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INTRODUCTION
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Avitatha, see Kataka. Indravajrā (1): iv. 12. Upajāti (12) : iv. 1, 2, 6, 8, 9, 11, 13-8. Upendravajrā (7): iv. 3-5, 7, 10, 19, 20. Kataka (1): ii. 60. Drutavilambita (1): iv. 37. Pșthvi (3): iii. 57, iv. 27, 40. Praharşiņi (56) : iii. 1-56. Mañjubhāşiņi (3): iv. 28, 43, 48*2 (Sanskrit). Mandākrāntā (1): iv. 33. Mālabhāriņi, see Vasantamālikā. Mālini (3): i. 61-2, iv. 48. Rathoddhatā (1): iv. 29. Vasantatilaka (7): iv. 21, 22, 34, 36, 42, 45, 48*1. Vasantamālikā (60): i. 63, ii. 1-57, iv. 24, 32. Vamsastha (60): i. 1-60. Sālini (2): iv. 30-1. Sikhariņi (1): i. 64. Sārdūlavikrīdita (6) : ii. 58, iii. 58, iv. 23, 26, 46, 47. Sragdharā (5) : ii. 59, iv. 35, 39, 41, 44. Svāgatā (3): iii. 59, iv. 25, 38. Harini (1): iii. 60.
If frequency is a good indication, Varsastha, Vasantamālikā and Praharşiņi are the favourite metres of Rāma Pāņivāda. Compared with the extent of the work, it has to be admitted that our author has used a greater variety of metres. On the whole the verses are metrically flawless, and there is only one case of Yati-bhanga (ii. 4, cd).
VII) STYLE OF KAŃSAVAHO.
Rāma Pāṇivāda has been brought up in the traditions of classical Sanskrit the tendencies of which are consequently deep
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