________________
fours.1 In his com. on Pp. 154, discusses for a different reason, whether a is a two-lined metre or it is four-lined. Velankar has fully discussed this point at AM. II 43. VJS. III enumerates and defines no less than 57 such four-lined fats and Hemacandra also knows all of them by their names (see Ch. p. 32a/18). But strangely enough, the sort of the faч treated here does not figure in those 57. Our type has the two-lines form when it is used as the opening stanza of a Sandhi in the Ap. epic. But in lyrical compositions it appears to have the four-lined form as a rule. Cf. a similar distinction of employment in the case of पद्धडिका, वदनक etc.
10. रवणिज्ज ( रमणीयक ).
42
Occurrence: 208.
Virahānka is the sole authority to define this metre. VJS. IV 26 gives 5+5+4+4+ - as the T-scheme of the T3. Our stanza confirms it. Compare रमणीयक of 15 ayllables ( रनभभर ) in शिशुपालवध XIII.
A side-point is raised by VJS. III 27 and IV 89 which respectively define the two metres called सोम्मिआ (सौम्या) and संपिंडिआ गलिया (संपिण्डितगलिता) both with the गण - scheme 5+5+4+4+৺-, which is identical with the scheme of the T, and what is more strange, while defining the ffsafe it is expressly stated that this metre is similar to the and f! Nowhere, however, it is made clear what is the exact difference between these three. Perhaps it may be that the metre with the scheme 5+5+4+4+ ~ when it functions technically as a four-lined द्विपदी, it receives the name सौम्या, while as an independent metre it is called, which belonged to the general class . Cf. Ch. 31 b/8 and KD. II 23 com.; गाथादण्डकादिवर्जं सर्वच्छन्दांसि यमकिताङ्घ्रीणि सामान्येन गलितकानि.
fe
From the single stanza at our disposal scarcely anything can be made out regarding the preferred and forbidden forms of the individuals. The 4. TT appears to have a tendency to prefer the and end in a long as a rule. The is permissible in the
form
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