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सवृत्तिकः कविदर्पणः
xix
I. 117, 120, and 148 where the name Kāvya is very clearly intended to signify a single stanza and not a couplet. It is, therefore, possible to assume that for some time the name Kāvya was given to a couplet and then in course of time it was transferred to one of its constituents. I have suggested a similar process in the case of the name Dvipadi in my introduction to the Vļttajātisamuccaya, p. V-VI. It is also worthy of note that the name Kāvya is not given to a single stanza by any one except the Prākṣta Paingala.
14. The second couplet defined in v. 33 is Phulla, which is a Saptapadi, as it consists of a stanza in the Mātrā metre which has 5 Pādas, and another in the Ullāla metre which has only 2. The specific name Phulla is not mentioned anywhere else, except in the quotation from Manoratha (v. 95) which the commentator gives here. Hemacandra casually refers to the couplet, but does not mention the name, at the end of his comments on 4.79. In v. 34 an Astapadi metre called Sridhavala is defined; it is however, not a Dvibhangi or a couplet. The only other author who defines it is Hemacandra at Chandonuśāsana 5.33. Rājasekhara also gives it at Chandaḥsekhara 5.22, but does not mention the name. Our author here bodily reproduces Hemacandra's illustration, clearly mentioning his name. Hemacandra also gives another Astapadi Dhavala called Yasodhavala, whose Pādas contain respectively 14, 12, 14, 12, 11, 10 or 12, 11, 10 or 12 Mātrās in them. Perhaps Hemacandra has borrowed from Rājasekhara's Chandahsekhara 5.22-25, where, however, no names for any of the three kinds of the Dhavalas are mentioned. Five more Dvibhangis, the first four of which are Astapadīs, are further defined in vv. 34-35; the first of these (given in v. 34) has got a specific name, i.e., Tarala. It is made of a Dohaka and a Sandohaka and the commentator understands the name Dohaka as an Upalaksana of the Avadohaka, Upadohaka and Uddohaka mentioned in vv. 15-17 above. This name Tarala, too, is borrowed by our author from Manoratha, a quotation from whom is given here by the commentator. The other three Dvibhangis of the Aştapadi type have no specific names; they are made up of (1) a Vastuvadana and a Dohaka; (2) a Dohaka and a Vastuvadana; and (3) a Dvipadi and a Gīti. As said above in para 9, Gīti is to be considered as a Catuspadi. The fifth or the last Dvibhangi is called Vastu and is made up of a Mātrā and a Dohā. It is thus a Navapadi and is also known as Raddā.12 Hereafter, in v. 36, are defined in succession, a Daśapadi which is a couplet formed by a Dohaka and a Ghattā, an Ekādaśapadi, and a Dvādaśapadī, both of which are Tribhangīs or Triplets, 12. Compare Vrttajātisamuccaya, 4.31; Hemacandra, Chandonuśāsana, 5.23; Ratnase
khara, Chandaħkośa v. 34 and Präkrta Paingala, I. 133-134.
