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SAHRDAYĀLOKA cūrnaka. The first is without a compound. The second is having portions of metrical formation vowen into it. The illustration is : “vịttagandhi yathā mama samara-kandūla-nibida-bhuja-danda-kundalīksta-kodanda-śiñjini-tankārójjāgaritavairi-nagara.” Viśvanātha observes that in this illustration in the portion viz. "kundalīksta-kodanda”, we have a portion of anustubh metre, again in samarakandūla, etc. we have the same, if the first two letters are removed. 'Utkalikāprāya' is one which abounds in long compounds as illustrated in 'anisa-vishmara-nisidasara-visara-vidalita-samara-parigada-pavara-para-bala.” (Skt. = aniśa-visșmaraniśitasara-visara-vidalita-samara-parigata-pravara-para-balah."). The Chando Manjari also defines utkalikā as - bhaved utkalikāprāyam samāsā”dhyam drąháksaram - Cūrņaka' is having small compounds as in 'gunaratna-sagara', 'jagadeka-nagara', etc. Thus, Viśvanātha has classified prose-writing on the basis of presence or total absence of short or long compounds. This sounds logical. Kāmadhenu's explanation of utkalikā does not appeal to us, because any type of writing, be it with or without compound can generate emotions or utkanthā or ruha-ruhikā and thus there will be overlapping in types. Actually Vāmana himself contradicts Kāmadhenu's observations when he observes :
"padya-bhāga-vad vrtta-gandhi” - (I. iii. 23) i.e. vịtta-gandhi is that which contains portions of metrical formation, as in 'pātāla-tālu-tala-vāsisu danavesu", wherein we can read portion of vasanta-tilaka metre.
In I. iii. 24, Vāmana says, “anāviddha-lalita-padam cūrņam” - 'anāviddhāni adirgha-samāsāni lalitāni an-uddhatāni padani yasmin - i.e. such formation as having un-involved formation i.e. smooth and without long compounds and not harsh letters makes for 'cūrna' variety.
Then, at I. iii. 25, Vāmana gives the 'utkalikāpraya' as 'viparītam utkalikāprāyam', and explains it as : "āviddhóddhata-padam' 'with involved and harsh construction.' 'yathā-kulisa-śikhara-khara-nakhara-pracanda-capețā-pāțitamatta-mātanga-kumbha-sthala-galan-mada-cchatā’-cchurita-cāru-kesara-bhārabhāsura-mukhe kesariņi. This involves a long and arduous compound. Thus Kāmadhenu's explanation is contradicted by Vāmana himself and we feel we are right in taking 'utkalikāprāya' as such prose as abounds in long, and longer compounds.
'Padya' i.e. verse is divided by Vāmana in many types. "padyam aneka-bhedam”. (I. iii. 26). It is subdivided into sama, ardha-sama, visama etc. By 'adi', Kamadhenu explains that such metres as depend on mātrā, such as vaitālīya, āryā, etc. are meant.
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