________________
[INTRODUCTION
सवृत्तिकः कविदर्पणः 'mostly depending on the Kavidarpaşa'.
2. In 1935 I edited the Kavidarpana from the single palm-leaf manuscript existing at the Bhandarkar Oriental Research Institute, Poona. It was published in the Annals of the Institute, vols. 16 and 17 (1935-36) and the definitions of Jinaprabha mentioned above were given in the Appendix. But long before this, in 1923, W. Schubring had published these definitions along with the text of the Ajita-śānti-Stava at ZII. Vol. II, pp. 178203, carefully editing them both from a few Mss., which were available to him. He also gave here a Sanskrit hymn called Rsabha-Vira-Stava by the side of the main hymn, for comparison. This latter was composed by śānticandra Upadhyāya of the Tapa Gaccha in the 17th century A.D., in very close imitation of the metres of the original hymn. Schubring, however, did not give the last stanza composed by Jinaprabha at the end of the definitions. In this stanza Jinaprabha mentions the source of his definitions to be the Kavidarpana. His words are 'Kavidarpanam upajīvya prāyeņa (mostly depending upon the Kavidarpaņa)'. Actually, it is found that only four Gāthas have been reproduced from the Kavidarpana that is before us, while the remaining ones, whether Gäthās, Gītis or their halves, appear clearly to have been composed by Jinaprabha himself from the model stanzas of the hymn, on which he was commenting. This has been very well noticed by Schubring on p. 181 of the said article, and so, the words of Jinaprabha in the last stanza (No. 35) in the definitions published in Appendix III here, are to be understood in only a restricted sense. All that he has actually taken from the Kavidarpana is the four stanzas mentioned above, and what makes him use the words upajīvya is only the terminology employed by him for prescribing the Mātrā Gaņas in the composition of the different metrical lines. Perhaps, even the use of the Gathā metre for the definitions may have been adopted by Jinaprabha from the Kavidarpana. It is true that many of the metres employed in the hymn are unusual and were probably unknown to Jinaprabha from any other source and for that reason, he may have proceeded to compose his own definitions on the pattern of the Kavidarpaņa. But it is also found that in the case of a few metres, he has neglected the Kavidarpaņa, though he could have very well quoted from it its definitions of these metres. Thus the Vānavāsikā which is employed for the composition of v. 33 of the hymn, is defined at Kavidarpaņa 2. 19-20. Similarly, the Aparāntikā used for v. 34 of the hymn is defined at Kavidarpana 5.7. It must, of course, be admitted that the former is not an independent definition of the Vānavāsikā, though it is in the Gāthā metre, while the latter is not
