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छन्दोऽनुशासनम् ।
19 such metres, though its prescribed constitution must have a Saņmātra followed by two Caturmātras and a Dvimātra, whereas our stanzas suggest merly the existence of 4 Caturmātras. But even this name appears too early for Kālidāsa's times.12 Out of the remaining Apabhramsa stanzas one is a longer Dvipadi, with 46 Mātrās in each of its two Pādas. 13 Another one, No. 8, is identical with the Dohā of later days, while the remaining three, Nos. 36, 11 and 24, are Sama Catuspadis having respectively 10, 21 and 24 Mātrās in each of their four Pädas. We thus find that in the Apabhramsa section of this Act 10 Sama Catuşpadis, 1 Ardhasama Catuşpadi which is the same as the later Dohā, and 1 Dvipadi which may be equated with one of the Galitās defined by Virahāńka at Vjs. 4.89-95, are employed and we may therefore describe the stage of Apabhramśa prosody represented by Kālidāsa's drama as a very early one; we may describe it as the sprouting stage'.
17. Turning to the Prākrit stanzas in this Act, we find that Kālidāsa sometimes both prefixes and affixes a name in the stage directions to some of them. Thus we have Khandaka for v. 19 and Khuraka for v. 23. Similarly a name is only prefixed to vv. 3, 4, 14 and 48 and only affixed to v. 75. Vv. 4 and 75 have an identical metre which has the name Khandadhārā; its Pāda has 14 Mātrās. V. 3 has Jambhalikā, whose Pada has 13 Mātrās. V. 14 has Bhinnaka, which is identical with Chittaka of Vjs. 4. 54 and has four Sa Gaņas in its Pāda. Khuraka of v. 23 is a Sama Catus
12. It is quite possible, however, that this name like the other name Galitaka
may have been current from old days to signify any short metre, whether a Dvipadi or a Catuspadi; this is indeed the common practice in both Präkrit and Apabhramsa Prosody. In that case I make bold to suggest that the Prakrit name vayanaka should be rendered by the Sanskrit vacanaka and not by vadanaka as is usually done. Even galitaka is best understood as an equivalent of the original Sanskrit gaditaka rather than any thing else which may convey any meaning. In that case vacanaka and goditaka must be understoed as the same as a sūkta or a subhāṣita, i. e., any short pretty saying, capable. of being easily quoted, thus in verse rather than in prose. "This is v. 59; the exactly corresponding metre of the Sanskrit stanza No. 56 is designated as galitakah in the stage direction following the same. I identify the metre of both these stanzas as Vigala Galitä defined by Virahānka in his Vrttajātisamuccaya (4. 90), published in the Rajasthan Puratana Grantha
mala, Jodhpur, 1960. 14 The last Catuspadi is known as Vastuvadana or Kavya in Prākrit Prosody
and I have construed even the Love Letter of Urvasi in Act II (v. 12 ) as a a stanza in this metre,
13.
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