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Some Prakrit Poets
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3. Further Raghavan draws our attention to a Prakrit verse of some Hari cited by Namisādhu on Rudrata's Kāvyālankāra II 19. It enumerates eight modes of literary expression“ (equivalent to Anuprāsa vịtti-s): Madhura, Paruşa, Komala, Ojasvin, Nişthura, Lalita, Gambhira and Sāmānya. But Raghavan leaves it at that, as there is nothing more to suggest the identification of this Hari with Harivrddha of the Sk. illustration.
4. Now there are at least two references to Harivrddha prior to the one noted from Bhoja. One is from Virahānika before eighth century (?) and another is from Rājasekhara (c. 880--920). Virahārka's manual of Prakrit prosody called Vsttajātisamuccaya5 (=VS) indirectly gives us some further valuable information about the poet Harivěddha. Virahārka characteristically treats the structure of the Dvipadi. In the second chapter of VS., he first defines the characters and functions of various constituents like Vastuka, Gītika, Vidārī, Ekaka, Dvipathaka, Vistāritaka and Dhruvaka which build up the structure of the Dvipadi. In the end he states, on the authority of several eminent Prakrit prosodists, a rule about the employment of Gitika in the Dvipadi, and concludes the chapter with the enumeration of fiftytwo types of Dvipadis after the same authorities. The two starzas of the VS. giving the names of these metrical authorities are as under :
Bhuaähiva-Sālāhaņa-Vuddhakai-nirūviam imaṁ daie / ņihaņa-ạirūvia-dhuvaammi ratthue giiä natthi // Bhuaāhiva-Sālāhana-vuddhakai-nirūviāna duvaiņa / nāmāim jāim sāhemi tujjha taimpia kamena //
-VS. II. 8. 9 These can be translated as :
O Dear, in the treatments of Bhujagādhipa, Sātavāhana and VỊddhakavi there is no scope for a Gītika after a Vastuka, if the latter ends in a Dhruvaka.
I will now tell you, according to their order, the names of the Dvipadis which have been treated by Bhujagādhipa, Sātavāhana and Vrddakavi.'
