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सवृत्तिकः कविदर्पणः
Mattakariņi, which thus has 16, 12, 17, 12 and 17 Mātrās in its Pādas. A promiscuous mixture of the Pādas of all these five kinds gives rise to the Bahurupā. The commentator does not give illustrations of any of these additional varieties of Mātrā.
UDDESA 2 ]
143
Vv. 29-31 These stanzas define a Șatpadi, variously called Ghatta or Chaḍḍanikā, or even a Dhruva or Dhruvaka according to the commentator, and give six different kinds of it, which, as the commentator observes, are merely illustrative. Each of the six is divisible into two equal halves which contain three lines each, having respectively 10, 8, 13; 12, 8, 13; 8, 8, 11; 10, 8, 11; 12, 8, 11; and 12, 8, 12 Mātrās. None of these types of the Satpadi Ghatta of our author is mentioned by Hemacandra in particular. Nor do they appear to have been recorded by the author of the Chandahkandali whom the commentator profusely quotes in this connection. Only one, i.e., the 10, 8, 13 type is known to Svayambhuchandas 8.11. It will be noted that in all the six types, the 2nd and the 4th Padas contain 8 Mātrās only; the 1st and the 3rd contain 8, 10, or 12, while the 3rd and the 6th have 11, 12 or 13 Mātrās in them. Of the illustrations, only the first contains the name of the metre and was probably composed by the author. The second refers to one Tilakasūri, the 3rd to King Bhimadeva and 4 to 6 to King Kumārapāla of Ahnilvad. They were obviously borrowed from existing literature.
V. 32 Kirtidhavala is another Satpadi divisible into two equal halves whose three Pādas respectively contain 14 (6,6,4), 8 (4,4), and 16 (6,6,4) Mātrās in them. The peculiarity of this metre is that its 1st Pāda rhymes with the 3rd in both the halves, which by themselves have no common rhyme like the other Ghattas. See Introduction, para 12, for other Dhavalas and the significance of the name Dhavala.
V. 33: A Vastuvadana or a similar metre coupled with an Ullala is (called) a Saṭpada, or a Sardhacchandas or a Kavya; and a Mātrā coupled with an Ullala is (called) Phulla.' For the name Kavya, see Introduction, para 13. The author gives two illustrations for the 1st Dvibhangi; the first contains a Vastuvadana (cf. v. 25 above) and a Kumkuma Ullala, while the second contains a Vastuvadana and the Karpura Ullala. The first is an Utprekṣa of an ocean on the star-lit heaven and the second contains a highly poetical description of a lecturing Suri. The word adi in the expression vastuvadanadi in the definition leads the commentator to mention and illustrate other combinations which constitute a Satpada; but all of them (Nos. 87-94) are bodily reproduced from Hemacandra's Chandonuśäsana 4.79 com. Two
