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82
PAUTACARIU
loved.
Pādas actually end in a long syllable and in their case there is no possibility of getting 15, 9, 9 and 15 moras respectively. If the metre of PC. 14 7 9, having the actual scheme of 8+8+14, is to be regarded according to SC. VIII 20 as having the scheme 9+9+15, then it follows that the Sandhi- commencing stanza and all the other Ghattās of PC. 14 are to be considered as having the scheme 9+9+15, and yet one Ghattā of PC. 14, viz. PC. 14 2 9 has the scheme 8+8+14. Does this mean that in the last case a slightly different Şaţpadi is employed? But there appears no reason for this variation. The long vowel at the end of the four Pādas of PC 14 2 9 is the feminine suffix î and taking into consideration Apabhramsa development -iya into -7, it is very likely that the end syllable of PC. 14 2 9 cdef was originally -iya. In that case the irregularity would be removed.
Of the Samacatuspadīs No. 6 is not a Ghattā. It is used in the main body of the Kadavaka and hence useless for our present purpose. For No. 7 (Dhruvaka) the scheme given by SC. VIII 5 is moras for each Pada PC. 33 39 and the other Ghattās of 33. Sandhi actually contain 9 moras in each of their Padas. Thus in their case the end syllable is not to be counted as a long. But though all the Pādas of these Ghattās contain 9 moras, there is a positive difference between the odd and even Pādas. The odd Pādas of the Ghattās of PC. 33 end in -U, while the even Padas end in yl This important difference possessing a definite rhythmic effect is not at all noticed by Svayambhū in his description of the Dhruvaka. The case of the remaining Samacatuşpadi is quite peculiar. It is de. fined at SC. VIII 26 as the second type of Ghatta, but the definition stanza' appears to be somewhat corrupt, as it fails to satify the schem given by itself. Its odd Pādas actually contain 13 moras, the even Padas, 11. If we examine PC. 51 and the Ghattās of that Sandhi. we find that in all the cases, except 5 2 9a, 5 7 11c and 5 12 9c, the odd Pädas actually contain 11 moras and end in - U, while the even Pādas actually contain 12 moras and end in UU. This means that if all the Pādas are to contain 12 moras, in one and the same stanza, the end syllable of the odd Pädas, actually short, is to be regarded as long, while the end syllable of the even Pādas also actually short, is to be regarded as short! And inspite of the marked rhythmic difference in the construction of the end portions of the odd and even Pādas, the definition does not take any note thereof, but on the contrary the even Pādas of the definition stanza actually contain 11 moras and end in ---U, being thus equivalent to the odd Padas of the illustrative stanza (as also of the Ghattās of PC. 5)!
There remain now No. 3, 4, 5 and 10, the Antarasamācatuspadīs. In their case also the inconsistency of now regarding the end syllables as long, now assigning them their actual value is patent. PC. 65 1 has actually the scheme 7+13, but SC. VI 41 considers 8+14 to be its scheme. Similarly FC. 77 1 and 77 13 having the artual schemes of 8+-15 and 8+16 respectively are considered by SC. Vi 70, 73 as having the respective measures of 9+16 and 9-+17. On the other hand in the case of 41 1, both the actual measure as well as the scheme given by SC. VIII 24 are 9-+14. There is no discrepancy here in theory and practice. But the fact that the open
(1) savvanahom pi payānam, ti-nava-kalão huvanti
Ghatta-lakkhana erisau, govāla vilavanti! This reads as a regular Doha !
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