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INTRODUCTION 109). The illustration in Ch, is similar in structure to our stanzas. Irregularities. In 13 6 10 a one mora is too many, while in 13 8 10 c one mora is too few. (13). Scheme. 14 + 12. Occurrence. 10. Sandhi. The odd Pādas have the same structure as the 15-moraic Pada in No. 10. It is not different from a Pāraṇakapäda. The Gana scheme is 4 + 4 + 4+ 3. Jagana is absent in the 1. Gana, rare in the 3., permitted in the 2. The end is generally , once (5 5 8c) -- U. The even Pädas are constructed on the scheme 6 + 4 + 2 i.e. the scheme of the odd Pädas of the Dohã less by the final short. The end is always u v. The form ou – is preferred in the 2. Gaņa. If the end syllables are regarded as long, the scheme would be 16 + 13, which is called Raahamsa or Rajahansa (SC. VI 131; Ráj. 143; Ch. VI 20, 107). This is one of the favourite Ghattās of Mp. It occurs in 6., 16., 18., 23., 28., 30., 35., 37., 38., 41., 43., 46., 54., 70., 73., 90., 92., 100, and 102. Sandhis. Irregularities. 10 4 9 d one mora too many. Emendation vayanu should be emended as vaņu which also improves the sense. 2) Sarvasa mā Catus padis. The usual rhyme scheme in the Sarvasamā is: a rhyming with b, c with d. (14). Scheme. 15 moras per Pāda. Occurrence. 9. 18. (27., 48., 74.) Sandhis. This is Pāraṇaka treated at SC. VI 159; Ráj. 170; Ch. VI 29. The illustrative stanza in Ch. shows that the end syllables need not be counted as long. This is the same as the third principal metre employed to build up the main body of the Kadavaka. For its detailed treatment see below. 9 3 9a, 9 5 8d, 9 13 9c, 9 14 9 c, 18 2 9c, and 18 7 9d have a long in the place of the 10. and the 11. mora together and hence they violate the scheme 6 + 4 5. The alternative scheme of 4 + 4 + 4 + 3 is satisfied by all the Pädas. This Ghattā is also found in RC. 26., 98., MP. 32., 88. and Ņāy. 5 191 a, b and 18 12 9 end in a trochee. 3) Saţ padis. The rhyme scheme in the Satpadi is: a rhyming with b, d with e, c with f. (15) Scheme. 6 + 6 12 ) theoretically 7 + 7 + 13). Occurrence. 3. Sandhi. The opening stanza of the 3. Sandhi is found in a corrupt form at SC. VIII 17 as an illustration of Chaờdaņiā V. Its definition given by SC. VIlI 16" is not clear, because of the corrupt and confused character of the text. The rhyme-scheme shows it to be a Satpadi, while the stanza appears to refer to four Pādas only. The 3. and the 6. Padas also are of unequal length. Hence the reference is of little value for us. Again SC. V 5 cites in a corrupt form the Ghatta of the 3. Kadavaka of the same Sandhi as an illustration of the fourth variety of the Satpada-jāti Dhruvaka, whose measure is to be (1) tihuanaguru taṁ gaa guru, mellavi jhiņakasáaum/ gau saritatavirahar tau, purima tänu sampaiau// (2) padhama-pae, vidia-pae, taia-pae, a tehim thiä/ ekkakkau, cha-ganu kau, vennim saala turie samthiä/