________________
ONOMATOPOEIA $39. Adverbs of manner--TH ( 59 ), H (fax), 8 a (971), fu
(747), he-late (741–17271 ). $ 40. Interjections, conjunctions and other particles--341 ( e ), T,
1, 378 (379), 37891 (Tal), 59, a, aq, 91 (50), o (a), a s (a), णवर (केवलम् or अनन्तरम् ), णिरुह, णिरारिउ, णिरुत्तउ (नितराम् , निश्चयम् वा ), fefe (Peters), Paz ( a ), 57- (afe-a ), gs (ue), ni, ak, iaa ( 57 ), sau faal), qu (ga:), A, a, f ( Bria), #1, # ( RT prohibitive ), g (FE), HË (F48), seriit ($9€ 39€), saft, sofe (3978).
X. Onomatopoeia.
$ 41. Our work is particularly rich in the use of onomatopoetic words, which mostly occur in the description of the battle scenes.
कडयडंति ( cracking of bones), कणरणंति (jingling of anklets), कसमसंति ( breaking of spears), किलकिलंति ( bursting into laughter ), खणखणंति and खणखणंति (clashing of swords ), गुमुगुमुगुमंत ( humming of bees ), चलचलंति (sound of the entrails ), On (fluttering of banners), STRATEGIAT Sia (splashing of swords ), झणझण ( rumbling of paddy-ears), झलझलइ ( ruffing of the sea ), झंकार ( humming of bees ), टंकार or टणटणटणत ( sound of bell ), टलटलइ ( shaking of the mountain), दडयडति (tumbling of trunks of dead soldiers), धगधगंति ( sound of swords waved forcefully in the air ), 3 (braying of asses), i (cry of lamentation), रणझणंत (sound of bell ), रुणरुण ( humming of bees), ललललंति (waving of chawries), सलसलंति ( Howing of blood ), हिलिहिलि ( neighing ), थरहर ( trembling ).
12. Metre.
The author has divided the present work into nine sandhis (chapters) each of which consists of a number of kadavakas (passages) the longest sandhi (IX) containing twenty-five and the shortest (V) only thirteen. A Kadavaka forms the metrical unit of Apabhramsa poetry. It is constituted by a number of lines each of which consists of two padas or feet rhyming with each other, and ending with a verse called 'ghatta' the measure of which changes only with the chapter at the very beginning of which it is defined by means of a verse called 'dhruvaka' so named because it remains the same throughout the chapter. This arrangement corresponds with that of some of the most important poems in Hindi such as the Ramayana of Tulsidasa or the Padmavata of Malika Muhammada Jayasi, where a number of lines in 'caupai' metre ends with a 'doha' or* soratha' verse, the passage forming the unit of the whole work. The kadavakas, sometimes, have a couplet in the 'duvai' metre at the beginning as in sandhis III and IV of our work. The usual length of a kadavaka is twelve or thriteen lines, though the longest in
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