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xvi
सवृत्तिकः कविदर्पणः
[INTRODUCTION
hastened when even a rhyme was introduced at the same place. The position of a rhyme (i.e., the main rhyme) in the case of the Şațpadis points to the same conclusion. It is not the 3rd and the 4th Pādas that are rhymed, but the 3rd and the 6th, which means that the chief rhyme contemplated the stanza as consisting of two halves rhyming with each other. The other two rhymes, when they exist, namely, that of the 1st with the 2nd and of the 4th with the 5th, were originally conceived as only internal rhymes; but, it is these internal rhymes themselves that probably led to and finalized the division of the originally single Pāda into three Pādas. Kavidarpana gives six different kinds of the Satpadī, which he calls by the name Ghattā, in vv. 29-31 and remarks that there are many other divisions of the Satpadi. He also mentions the peculiar Anuprāsa or Yamaka of this metre as explained above and remarks that the Satpadī gets an additional name Chaddanikā when it is employed at the end of a Kadavaka, briefly summing up its contents. The commentator adds, on the authority of the Chandahkandali (vv 73-74 on p. 35), that a Şațpadi receives two more names, Dhruvā and Dhruvakā, since it is recommended as compulsory, both at the commencement of a Sandhi and at the end of a Kadavaka. This seems to be an old convention mentioned by Hemacandra, on Chandonuśāsana 6.1-3. In addition to these six, the commentator mentions the three main varieties, each of which is further of eight kinds, of a Satpadi, following the Chandahkandali and Hemacandra's Chandonusāsana. The first of these main varieties is Satpada-jāti; its 3rd and 6th Pādas may each contain from 10 to 17 Mātrās in them, thus giving rise to its 8 varieties, while the other four Pādas contain only 7 Mātrās in each of them. The second main variety is Upa-jāti and the third is Avajāti. As in: Şațpada-jāti, so in Upajāti and Avajāti, the 3rd and the 6th Pādas may contain from 10 to 17 Mātrās in them, thus giving rise to 8 sub-varieties of each of the two. But the remaining Pādas, i.e., 1st, 2nd, 4th and 5th, contain 8 Mātrās in Upa-jāti and 9 Mātrās in Ava-jāti. The commentator further adds, following the Chandahkandali and Hemacandra, that like the Satpadī, even the Catuspadi and the Dvipadi are employed both at the beginning of a Sandhi and at the end of a Kadavaka; they are then called Dhruvā, Dhruvakā or Ghattā like the Şațpadi. But the additional name Chaddanikā is given only to the Catuspadi and the Șaţpadi, but not to a Dvipadī, when they stand at the end of a Kadavaka, briefly summarising the contents of the Kadavaka and finally leaving the earlier topic. There is also one more Şațpadi called Kīrtidhavala, whose rhyme is peculiar since its 1st Pāda rhymes with the 3rd in each of the two equal halves into which a stanza in this metre is divisible. No other rhyme is
