________________
PAUMACARIU
9, 14
79
64
C. Metres of the Ghattā or the Kadavaka-closing piece. 33. Simhavijrmbhita Antarasamā a, 6 6,13 63.
Catuspadi 34. Manmathatilaka
7, 13 65, 66 35. Abhisārikā
8, 12 60 36. Ratnāvali
8,16 37. Ketakikusuma
85 38. Trivalītarangaka
9, 16 72 39. Kāminīhāsa
11, 12
62 40. Premavilāsa
11, 14 70 41. Kāñcanamālā
11, 15 42. Abhinavavasantasri
13,9 43. Bhramaravilāsa
13, 10 80 44. Sahakārakusumamañjari
13, 14 68, 82 45. Kāminīkrīdanaka
"13, 15 46. Kāminikankanahasta
13, 16 57, 76, 86 47. Anangalalitā
14, 13 61 (ex, 1, 2), 67, 83,
84, 90 48. Manmathavilasita
, 15, 13 69, 75, 78, 81, 87 49. Kuñjaravilasita Ardhasamā a, b; c, d 14, 12
Catuspadi 50. Pāraṇaka
Sarvasamā
15 74
Catuspadi 51. Paddhadikā
*59.88 52.
Satpadī a,b,d,e; c, 6, 8, 13 61 (1, 2)
(see remarks) 53. Chaddaņikā
» 10, 8, 13 58 54. Rasanādāma
, 12, 8. 13 71 Remarks-No. 4 is called Jaíbhittiã in the Mss, P, s. In the first Kadavaka the
rhyme scheme is a, b, c, d and the refrain tēna těna těna citteṁ is repeated after each Pāda. For all the remaining Kadavakas the refrain is absent in the Mss. The rhyme a, b, c, d, is found in the head stanzas of Kad. 1 to 6 and 14 only. For the rest the scheme is 6, d. No. 6 also is said by the Mss. to be Jambhettiā. But in that case, the opening piece would consist of two stanzas or eight iines. Morastructure too has to be adjusted to suit the scheme of Jambhyttiā. It appears to me now more logical to look upon the commencing piece of Sandhi 72 rather as Vadanaka, and consequently the lines are to be read as sixteen-moraic instead of eight -- moraic as printed. The same remarks apply to the metre of the commencing piece of Sandhi 48 in supercession of what has been said on p. 18 of the introductica to Part II, No. 20 can also be looked upon as a Satpadi (as is suggested in the text by spacing) with the scheme 10, 8, 9. Similarly No. 52 can be taken to be the same as No. 47 with internal rhymes.
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