________________
&$ 27-28 )
i
aafai
fa
at:
xliii
(v. 6), and Toțaka (v.7), all of which are based on the Akşara Ganas having four Mātrās in each of them, are to be sung in this Tāla of 8 Mātrās. Other metres which are amenable to the same Tāla are Şagpada (v. 12), Drumilā (v. 16), Vijayaka (v. 19), Danďaka (v. 30), Paddhatikā (v. 36), Aạila and Madila (v. 41), Bhinna Madilla (v. 42), Ghattă (v. 43), Hakkā (v. 45), Pramāņi (v. 46) and Padmăvati (v. 50). Those that are amenable to the Tāla of 5 or 10 Mātrās are Bhujangaprayāta, Kāminīmohana and Madanākula (vv 9-11) which have in them Aksara Ganas of 5 Mätras each. Even the Ekāvali (v. 47) is to be sung in this same Tāla. The two Nārācas in vv. 14 and 15 are to be sung in the Tāla of 6 Mātrās and the same is true of the third Nārāca in v. 46. The only metre in this collection which is to be sung in the Tāla of 7 Mātrās is Gita (v. 18). It is very significant that Ratnasekhara hardly mentions any of the pure Mātrā Vșttas which owed their origin to the unconscious efforts of the educated versifiers26 and which are described by Hemacandra at Chandonusāsana chapter 4 to 7.
26. See my remarks on the subject at JBBRAS., vol. 19 (1943), p. 29 and Metres
and Music, para 10, at Poona Orientalist, VIII.
