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सम्बन्ध में पर्याप्त विश्लेषण किया है।' यह दिवपदी प्राकृत के गाया या गावा छंद का ही एक देवीय उपमेद है। अपच के विरहीक को लेकर मग मी कवियों ने इन प्रयोग किया था। इसका नाम डुबइ भी मिलता है। डा० ४०० भावानी ने इसकी गम स्कीम को वह रासक की भूमिकामेइस प्रकार स्पष्ट किया
1:
(tu ~ ~ + u
8 +8 +8 +~~~-~
दुबई तथा दिवपदी छेद के पदों के विषय में भी विद्वानों में
("
नहीं है।
इसका स्वरूप विश्लेवन प्रो० वेलणकर ने ठीक प्रकार से किया है। जिसमें इसका वतुष्पदी स्य भी मिलता है।' मस्तान में देवी ढालों में विपदी की यह काल पर्याप्त सरस है
1. There can be no doubt that the Yati that is mentioned in the case of the Dvipadia is of a musical nature. It cannot be a mere narrative pause, which is always a short one and is intre dused in the middle of a line for the convenience of the narration to allow some breathing time
Journal of the University of Bogbay page 48 APEHRANS METERES By Prof. Valenkar.
2. A few words on the name 'Duvai' Alsdorf finds it strange that in the face of the name 'Duval (Dwipaddi) defines it as a metre of four Pada In his eom, Vanshidhar discusses for a different reason whether 'Davai is a two lined metre or it is Sour Imod संदेश शासक; भूमिका, पृ. ६० - ६१
3(1), Even from very old days, there exists a difference of opi nion as to whether the Gatha should be considered as a Dvipadi or a catuspadi. There are however a few points which help to decide in favour of its being considered a Dripadi. The chief among them is the last quarter of the metre. Had the Gatha been conceived as a catuspadi of the Ardharsama type, the last quarter would have been always equal to the second, as the third is equal to the first. Nor can it be regarded as a Visan Gatuspadi as the first and the third quarters are aimilar. It is therefore evident that the Gatha was con ceived as a prinadi of the Visam like the Sikha and the Mala,"
