________________
U DDESA 2.
सवृत्तिकः कविदर्पणः
145
mentioned and also illustrated this particular Dvibhangi on 4.79, which then is followed by 6 others. These last are bodily reproduced by our commentator under the Șatpadīs while commenting on v. 33, with a slight change in the order of the illustrative stanzas, where those that have a Kumkuma occur first, while those that have a Karpūra occur next.
The concluding portion of v. 35 defines the well known Dvibhangi, which has a specific name, viz., Vastu, and, further, which has 9 Pādas or is a Navapadi. It is a combination of a Mātrā and a Dohaka or its derivatives, Avadohaka and Upadohaka. This Dvibhangi is also known as the Radda and is defined by Virahānka at VIS. 4.30-31, Präkrta Paingala I. 133-143, Chandah kośa v. 34 and Hemacandra, Chandonuśasana 5.23. Our author's illustration is a beautiful example of a Paramparita Rūpaka on the Full Moon, who is variously conceived as a white parasol, a lion, a mirror, a lotus, a jar of nectar, a flower and
a bulbous root. V. 36: 'A Dohaka and a Ghattā make a Dvibhangi, and a Vastu coupled
with an Ullāla becomes a Tribhangi, while a pair of the Khandas and a Gīti make (a Tribhangi called) Dvipadikhanda.' The illustration of the first Dvibhangi is a quotation from one Tilakasūri and it mentions a monk called Sūraprabhasūri and a king of Mālava; that of the second Dvibhangi is a description of the advent of the rainy seasori as a performance staged in honour of King Ananga. For the word Dvipadi occurring in the name of the second Tribhangi, see Introduction, para 14.
V. 37: 'A pair of Ghattās is another Dvibhangi; a Tribhangi is a Dvipadi,
a Khanda and a Gīti. A quartet of the Paddhatikā and other metres is a Kadava and a collection of these last is a Sandhi.' The author's
illustration of the Dvibhangi is in praise of King Kumārapāla and se - is also the illustration of the Kadavaka. The illustration of the Tri
bhangi is a description of the Spring season. At the end of his commentary on v. 37.2, the commentator states that a similar Tribhangi having 12 Pādas can be had with any other metres which are pleasant to the ear. As an illustration, he quotes a triplet which is also given by Hemacandra on Chandonuśāsana 4.80. As he also points out, all the Dvibhangīs and Tribhangis are technically known as the Sīrsakas, for which see Hemacandra, Chandonuśāsana 4.76-83.
