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144
सवृत्तिकः कविदर्पणः
BRIEF NOTES
illustrations are given also of the Phulla ; in the 1st a Mātrā of the. usual type (15, 11, 15, 11, 15) is coupled with a Kumkuma, while in the 2nd, it is combined with a Karpūra Ullāla. The 1st does not contain the name while the 2nd does contain it. The word muggadu (mrtasvam-com.) is a Desi word which occurs in old Rāsas as mogada, as my friend Dr. Bhayani tells me. Any kind of the Mātrā is allowed for this couplet as the commentator explains on the
authority of Manoratha, whom he quotes. V. 34 : 'A Sridhavala (takes place) with 3 Caturmātras and a Dvimātra
in the four odd (Pādas) and with 2 Caturmātras in the even ones each; in it the odd and the even Padas rhyme. And the Doha and the
Saṁdoha together make a Tarala. Also see Introduction para 14. V. 35: 'A Vastu (i.e., a Vastuvadana) and a Dohā, a Doha and a Vastu
vadana, so also a Dvipadi and a Gīti make a Dvibhangi. A Mātrā coupled with a Doha and the like is Vastu.' The author gives illustrations of both the kinds of the Dvibhangi; the first is a quotation from 'an author called Sūraprabhasūri. It seems to be from a Nemināthacarita in the Apabhramba language. At the end of the second illustration, the commentator mentions a curious convention occording to which some of the words employed in the Dohaka are to be repeated in the following stanza in the Vastuvadanaka metre, but in a reverse order. This same convention is observed in the case of the Dvibhangis called Candrāyana and Candrāyani as defined by Ratnasekhara in his Chandahkośa vy. 32 and 39, where a Dohā and a Kāminimohana or Madanāvatāra and a Gāthā and a Kāminimohana are coupled together. Kundalika of the Chandaħkośa v. 31 is only another name of our second Dvibhangī, since Kāvya is a name which is employed by Ratnasekhara even for the Vastuvadana as shown by me in Introduction, para 13. The convention is not observed in any other Dvibhangis and it would seem that it applies only to those Dvibhangis where a Dohā or a Gāthā is employed first and is coupled with a longer metre like the Vastuvadana following next. The typical Dvibhangi illustrated by Hemacandra at Chandonuśāsana 4.78 is a pair of a Dvipadi and a Gīti and is the same as our third Dvibhangi. Hemacandra has introduced the name Dvibhangi in his illustration while our author has not done so, and rightly so, because he does not consider the word as a proper name of a metre. The author's words taha ya are interpreted by the commentator to mean that a Dvibhangi is possible even by a combination of any other two metres; and by way of illustration gives one resulting from a Gātha and a Bhadrikā Giti. Hemacandra has
