Sambodhi 1972 Vol 01

Author(s): Dalsukh Malvania, H C Bhayani
Publisher: L D Indology Ahmedabad

Page 20

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3
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H C Bhayan!
One class of the Rasaka type of Prakrit poems closely resemble the Carcart in form
The four-partite Dvipad 19 not treated by some well-know prosodic authorities like Svayambha and Hemacandra But the do treat its basic units under the Dubhangika and Tribhangika the Sirsaka class of metres Actually their scheme of metrical clas< fication has a different basis, while the VJS prosodic traditic appears to be based on a type of Prakrit poems that went out Vogue during the later times The Caupannamahapurisacarlya h specimens of both the uses of Dopadi
THE CARCARI SONG AT KUVALAYAMĀLA, p 145
12 At Kuvalayanala § 235, p 145, II 7-8 we have another specimen of a Carca 80ng14 Prince Dappaphallha, who was drugged and out of his mind, described there as daauing a Carcarika, which did not have any connecte meaning or acceptable grammar This nonsensical Carcarika song is in sligh ly Prakritized Sanskrit and it is made up of a rhymed stanza in the Ch ttaka or Tolaka metrels (Bach line has four Saganas 18 - × 4) Unlik instance has no connection with th song 13 modified Sanskrit and no and its metre is such as 18 commo
the Carcart at Kuvalayamala §9, this Spring Festival Tas language of the Prakrit Tha song has only one stanza to Sanskrit and Prakrit
THE SONG AT UPAMITIBHAV APRAPANCAKATHA, PP 272-273
13 King Ripudarana is described at Upamitibhavaprapancakatha p 272-273 as forced to dance a tri talaka Rasa and the accompanying song 18 given in st 438-442 From the two Carcarts of the Kuvalayamala di cussed above we know that the song accompanying the Rasa dance was calle Carcan So eventhough the song in the above-given context of the Upami bhavaprapancakatha is not actually called Carcart, we may take it as the san functionally And a formal analysis of this song justifies our assumptio The song consists of four Vastukas, each of which is followed by Dhruvak But here the Vastukas and the Dhruvaka are in the same metre, while t prosodiats seem to prescribe different metres for them This deviation apa the metre of the song is significantly the same as employed in the Vastuk of the first Carcart of the Kuvalayamala, viz, Mangart. Eventhough it h been given the appearance of a Sanskrit Vrtta, and as such it has the for Ra+Na+Bha+Bha + Ra (i e---~), which would defi it as the metre called Sundara, Ramaniya or Manibhusana,17 really speakır its structure is intended to reflect the moraic form 3+3+4+4+4+ Employment of rhyme (clear rhymes in 438 a, b, 439 a, b, 441 a, b, c,