________________
xxxviii
सवृत्तिका कविदर्पणः
[ INTRODUCTION
appear that the metre was called Vastuka when composed in the Prakrit language, but when composed in the Apabhramśa or the Desi Bhāşā it was called Rodaka. Rāsākula is really the name of a strophic couplet mentioned below in v. 29. Kavidarpana 2.25 and Hemacandra, Chandonuśāsana 5.25 know this metre by the name Vastuvadana or Vastuka, while Prākṣta Paingala 1.109 calls it Kävya. (11) Gita (v. 18) also called Harigita at Präksta Paingala I.191, contains 28 Mātrās in a Pāda. This metre is sung in a Tāla of 7 Mātrās, the first stroke of the Tāla being on the 3rd Mātra in each Päda, which is thus divided into 4 Tāla, Ganas of 7 Mātrās of each. These Tāla Gaņas are to be kept separate like the Mātrā Ganas and so the 2nd and the 3rd, the 9th and the 10th, the 16th and the 17th, and lastly the 23rd and the 24th Mātrās must not be combined into a long letter. (12) Dvipadi (v. 35) which seems to be an old Prakrit metre, probably not adapted to the Tala Sangita, also contains 28 Mātrās in a Pāda, distributed over 1 Şaņmātra, 5 Caturmātras and 1 Dvimātra at the end.23 (13) Catuspadi (v. 37) contains 7 Caturmātras followed by a single Dvimātra at the end in each Pāda; it has thus 30 Mātrās in all in a Pāda. There appears to be no restriction about the nature of the Caturmātras that are to be employed in it. (14) Dandaka (v. 30) contains 32 Mātrās in each Pada and is evidently a song metre to be sung in the Tāla of 8 Mātrās. A Pada contains 8 Caturmātras out of which the even ones must always be JaGaņas or the Madhyaguru Caturmātras, while the odd ones may be any one of the remaining four Caturmātras. Like the other Dandakas this too may have been originally a dance metre. (15) Lastly, Padmāvati (v. 50) contains also 32 Mātrās in a Pāda, which are divided into eight Caturmātrās, but none of them must be a Ja-Gana or the Madhyaguru, technically called Payodhara, which spoils the rhythm of the metre, as we are told by our author.
25. Ratnasekhara defines 7 Mātrā Vșttas of the Ardhasama Catuspadi type and only 2 of the Vişama type. Among the former, Dohā is the most prominent one; its odd and even lines respectively contain 13 and 11 Mātrās (vv. 21-24; vv. 31, 32, 34 first half). Saurāṣtra or Soraţtha as it is called in Prakrit, is an inverted Dohā; it has 11 and 13 Mātrās respectively in its odd and even lines (v. 25). If five Mātrās are added at the end of the even Pädas of a Dohā, it is called Cūlikā (v. 26) and if ten Mātrās are similarly added to the same Pādas of the Dohā, it is called Upacūlikā (v. 27). If the odd Pādas of a Dohā contain 15 instead of the usual 13 Mātrās, the even Pādas being of the same i.e., their usual length, 23. See above Note No. 10.
