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INTRODUCTION
79
may be contrasted with the rich variety of the Galitaka metres treated by Virabänka and others. This seems to be an indication that these metres had fallen into desuetude by the time of the Kavidar paņa, and that they belong to a rather early period of Prakrit poetry. Virahānka 4.106 tells us how the leading poets (kai-vasaha) adjust the Yamakas to the Galiās employed by them; and Pravarasena's lavisb use of them may be said to illustrate the practice of the early poets. The lost Harivijaya of Sarvasena likewise contained a number of Galitakas as he is cri. ticized by Hemacandra for inserting in the poem an irrelevant description of the ocean for the sole purpose of composing verses in the Galitaka metres'. The Sanskrit verse illustrating the Galita metre in an early work like the Janaśrayı is no doubt based on Prakrit models and shows the popularity of the metre even among the votaries of Sanskrit poetry. Galita heads the list of the Prakrit metres treated in the Janaśrayı; and it is noteworthy that the author describes them as being current among the people.
Hemacandra records the opinion of certain critics that the Prakrit poems Ravanavijaya, Harivijaya and Setubandha are composed in a single metre, i.e., the Skandhaka, from the beginning to the end, and that the Galitakas are later interpolations. Bhoja
। तथा हि हरिविजये ईर्ष्याकुपितसत्यभामानुनयनप्रवृत्तस्य हरेः पारिजातहरणव्यापारेणोप
क्रान्तविप्रलम्भस्य वर्णनप्रस्ताव गलितकनिबन्धनरसिकतया कविना समुद्रवर्णनमन्तरा गडुस्थानीयं
fargay Kávyānusāsana, Vol. 1, p. 171. 2 The Galita of the Jānasrayi corresponds to the Lalitä metre of 22 mātrās defined
hy Virahāňka 4.60. Though it is not included in Virahănka's group of Galitā metres (4.89-105), it is provided with Antyayamakas like them, and was probably regarded
by some as a Galita or Galitaka metre. 3 T 92T:' 4 रावणविजयहरिविजयसेतुबन्धेष्वादितः समाप्तिपर्यन्तमेकमेव छन्दो भवतीति । गलितकानि
na fa facratafit: fegarafa af et ad off. cit., p. 461
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