________________
UDDEŠA 2]
Agfa
fa
&a
141
As regards the name Dvipadi applied to a metre which is really a Catuşpadī, see Vșttajātisamuccaya, Introduction, para 5. The illustrations of both Candralekha and Dvipadi, evidently composed by the author himself as seen from the introduction of the name of the metre, are very beautiful examples of high poetical fancy. The former imagines the digit of the moon to be a leaf of the Ketaki flower placed by the lady Night on the deity, namely, the sky which is smeared with a thick paste of musk of darkness and covered with a heap of flowers, namely, the stars. In the second the moon is conceived as a bull that has drawn out with great force the cart of Light which had sunk deep in the mire of endless and fearful darkness and is now grazing the young shoots of grass in the form of the lustres of the stars, in the pasture land of the sky.
Two more metres derived from the Dvipadi are mentioned by the commentator. The first is Āranāla whose Pada is identical with that of the Dvipadi, but it is extended by a long letter at the end; the second is Kāmalekhā whose Pāda, too, is of the same type as that of the Dvipadī, but is devoid of the penultimate short letter which is compulsory in a Dvipadi.
V. 25 : Rāsāvalaya has 1 Şanmātra, 1 Caturmātra which is not a Jagana,
1 Şanmātra and 1 Pañcamātra (in its Pāda) ; while in a Vastuvadana there occur 1 Saņmātra, 1 Caturmātra which is not a Jagana, another Caturmātra which has a Dvimātra in the middle (i.e, is either a Madhya-guru or a Sarva-laghu), yet another Caturmätra which is not a Jagana and 1 Şaņmātra (at the end).' Thus the Rāsāvalaya has 21 and the Vastuvadana has 24 Mātrās in its Pāda, respectively. According to the commentator Vastuvadana is otherwise called Vastuka and is of 41 kinds according as it contains from 16 to 96 short letters in its four Pādas together. Here he quotes 4 stanzas, which are also quoted by Hemacandra at 5.25 com., giving the names of these
kinds. V. 26 : Six Caturmātras make Utsāha; the 3rd and the 5th have a
Dvimātra in their middle, while the others are not Jagaņas. Here, generally, in the Catuspadīs, there is a rhyme of the odd and the even Pādas.' This stanza defines the last Catuspadi, i.e., the Utsäha, with which, however, Hemacandra starts his treatment of the Apabhramsa metres in the fifth chapter of his Chandonuśāsana. Exceptions to the general rule about the Anuprāsa or the Antya Yamaka are metres like Pañcānanalalitā, Malayamāruta, Rāsa, as also
