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of the SUKRITASAMKIRTANA of ARISIMHA
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refers to the preceding four verses 42-45, and the fifth, which is repeated at the end of each Sarga, is hot reckoned. These verses have no close connection with the contents of the preceding parts. The first three either contain general praises and blessings upon Vastupala or mention incidents not described by Arisimha. The fourth always names Arisimha as the author of the work and praises his poetic skill.
The titles of the separate cantos are as follows:
I. - Chapotkaṭanvyavarnana, Description of the Chapotkața dynasty (of Gujarat), 46 verses; principal metre, Vasantatilakā.
II. - Chaulukyanvayavarnana, Description of the Chaulukya dynasty (of Gujarat), 56 verses; principal metre: Upajāti.
III. Mantriprakasa, Appearance of the ministers, 67 verses; principal metre: Anushṭubh.
IV. Dharmopadeśana, Instruction in the holy law, 49 verses; principal metre: Rathoddhată.
V. Samghaprasthana, Departure of the (Jaina) congregation, 55 verses; principal metre: Vamsastha.
VI.
Suryodayavarṇana, Description of the sunrise, 40 verses; principal metre :
Mālini.
VII. Satrumjayadarśana, Visit to Satrumjaya, 48 verses; principal metre: Svägatā.
VIII. Sri-Nemidarśana, Visit to (the shrine of) the divine Neminatha, 48 verses; principal metre: Pramitāksharā.
IX Shaḍrituvarnana, Description of the six seasons of the year, 56 verses; principal metre: Drutavilambitā.
"
X-Purapravesa, Entrance into the town (Dholka), 47 verses; the metres vary every two verses or still more frequently.
XIEnumeration of Vastupala's buildings, 41 verses; principal metre :
Vasantatilakā.
Besides the metres already mentioned, the following also occur in single verses: Arya. Indravajrā, Upendravajrā, Pushpitāgrā, Mañjubhāshiṇī, Mandākrāntā, Śārdūlavikriḍita, Sikharini and Sragdhara. Amarapandita usually begins his first verse in the metre with which Arisimha ceases. In spite of the pains both poets have taken with the versification, it often happens that the first and third foot of a verse stop in the middle of a simple word. And although the really distinguished poets often use the weak cæsura by ending the first pādas of a half verse with one part of a compound, yet they avoid dividing simple words. This abuse first occurs in later poetasters. The more difficult feats of art, like Pratilomānuloma, Gomūtrikā, etc., neither Arisimha nor Amarapandita has tried. On the other hand, there are numerous anuprāsas or alliterations, and although more seldom - even yamakas or rhymes. As for the diction, one easily perceives the zealous striving to vary the turnings of the classical models, and to find new expressions or figures. The result is not a brilliant one, however, and the Sukritasamkirtana nowhere rises above the level of the mediocre. At some points one may doubt whether the
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