaviracita, kavi padmanAbhakRta, bhASya sahita pUjApaJcAGgAdisaMvalita / sampAdaka-paM. zrIgopAlanArAyaNa bhuraa| mUlya-3.75 26. ratnaparIkSAdi sapta grantha saMgraha, Thakkura pherU viracita, saMzodhaka-padmazrI muni jinavijayajI, puraatttvaacaary| mUlya-6.25 27. svayaMbhUchanda, mahAkavi svayaMbhUkRta, sampA0 pro0 eca. DI. velaNakara / mUlya-7.75 28. vRttajAtisamuccaya, kavi virahAGkaracita, " " " mUlya-5.25 26. kavidarpaNa, ajJAtakartRka, , , mUlya-6.00 2. rAjasthAnI aura hindI 30. kAnhaDadeprabandha, mahAkavi padmanAbhaviracita, sampAdaka-pro0 ke.bI. vyAsa, ema. e.| mUlya-12.25 31. kyAmakhAM-rosA, kavivara jAna-racita, sampAdaka-DaoN. dazaratha zarmA aura zrIagaracanda naahttaa| mUlya-4.75 12. lAvA-rAsA, cAraNa kaviyA gopAladAnaviracita, sampAdaka-zrImahatAbacanda khaaraidd'| mUlya-3.75 33, vAMkIdAsarI khyAta, kavirAjo vAMkIdAsaracita, sampAdaka-zrInarottamadAsa svAmI, ema. e., vidyAmahodadhi / mUlya-5.50 34. rAjasthAnI sAhityasaMgraha, bhAga 1, sampAdaka-zrInarottamadAsa svAmI, em.e.| mUlya-2.25 35. rAjasthAnI sAhityasaMgraha, bhAga 2, sampAdaka-zrIpuruSottamalAla menAriyA, ema. e., sAhityaratna / mUlya-2.75 36. kavIndra kalpalatA, kavIndrAcArya sarasvatIviracita, sampAdikA-zrImatI rAnI lakSmIkumArI cuMDAvata / mUlya-2.00 37. jugalavilAsa, mahArAja pRthvIsiMhakRta, sampAdikA-zrImatI rAnI lakSmIkumArI cuuNddaavt| mUlya-1.75 38. bhagatamALa, brahmadAsajI cAraNa kRta, sampAdaka-zrI udairAjajI ujjvala / mUlya-1.75 36. rAjasthAna purAtattva mandirake hastalikhita graMyoMkI sUcI, bhAga 1 mUlya-7.50 40. rAjasthAna prAcyavidyA pratiSThAnake hastalikhita granthoMkI sUcI, bhAga 2 / mUlya-12.00 41. muMhatA naiNatIrI khyAta, bhAga 1, muMhatA naiNasIkRta, sampAdaka-zrIbadrIprasAda saakriyaa| mUlya-8.50 42. " " " ," 2, , , , mUlya-6.50 43. raghuvarajasaprakAsa, kisanAjI pADhAkRta, sampAdaka-zrI sItArAma lALasa / mUlya-8.25 44. rAjasthAnI hastalikhita grantha-sUcI, bhAga 1 saM. padmazrI muni zrIjinavijaya / mUlya-4.50 45. rAjasthAnI hastalikhita grantha-sUcI, bhAga 2-sampAdaka-zrI puruSo ttimalAla menAriyA ema.e., sAhityaratna / mUlya-2.75 46. vIravANa, DhAr3hI bAdarakRta, sampAdikA-zrImatI rAnI lakSmIkU rI cUMDAvata / mUlya-4.50 47. sva0 purohita harinArAyaNajI vidyAbhUSaNa-grantha-saMgraha-sUcI, sampAdaka-zrIgopAla nArAyaNa bahurA, ema. e. aura zrIlakSmInArAyaNa gosvAmI, dIkSita / mUlya-6.25 48. sUrajaprakAsa, bhAga 1-kaviyA karaNIdAnajI kRta, sampAdaka-zrI sItArAma laals| mUlya-8.00 " " ra " " " , mUlya -9.50 50 nehataraMga, rAvarAjA busiMha kRta-sampAdaka-zrI rAmaprasAda dAdhIca ema.e. mUlya-4.00 51 matsyapradeza kI hindI-sAhitya ko dena, pro. motIlAla gupta,ema.e.,pI.eca.DI. mUlya-7.00

