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सवृत्तिकः कविदर्पणः
[INTRODUCTION
parts, each consisting of 4 short letters followed by 1 long letter. Here, too, the Vaişamya is quite intentional. Hemacandra's Citralekha at Chandonuśāsana 4.71 is a Sama Catuspadi, each Päda having 26 Mātrās in it like the first two Pädas of our metre, though the number of the Mātrās is differently made up there (5, 4, 4, 4, 4, 5). The last or the 6th Vişama Vștta employed by Nandişeņa is Lalitaka in v. 18. In this metre, the first 3 Pādas are equal and similar; they contain 4 Caturmātras followed by a short and then a long letter at the end. On the other hand, the 4th Pāda contains a Pañcamātra in place of the 2nd Caturmātra, but otherwise, it is exactly similar to the first three. Among the Sama Catuspadi Mātrā Vrttas, we have another Lalitaka in v. 32; its Pādas contain 1 Tri. mātra followed by 4 Caturmātras and a long letter at the end. It has thus 21 Mātrās in each Päda, while the present Lalitaka36 has only 19.
34. Besides these 24 single and 1 strophic metres, we find that Nandişeņa has employed three different kinds of what the ms. calls Nārāca (in vv. 14, 28 and 31) and three different kinds of what it calls Vestaka (in vv. 9, 11 and 22). Nārāca and Vestaka are both of them rhythmic kinds of prose, undivided into Pādas. In the former we get any number of long and short letters coming one after another; but sometimes the long letter is replaced by two short ones for the sake of variation.37 Veștaka is really speaking not a metre; it does not con tain any definite number of Mātrā or Varņa Gaņas, or of short and long letters, but is full of Anuprāsa and in some cases of rhyming ends of words and compounds. A sort of balance is attempted by the introduction of long letters at suitable intervals. Naturally, neither the Nārāca nor the Vestaka is divided into Pādas and Jinaprabha's scansion of these is purely mechanical.88 A word about the Vaiņamya in these Vișama Vsttas would not be out of place here. We have seen how this Vaisamya is intentional
• 36. For the different Galitakas, which seem to be the same as the Lalitakas, see
Virahānka, Vrttajātisamuccaya, 4.89-105 (and notes), Hemacandra, Chandonuśāsana 4.17-40 and Kavidarpaņa, 2.23 commentary. Could Lalitaka be an older
name of the Galitaka? It seems to be suggestive of the sound effect like Adila. 37. Nārāca appears to be a name given to those metres which contain a regular
succession of short and long letters, coming one after another. See Chandaḥkośa, vv. 14, 15. Here it is transferred to a prose passage which shows this peculiar characteristic. Sanskrit Varna Vrttas which show this peculiarity are called Cămara or Pañca-camara. Do the names suggest the peculiar movement of
the metre caused by the alternation of short and long letters ? 38. The Veştaka is supposed by earlier scholars to consist of Caturmätra Gaņas
which are Sarva-laghu or Sarva-guru at the even places and Sarva-laghu or Madhya-guru at the odd places and thus supplying the peculiar rhythm. But an analysis of our Veştakas will show that here and there Pañcamātras, too,
