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xxxix
In the second line 4 + 4 = 8 are to be taken together देहदित्ति सं = 8 मात्राs
4
4
5
2. तें कुवि । एण त । हा कयं ॥ जणु मा रतें। णिव्भये ॥
जिह णय । री उ । व्वासिया ॥
सयल प । याणि । व्वासिया ॥
The last syllable is always to be taken long. The last five Is are-or -. Both these are found. The first pair of 2 चतुर्मात्राs can be separately distinguished but sometimes they are to be taken as 8 s going together as in 1b, 6b and c, 7 d. There are some irregularities e.g. 3 a. may be dropped; = 8 मात्राs. सट्टाणि should be read as सठाणि; 11 a In the last kadavak 14, the beginning stanza
2 मात्राs too many; 7 d. गउ सठाणि सिरि तेहि मि = तेहिम्मिवि this 2मात्राs for हि.
a
C
b d though called khandaya is in fact करिमकरभुजा of 4 + 4 4 + 4 4 + 4 4 + 4 a rhyming with b and c with d.
Sandhi VII भावली
The name of the metre is mentioned before every kadavaka-beginning stanza of this Sandhi in all mss. The metre is also used by पुष्पदंत in his महापुराणु. It is defined by Hemacandra in the खअकप्रकरण of Chn. 4. 58. सान्ते दोनावली । com. सा हेला पादान्ते द्विमात्राना आवली । That is, this metre is हेला with 2मात्राs less at the end of a पाद. It should be noted that हेला is a 22 moras metre ; thus आवेली would be 20 मात्रा metre. Again is a two-lined metre while a is a four-lined stanza.
The scheme : 6+4+4+4+
The last syllable though short is always to be taken long at the end of a पाद. Preferrably, the first चतुर्मात्रा and the last चतुर्मात्रा are very often ~ ~ ~ though and are allowed and occur at times only.
6
4
4
4
I. उग्गच्छं । तु भाणु । जिह् भुव । णु भा स । इ तमु ह । णंतुक | मलइ वि । यसाव | इ ॥ तिह सो जा । यत्तु । कुलदुरी । उ खंड । इ
सज्जण पिय । रबंधु | मुहि मुह । ऍ मंड । ई ॥
2. जिणमइ ता । ह तणय । जिणध । म्म भाव । णा ॥ जाया बा । ल विहव । सुइ सी । लपाव । णा ॥ अहणि सा हु धम्म वयणे हि वासि या ॥ पिउणो गे । हि वसइ । बंधुय । ण तोसि । या ॥
The irregularities are very few. 3 a. fifa for does not make fi long. 5 a रवणावलि उद्वेषिणु = उठेविणु; 5 c ताएँ; 6 c. संठिय
संडिय
