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8
Tristubha nothing is to be said. Among the Aryas, in which one includes 3, 4, f. with hesitation only, is one Giti, which occurs twice (12, 2-44, 16), while the old type, appearing in Ayara 1 (-Bambhacergim) 9, Suy. I 4 and Utt. 8, is not found. Vaitalya and Aupacchandasaka are only rarely p. 497 represented in the canon. The main passage is the chapter Suy. 12, which accordingly is entitled Veyaliya from the metre. Its stanzas are on whole correctly built, but on the other hand, Utt. 1513 and Dasav. 10 have correspondingly questionable padas, and such are numerous in the Isibhas, too. Opposite Isibhas. 2, 2 f. 8, 4; 27, 2-7; 28, 24; 39, 5, where throughout irregularities or Aupacchandasaka-, Tristubh-, and Jagati padas occur, only 4,22 and 27, 1 conform with the demands of the pure Vaitaliya, 8, 1, with the restriction that d is a Jagatı-pada. In the same way, 27, 5 a-c. 6b are Indravajra-padas. Such inclusion of Indra- (and Upendra)vajra-padas is likewise known from Utt, and Dasav. In Utt. 15, they are la, 7a, 8a, 13 a-c, 16 a-d; for Dasav. 10, where also an Arya-pada and a prose-line have crept in, Leumann's foot-note (ZDMG 46, p. 638) be referred. If in 3, 4f, the Aryas already just now indicated as doubtful, can at all be designated as such, they represent, in reality, a mixture of Aryas, Slokas, and perhaps also prose. In combination, the Arya appears in the shape of "Gaha-triple-bars", as they have been called in "Worte Mahaviras" p. 4 among the Vedhas of the Uvavaiya and kindred texts. Sporadically, viz. in 25, line 23 ff., this can also be noticed in our text vavagaya-cauk-kasaya, satta-bhaya-vippamukka, atthamaya#hana-jadha, nava-bambhacera-gutta have tripple-time rhythm, chajjivanikaya-sutthu-nirata is a Vedha. Such is presupposed in the passage of 37 indicated by java. Short pieces of prose too Short pieces of prose too are known to crop up between the Veḍhas.14 Intermingling of prose with verses is found in grand style in the Bambhaceraim, the first part of the Ayara, into which the editor in his time endeavoured to bring some order, whole stanzas, half stanzas, and single padas alternate with unmetrical executions. Exactly the same picture is offered, in a smaller measure, by the mottoes of the Isibbasiyaim. It has already been shown that, leaving complete stanzas aside, in 11 cases a half-or quarter-Śloka appear as representatives of rhythmical language. From all the four "seniors" a bridge thus leads formally to our text, not counting the parallels in language and expression, on which attention will be invited below the text and in the commentary.
p. 498
It is perhaps not only the charm of novelty which makes the Isibhaslyaim appear as an original work. To stand opposite a uniform creation
12" is to be deleted.
13. "Worte Mahaviras" p. 3 centre, "Utt. 14. They are to be distinguished from the Veḍhas in print in the work of A. C. Sen : "A critical Introduction into the Paṇhāvāgaraṇāim" (Hamburg Dissertation 1936).
