________________
138 सवृत्तिकः कविदर्पणः
[BRIEF NOTES Vilasini of Hemacandra, Chandonuśāsana 4.52, is almost identical with it, but the Caturmātra in it occurs just at the middle of the Pada instead of going at the end. Vadana is known to all the three, namely, Hemacandra, Svayambhū and Rājasekhara. In the case of Madila and Adilā, however, our author records a view which is wholly opposed to the one held by Virahānka (VJS., 4.32, 34), Rājasekhara (5.20), Syayambhū (4.12) and Ratnasekhara (CK. v. 41). See also AS. v. 26 in App. III. According to these authors, it is Adila which has a common rhyme and not the Madilā as our author main. tains and as Prāksta Paingala 1.127 seems to imply. Hemacandra, on the other hand, gives Adilā as the common name to both the varieties of the Vadana; but remarks at the end of his commentary that some call it Madilā when all the four Pādas have a common rhyme. According to Virahānka's Vșttajātisamuccaya 4.32-34, the word Adilā would seem to have been used as a common name, like Galitaka and Rāsa, by the Apabhramśa poets to signify a metre which showed. striking Yamaka and Anuprāsa. It is quite likely that the name Adilā has a reference to the peculiar word-music of the metre like the name Ullala, for which see Introduction, para 8. As regards the other name Maqilā, it appears to be a new name coined to distinguish the single-rhymed stanza from the more usual and common one having separate rhymes for the two halves of it. In early stages, Adilā alone evidently served the purpose of both. Among the prosodists Svayambhū (4.12) and Rājaśekhara (5.20) are the first to use both these terms to signify the two different types of rhymed stanzas; but they reserve the older name Adilā for the rarer single-rhymed type and adopt the name Madilā for the commoner one having two separate rhymes for the two halves. Our author, however, has chosen to follow the view of 'some' recorded by Hemacandra as shown above, and so gives the new name Maạilā to the rarer single-rhymed type and reserves the older name Aạilā for the commoner variety with two rhymes. The definition of the Prāksta Paingala 1.127 agrees with this view, but its illustration has one single rhyme for all the four
Pādas. V. 22 cd : Khanda, as well as Upakhanda and Khanditā, which are its
derivatives, are designated as Avalambaka by Hemacandra, Chandonusāsana 4.45-48. Madanávatāra is known to all, but is called Kāminimohana by Ratnasekhara at Chandahkośa v. 10, when all the Pañcamātras in a Pāda are of the Ragana type. Nanditādhya, v. 78, gives Candrānana as another name of the same metre. Perhaps, the
