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xviii
सवृत्तिकः कविदर्पणः
[INTRODUCTION
bațaka-samjñām labhate. "The Gandhodakadhārā itself, which will be described later, gets the name Jhambataka when it is used as a song (i.e., to be sung in some Tāla and not merely to be recited like a Sloka)'. Svayambhū mentions the convention about the Dhavalas and the Mangalas at 4.36-41, besides defining an independent metre called Mangala, whose first 2 Pādas contain a Sanmātra and 2 Caturmātras each, while the last 2 contain five Caturmātras each This Mangala is entirely different from the one given by Hemacandra at Chandonuśāsana 5.39. Svayambhū does not refer to either the Phullațaka or the Jhambațaka and Hemacandra must have got them from some other work on Prakrit metres, as said above. It should be noted that all the four terms, namely, Dhavala, Mangala, Phullațaka, as also Jhambataka, are used only in the case of songs sung for different purposes and not for stanzas intended for mere recital.
13. In v. 33 the author defines two strophic couplets, namely, Satpada and Phulla. The first is a Şatpadi and the second a Saptapadi metre. The Şațpada is alternatively called Sārdha-chandas or Kavya according to our author and his commentator quotes a Prakrit stanza in support of this. The same stanza is also quoted by Hemacandra at Chandonuśāsana 4.79; but from it he understands only the first two as the names intended for the couplet and totally ignores the third, i.e., Kavya. It is interesting to note, again, how the Vastuvadana itself is called a Kavya at Pro Paingala I. 108-109 and how the name Kavya is not given to a strophic couplet by any one except the author of the Kavidarpaņa. It would appear that the question turns upon the interpretation of the word Kävya in the quotation mentioned above. Our author took it as a proper name, while Hemacandra and others took it only as a common name. That it was known to the author of the Chandaḥkośa as a proper name of a couplet can, however, be inferred from CK. vv. 31 and 38 where a stanza in the Vastuvadanaka (or the Rodaka as Chandaḥkośa calls it in CK. v. 13) metre is described as only a half Kāvya (kavvaha addha; kavvapayajuyala). The two stanzas, v. 31 and v. 38, define two couplets Kundalika and Kundalinī; the 2nd constituent of both is a stanza in the Vastuvadana or the Rodaka metre, while the 1st is a Doha in the Kundalika and a Gāthā in the Kundalini. Each of these two couplets contains 8 Pādas; and when the last 4 Pādas in both of these are called half a Kāvya, the inference is that the strophic couplet as a whole was called Kavya. But as said above Prakrta Paingala calls the Vastuvadana itself a Kāvya at I. 108-109, thus giving rise to a self-contradiction, since Prakrta Paingala 1. 146 closely agrees with CK. V. 31. See also Praksta Paingala
