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सवृत्तिकः कविदर्पणः
Chandaḥkośa do not show any knowledge of the shorter Ullāla, i.e., the Kumkuma. This may mean that out of the two Ullālas popularized by the bards of Magadha only one was generally adopted by the Apabhramba poets of the 13th and the 14th century, whether as a Dhruvā or as a strophe in couplets and triplets, but its favourite name or rather epithet, was completely forgotten. I think the term Ullāla was meant, originally at least, as an epithet of a Dvipadi in view of its 'charming surges or sweeps culminating in the thin skirts, each consisting of three short letters, first at the end of the 15th and then at the end of the 28th Mātrā in each of its two Pādas. The root lal signifies 'movement', 'a charming movement', as the past passive participle lalita suggests. This is indirectly corroborated by the way in which the term Ullāla is employed by both the Präkrta Paingala I.146 and the Chandahkośa v. 31, in the definition of a strophic couplet called Kundalika. If the text alone of this definition—which is almost identical in the two works—is taken into consideration, Ullāla would appear to mean 'a peculiar decoration consisting in the repetition of the last few words in the last line of the first stanza at the commencement of the second'. The strophic Kundalika is made up of a Dohā which forms its first half, and a Kāvya (whose stanza consists of four Pädas of 24 Mātrās each), which forms its other half. It must have Ullāla i.e., the decoration in the form of the repetition alluded to above. The commentator of Chandaḥkośa takes the word Ullälaka as another name of the Kāvya a stanza of which contains 96 Mātrās; this is virtually also the explanation of one of the three commentators of the Präkrta Paingala, while the other two explain the term to mean 'turning back and then proceed', or in other words, 'an immediate repetition of a few letters which are already once employed'. Chandaħkośa uses the same term Ullälaka in the same sense once more in the definition of a sister metre Kundalini, where the metre of the first stanza is Gāthā instead of Dohā, while that of the second is the same, i.e., the Kāvya, as in the Kundalika. This Kundalini is unknown to the Prākṣta Paingala.
9. The next main division of metres according to the scheme of the Kavidarpana is the Catuspadi. Among these, the Gathā stands first and in vv. 4-8, a Gathā, which is the same as the Aryā in Sanskrit, is defined together with all its kinds such as Pathyā, Vipulā and Capalā. The commentator gives additional information about some more kinds of the Gāthā, such as the 26, which begin with Kamalā and are based upon the number of short and long letters in them; the four, which bear the names of the four castes and have either all short or all long letters in one or
