84 PAUMACARIU of Svayambhū and the Mahāpurāņa of Puşpadanta. There are only Şațpadīs and Antarasama and Sarvasamā Catuspadīs. This is in- explicable in view of the mention of the Dvipadi as a class of Ghattās along with the Şatpadi and the Catuşpadi. In some cases it may not be so easy to distinguish between the Dvipadi on one hand and the Catuşpadi and the Şatpadi on the other. The Kuñjaravilasitā (SC. VI 129; Ch. VI 20, 106) for instance with the scheme 15+-13 finds a parallel in the first Dvipadi called Karpūra (Ch. VII 1), having 28 moras per line with a caesura, after the 15. mora. Those Dvipadīs, again, which have two caesuras, the first after the 10. or 12, mora and the second removed by eight moras from the first, closely correspond to the Sațpadis many of which have the 1. and the 4. Pādas containing 10 or 12 moras and the 2. and the 5. Pādas containing 8 moras". But even if we do not pay much heed to the difference in the rhyme-schemes of the Dvipadi and the Şațpadi, it is plain that only a few of the Dvipadis are liable to be confused in this manner with some Catuspadis and Satpadis. What of the rest? Why they are not found employed in any of the available Ap. epics? Perhaps there is some clue to explain this mystery. Svayambhū de- fines Õhuvaa (Dhruvaka) as that which is sung again and again in the beginning of all poetic compositions'. He does not give Chad- danik, or Ghattā as its synonyms. At another place he mentions 'taking a retrospect' as one of the functions of the Dhuvaa'. A metre named Dhuvaa, seven types of Chaddaņiās and three types of Ghat- täs are separately defined in the eighth chapter of SC. where it is also stated that Ghatta is used in the begin- ning and Chaddani at the end of the group of rhym- ing lines that constituted the main body of a Kadavaka; that there are also other types of Ghattās and Chaddañias and that Ghattā and Chaddania along with some other metres are employed in the beginning of a Sandhi and in the construction of a Rásā". Rajasekhara Kavi too deals with Dhruvā, Ghattā and Chaddaņikā, but in view of the text of the passage being corrupt, we fail to make out the precise sense. Hemacandra clearly says that Dhruvā, Dhru- vaka and Ghattā are synonymous and he further adds that when the Catuspadi and the Satpadi, and not the Dvipadi, are employed at the end of a Kadavaka to sum up the topic of the Kadavaka they are also termed Chaddanika'. This view is echoed in the Kavidar- nana and its commentary: Ghattā esā Kadavavaya-nihane chadda- niyā/ Com.: Dhruvā, Dhruvakam iti samjñā-dvayāpi eşā (Ghattā) (1) Over and above defining the Şațpadi, Catuspadi and Dvipadi Dhruvas, SC. treats in the eighth Chapter, that deals with Ap. poetic forms, some other metres called Chaddanias and Ghattās, which seem to have figured in some special way in the structure the Ap. epic. But their proper function is obscure and as such they are indistinguishable from the various types of Dhruvās. In most of them the end syllable appears to have its actual value Two of the illustrations given for them occur in PC. as shown in the table given on p. 81. But so long as the function of these Chaddanias and Ghattas is not clear, we cannot get any guidance from theni. (2) Ch. VII 17 defines a Dvipadi with the scheme 10, 8, 13 and actually calls it Chaddanika. (3) Jar gijjai puvvaddbe puno puno savva-kavva-bandhesu! dhuvaa-tti(mti) tam-iha tiviham chappaa-cauppaam duvaam: SC. V I. Here puvvadhe seems to be a corrupt reading. (4) SC. VII 1. (5) SC. VIII 5, 7f1, 31, 32, 35, 49. (6) Chandassekhara 29, 33-34. (7) Ch. V 1 commentary. (8) Velankar 1935-1936, p. 38.
