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सवृत्तिकः कविदर्पणः and in four lines in that of the Visama Catuspadis, being always composed in the Prakrit language. Thus in the second chapter, all illustrations of the Ullālas, Kumkuma and Karpūra (2.3.1-2), of Mauktikadāma (2.3.3), of the Catuspadis beginning with Pañcānanalalitā and ending with Cūdāladohaka (2.14-17), of Vadana, Madilă, Adilā and Paddhatikā (2.2122), of Rāsāvalaya and Vastuvadana (2.25), of Utsäha and Mātrās (2.2628), of Ghattās, Kīrtidhavala, Şatpada, Phulla, Sridhavala, and Tarala (2.30, 32-34), of the Dvibhangis and Tribhangis which contain a Dohaka or an Ullāla (2.35-36) and of a Kadavaka which consists of 4 stanzas in the Paddhatikā metre (2.37) are composed in the Apabhramsa language. On the other hand, the examples of the Gātha and its varieties and derivatives as also of those Dvibhangis and Tribhangīs which employ a Gāthā or a Khanda are all composed in the Prakrit language.
6. Kavidarpaņa consists of six chapters of which the first is introductory; it first gives the threefold classification of the metres based upon the unit of scansion, viz., Mātrā, Varna, cr both, as said above and then proceeds to enumerate the different kinds of Gaņas, whether of Varņa or of Mātrā, which are employed in defining the composition of the lines of the different metres (vv. 1-3). The next two stanzas (vv. 4-5) discuss the nature and the graphical representation of short and long letters in Prakrit and Apabhramśa poetry, while the definition of a Pāda and the explanation of a few technical terms used to convey numerical figures are given in the following stanza (v. 6). Finally, in the last two stanzas (vv. 7-8) rules regarding the observance of the Yati in the middle as well as at the end of a line are given. Our author is clearly in favour of the Yati, but only so far as the Varna Vịttas are concerned, where he invariably mentions it while defining them in the fourth chapter. The commentator here quotes a stanza from Svayambhūchandas (1.72) according to which the Yati was considered as optional even in the case of the Sanskrit Varna Vsttas by older prosodists like Māndavya, Bharata, Kāśyapa and Saitava, though it was adopted as compulsory in Sanskrit metres by Pingala and Jayadeva who closely follows him. In the second chapter, which is the most important one in the work, the first main division of metres, namely the Mātrā Vrttas, is treated and the author shows considerable originality in the treatment of the subject. He arranges these metres under eleven heads in accordance with the total number of Pādas or lines which a stanza or stanzas in a simple or a composite metre may contain. Thus he begins with the Dvipadī, i.e., a metre with two Pādas, and ends with a Sodaśapadi, j.e., a metre having 16 Pādas in it. Among these Dvipadī, Catuspadī,
