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88 32-33 ]
सवृत्तिकः कविदर्पणः
or a Catuspadī. The second Vişama Vștta is the Sangataka used for v. 7; its first 3 Pādas contain 20 short letters followed by 1 long letter at the end, while its 4th Pada has 21 short letters and 2 long letters, one of which occurs after the 15th and the other at the end of the Päda. According to the mechanical scansion, we get 4 Pañcamātras having all short letters and a long letter at the end in Pādas 1 to 3; while in the 4th, we have 2 Pañcamātras, 2 Caturmātras, 1 Pañcamātra and a long letter at the end. Jinaprabha says that all the Pañcamatras in Pada 4 consist of short letters; but he does not say anything about Caturmātras. We, however, actually find that the first consists of all short letters, while the second is a Jagana. The Vaisamya here is quite intentional, 3 Mātrās or 1 short and 1 long letter being intentionally added in the last Päda. The 3rd Vişama Vștta employed by Nandisena in v. 10 is Rāsālubdhaka. Here the 2nd and the 4th Pādas are equal and similar ; they contain 3 Caturmātras, a short letter and a long one in succession, i.e. 15 Mātrās each; but the 1st and the 3rd are not similar and equal. The 1st Pada contains 2 Caturmätras, followed by 1 sh long letters, while the 3rd Pada has 3 full caturmätras followed by two short and one long letters at the end. Thus we get 11, 15, 12, and 15 Mātrās in the four Pādas respectively. This Vaişamya too, is intentional; otherwise it would have been a regular Ardhasama metre. The next, the 4th Vişama Vrtta is the Rāsānandita employed in v. 12. Here the 1st and the 2nd Pädas have 3 Caurmātras each, of which the last is a Sagana. The 3rd and the 4th Pādas are similar to these, but the former drops 1 from the 2 short letters of the Sagana, while the latter, i.e. the 4th Pada drops both of them. Thus we get 12, 12, 11 and 10 Mātrās respectively in the 4 Pādas. It is to be noted that in the last metre, i.e. the Rāsālubdhaka, the number of Mātrās was larger in the second half of the stanza; here, on the other hand, it is smaller. Both have the appendage rasă in common as the first part of their names.33 The 5th Vişama Vrtta is Citralekhā which is employed in v. 13. The 1st and the 2nd Pädas of this metre are equal and similar; they contain a Pañcamātra, a Caturmātra, a Pañcamātra, two Caturmātras and a Sagana in succession. The 3rd Pada has one Caturmätra more immediately before the Sagana, while the 4th has a single short letter at the same place. We have thus 26 Mātrās in the 1st and the 2nd; 30 in the 3rd, but only 27 in the 4th. Mark, however, how the concluding portion of 12 Mātrās has the same rhythm in all the Pādas. It is divided into two equal
35. It is difficult to see what the name signifies; but it is very likely that it has a
reference to its peculiar word music, as in the case of the Adila and the Ulläla, for which see note on KD. 2.21-22 and Introduction, para 8.
ction, pahe Apila an that it has
