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Form and Structure
1 The Form In the concluding Puspikā the work is referred to as cafeteria787-afta, as 145- 4f0-qua-voist and as crccain-afta-14. At the end of the third Adhikära it is called You - 979122- -- Social CICISTINafat and TF- Titafu. In the beginning it is called afatin-147- afei. Thus, LC. is a f an cast in the mould of 1947. The principal feature that qualifies it to be called a TH is the use of numerous metres, with two or three metres dominating. Another peculiarity, not known so far from the previous tradition regarding the THC is free use of types of rhymned prose, besides the Prakrit, Apabhramsa and postApabhramsa metres. The poet revels in showing his skill in handling numerous metres and types of rhymed prose. Hence possibly the clain that LC. is रासक-चूडामणि 'the crest-jevel of the रासकs.'
Thus as regards the theine LC. is different from the Samdesarāsaka which has an event as its theme and which is devoted to poetic treatment of that event, and consequently qualifies like Haga as a gust. LC. on the other hand is, as observed before, a Elftatotoh.
One more point to be noted is the feature of dividing the poem into sections based on the divisions of the theme. Samdesarāsaka is divided into three Prakramas, while LC, is divided into four Adhikäras.
2. Stucture General Observations. LC. is composed mostly in various metres (mostly Ergas and a few quiqas). Besides there are a few passages in rhymed prose and for a few passages a classical T is mentioned indicating the melody in which they were to be sung. Of the 26 metres used गाथा, दूहा, पद्धडी and चालि are in a majority. The language of the गाथाs and the autaus (1472021, pierfabilisa, FHITI) is Prakrit. Besides there are passages in rhymcd prosc. In many Old Gujarati texts, the sections called
50s and ads which were composed is some Mātrā-vítta and sung in
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