PAUMACARIU aihim puņu Ghatta samāmaſanti, Jamaavasāņa(e) Chaddaņi bhananti samkhă-nivaddha-kadavehim Samdhi, iha vivaha-paārahi tuhum vi vandhi/SC. VIII 30-31. “Those that compose in the Paddhadikā, bring forth a Pada (i.e. Pada) of sixteen moras. They construct a Yamaka with two Padas (i.e. Pādas) and a Kadavaka with eight Yamakas. For the beginning they lay down Ghattā and say Chaddaņi at the end of the Yamakas. A Sandhi is (composed) with a limited number of Kadavakas. So you compose it in a variety of modes'. Here a Kadavaka is said to consist of eight Yamakas, i.e. sixteen Padas, equivalent to four four-lined stanzas. The Kavidarpaņa' says the same thing in words that would remind us of Hemacandra's definition. It observes: Pajjhaạiyāi-caukkam Kadavam, tāṇam Gano Sandhi. Com. Pajjhaţikādi-chandāmsi catvāri Kadavam”. Adi sabdād Vada- nādi-parigrahah. Teşām Kadavakānām ganah Sandhi-samjñaḥ. Here Pajjhadiāi-caukkan is predicted of Kadavam and this leaves no doubt as to the meaning. Here as also in Hemacandra's definition chandas means 'a stanza', 'a unit of four lines' and not 'a metre'. In the first chapter of Ch. while dealing with terminology, Hemacandra has used this term in this technical sense. turyámśaḥ pado 'višeșe/ Com. Chandasaś caturtho bhāgaḥ pāda-samjñaḥ, aviścșe sämānya- bhidhane. Chandas here clearly means 'a stanza' of four lines. And this definition of the Kadavaka is born out by the prac- tice of early Ap. epic poets like Svayambhú in whose works the normal length of a Kadavaka does not exceed eight couplets. But after Svayambhū this convention has become slack and in the com- positions of Puşpadanta and other poets, the Kadavaka tends to be- come longer than 16 lines". Thus Hemacandra does not say anything as to how many metres are permitted to be used in the body of the Kadavaka. There are three metres which principally appear in the Kada- vakas of PC. I-XX, viz., Paddhadikā, Vadanaka and Pāranaka. The first two are 16-moraic, the last one 15-moraic. (22). Paddha dikā. The Tippaņa on the word Sayambhu in Mahipurāna 1 9 5 describes him as Pāmthadi (corrupt for Paddhadī= Paddhadiā)-bad- dha-Rāmāyana-kartā, Apalisanghiyah. Thus Svayambhū's Rāma- yana or Païmacariu was known as a poem composed in the Paddh- (1) Velankar, 1935-1936, 49, 51. (2) The Chandahkandali quoted by the Com. of the Kavidarpaņa (p. 39) has the following: Paddhadiyaihim cauhim puna kaçavam. (3) The difference in the definitions of the Kadavaka as given by Svayambhū on one hand and Hemacandra and others on the other is significant. The for- mer takes a rhyming distich as a unit and hence gives eight distichs as the measure of the Kadavaka, while the latter take a stanza of four lines as the unit and accordingly lay down four stanzas as the standard length of the Kadavaka. But the rhyme scheme in the Kadavaka bears out Svayambhữ's view. Only in some late Ap. works, wherein all restrictions as to the length of the Kadavaka appear to have been given up, it is divided in our lined stanzas. But even then the rhyming being confined to two successive lines, no organic connection obtains between the pairs constituting a stanza. Only when fresh material comes to light the difference can be explained.
