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84
PAUMACARIU
of Svayambhū and the Mahāpurāna of Puşpadanta. There are only Şagpadis and Antarasama and Sarvasama Catuspadis. This is inexplicable in view of the mention of the Dvipadi as a class of Ghattās along with the Şatpadi and the Catuşpadi.
In some cases it may not be so easy to distinguish between the Dvipadi on one hand and the Catuspadī and the Satpadi on the other. The Kuñjaravilasitā (SC. VI 129; Ch. VI 20, 106) for instance with the scheme 15+13 finds a parallel in the first Dvipadi called Karpūra (Ch. VII 1), having 28 moras per line with a caesura, after the 15. mora. Those Dvipadis, again, which have two caesuras, the first after the 10. or 12. mora and the second removed by eight moras from the first, closely correspond to the Satpadis many of which have the 1. and the 4. Pādas containing 10 or 12 moras and the 2. and the 5. Pādas containing 8 moras'. But even if we do not pay much heed to the difference in the rhyme-schemes of the Dvipadi and the Şagpadi, it is plain that only a few of the Dvipadīs are liable to be confused in this manner with some Catuspadis and Satpadīs. What of the rest? Why they are not found employed in any of the available Ap. epics? Perhaps there is some clue to explain this mystery. Svayambhū defines Dhuvaa (Dhruvaka) as that which is sung again and again in the beginning of all poetic compositions'. He does not give Chaddaņikā or Ghattā as its synonyms. At another place he mentions 'taking a retrospect' as one of the functions of the Bhuvaa'. A metre named Dhuvaa, seven types of Chaddaniās and three types of Ghattās are separately defined in the eighth chapter of SC., where it is also stated that Ghattā is used in the beginning and Chaddani at the end of the group of rhyming lines that constituted the main body of a Kadavaka; that there are also other types of Ghattās and Chaddaniās and that Ghattā and Chaddaņiä along with some other metres are employed in the beginning of a Sandhi and in the construction of a Rāsā". Rajasekhara Kavi too deals with Dhruvā, Ghattā and Chaddanikā, but in view of the text of the passage being corrupt, we fail to make out the precise sense. Hemacandra clearly says that Dhruvā, Dhruvaka and Ghattā are synonymous and he further adds that when the Catuspadi and the Satpadi, and not the Dvipadi, are employed at the end of a Kadavaka to sum up the topic of the Kadavaka they are also termed Chaddanikā". This view is echoed in the Kavidarnaņa and its commentary: Ghattā esā Kadavavaya-nihane chaddaniya/ Com.: Dhruvā, Dhruvakam iti samjñā-dvayāpi eşā (Ghattā)
tamed Dhuvaa peat' as one of thy ms. At anothe does not gir
ining and is alstely defined chaddations of this place or give an in
out the a Chattā are synonymound not the Dvipadi, are solet
(1) Over and above deaning the Satpadi, Catuspadi and! Dvipadi Dhruvās, SC.
treats in the eighth Chapter, that deals with Ap. poetic forms, some other metres called Chaddanias and Ghattās, which seem to have figured in some special way in the structure of the Ap. epic. But their proper function is obscure and as such they are indistinguishable from the various types of Dhruvās. In most of them the end syllable appears to have its actual value Two of the illustrations given for them occur in PC. as shown in the table given on p. 81. But so long as the function of these Chaddaniās and Ghattās is not clear, we cannot get any guidance from then. Ch: VII 17 defines a Dvipadi with the scheme 10, 8, 13 and actually calls it
Chaddanikā. (3) Jar gijjai puvvaddhe puno puno savva-kavva-bandhesu
dhuvaa-tti(mti) tam-iha tiviham chappaa-cauppaarn duvaarii SC. V I.
Here puvvaddhe seems to be a corrupt reading, (4) SC. VII 1. (5) SC. VIII 5, 7ff, 31, 32, 35, 49. (6) Chandaśćekhara 29, 33-34. (7) Ch. V 1 commentary. (8) Velankar 1935-1936, p. 38.
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