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[ 3 ] presoM meM chapa rahe graMtha saMskRta 1. zakunapradIpa, lAvaNyazamaMracita sampAdaka - padmazrI muni zrIjinavijayajI / 2. tripurAbhAratIlaghustava, dharmAcAryapraNIta, sampAdaka - padmazrI muni zrIjinavijayajI 3. karuNAmRtaprapA, bhaTTa somezvaravinirmita, sampA0 - padmazrI muni zrIjinavijayajI / 4. bAlazikSAvyAkaraNa, Thakkura saMgrAmasiMharacita, sampA0 - padmazrI muni zrIjinavijayajI / 5. padArtharatnamaMjUSA, paM0 kRSNa mizraviracita, sampA0 - padmazrI muni zrIjinavijayajI / 6. vasantavilAsa phAgu, ajJAtakartRka, sampA0 - zrI ema. sI. modI | 7. nandopAkhyAna, ajJAtakartaka, sampA0 - zrI bI. je. sAMDesarA | 8. cAndravyAkaraNa, prAcArya candragomiviracita, sampA0 - zrI bI. DI. dozI / 6. prAkRtAnanda, raghunAthakaviracita sampA0 - padmazrI muni zrI jinavijayajI / 10. kavikaustubha, paM0 raghunAtharacita, sampA0 - zrI ema. ena. gorI / 11. ekAkSara nAmamAlA - sampAdaka- muni zrI ramaNIkavijayajI / 12. nRtya ratnakoza, bhAga 2, mahArANA kuMbhakarNapraNIta, sampA0 - zrI Ara. sI. pArIkha aura DaoN. priyabAlA zAha / 13. indraprastha prabandha, sampA0 - DaoN. zrIdazaratha zarmA / 14. hamIra mahAkAvyam, nayacandrasUrikRta, sampA0 - padmazrI muni zrIjinavijayajI / 15. sthUlabhadra kAkAdi, sampA0 DaoN0 zrAtmArAma jAjodiyA / 16. vAsavadattA, subandhukRta, sampA0 DaoN0 jayadeva mohanalAla zukla / 17. vRttamuktAvalI, kavilAnidhi zrIkRSNa bhaTTa kRta; saM0 paM0 zrI mathurAnAthajI bhaTTa 18. zrAgamarahasya, sva0 paM0 sarayUprasAdajI dvivedI kRta, sampA0- pro0 gaGgAdharajI dvivedI | rAjasthAnI aura hindI 16. muMhatA naiNasIrI khyAta, bhAga 3, muMhatA naiNasIkRta, sampA0 - zrI badrIprasAda sAkariyA / 20. gorA bAdala padamiNI caUpaI, kavi hemaratanakRta sampA0 - zrIudayasiMha bhaTanAgara, ema. e. 21. rAjasthAna meM saMskRta sAhitya kI khoja, esa. Ara. bhANDArakara, hindI anuvAdakazrIbrahmadatta trivedI, ema. e., 22. rAThauDAMrI vaMzAvalI, sampA0 - padmazrI muni zrIjinavijayajI / 23. sacitra rAjasthAnI bhASAsAhityagranthasUcI, sampAdaka- padmazrI muni zrIjinavijayajI / 24. mIrAM - bRhat - padAvalI, sva0 purohita harinArAyaNajI vidyAbhUSaNa dvArA saMkalita, sampA0 - padmazrI muni zrIjinavijayajI / 25. rAjasthAnI sAhityasaMgraha, bhAga 3, saMpAdaka - zrIlakSmInArAyaNa gosvAmI / 26. sUrajaprakAza, bhAga 3, kaviyA karaNIdAnakRta sampA0 - zrIsItArAma lALasa / 27. rukmiNI haraNa, sAMyAMjI bhUlA kRta, sampA0 zrI puruSottamalAla menAriyA, ema. e., sA. ratna / 28. santa kavi rajjabaH sampradAya aura sAhitya DaoN0 vrajalAla varmA / 26. samadarzI zrAcArya haribhadrasUri, zrI sukhalAlajI siMghavI / 30. pazcimI bhArata kI yAtrA, karnala jemsa TaoNDa, anu0 zrIgopAlanArAyaNa bahurA, ema. e. aMgrez2I 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. vizeSa- pustaka vikretAoM ko 25% kamIzana diyA jAtA hai /

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