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$$ 2-3]
सटीको वृत्तजातिसमुच्चयः except the 6th Caturmātra in each half which must be either a Madhyaguru or a Sarvalaghu only and no other. A significant name is given to this variety, namely, Vicitrā, by them. Thus then a Strophic Dvipadi contains ordinarily 4 pairs of a Vastuka and a Gītikā as defined above. Sometimes, however, even a Vidārī, an Ekaka, a Dvipathaka or a Vistāritaka may be interposed between the Vastuka and the Gītikā in each of the four pairs. This would make the Strophic Dvipadi a short poem or a Lyric of 12 stanzas. But if the Vidārī is employed in this manner and if its contents are such that they form a predicate or supplement which is common to all the four Vastukas, there will be no need for the following Gītikā in any one of the four pairs. In this case the Vidāri gets the significant name, i.e., Dhruvaka, and this alternative view is ascribed to older prosodists, namely, Bhujagādhipas (i.e., Kambala and Aśvatara according to the commentator), Sātavāhana and VỊddha Kavi, who according to some, says the commentator, is Hari Vrddha. Virahānka explains the terms Vidāri, Ekaka, Dvipathaka and Vistāritaka in vv. 5 and 6; but what he exactly means is not very clear. He defines Vidāri as a metre which is shorter than the Vastuka and the commentator explains that this means that the Vidārī must be shorter in length than the Vastuka that is used for the Dvipadi. This shortness may be secured either by a smaller number of Ganas in each of its four lines, or by using a metre of three lines only instead of the four in the Vastuka, as the commentator explains. A Dvipathaka is a metre of two lines only, while an Ekaka is a metre consisting of a single line. Virahānka's definition of the Vistāritaka is less clear; according to him it is a metre which partly resembles the Dvipadi (i.e., the Vastuka employed in the formation cf the Dvipadi) and partly differs from it, but has the sweetness of expression produced by the employment of suitable sounds. Unfortunately the commentator's explanation also is not very intelligible to me. So far as I can see, this Vistāritaka is almost the same as one of the three, namely, a Vidārī, a Dvipathaka or an Ekaka, but differing from them in its artificially produced sound effect, according to the explanation of the commentator. I am, however, not satisfied with this explanation, since it does not explain the name Vistāritaka in any significant manner. To me it appears that this Vistāritaka is a metre of four lines like the Vastukas employed in the Dvipadī; its main purpose, however, is to elaborate the meaning (vistārita) of what is already said in them in a different but charming manner. We often find such an elaboration in the strophic metres like Kundalikā, Candrāyana and Candrāyani
