Vol. VI, No. 4.] A Lorn/ Metre in Prabodhachandrodaya. Ill 



[N.S.] 



In 9^997?*? we find on pp. 481-2 the several varieties of 



illustrated. On p. 56 of CTKWTO: of %^TT*f (Nirnayasagar 

 Edition) an illustration composed by himself and another 

 in the form of a rule is quoted by irrcra<Wf in his commentary 

 on errcwrwT, ch. Ill, § 114, p. 56! 



It may be noticed that all these illustrations are in praise 

 of some god, to which indeed it is highly suited, since it can 

 produce a well-sustained long passage of descriptive poetry. 

 It contains mostly long and heavy compounds and has there- 

 fore the quality of vigour. Occasionally it may contain simple 

 sentences free from long compounds as in isto^t^?^ , notably in 



«tfT3PF?T^T *^ I). 



v* 



It would be a very desirable thing if some competent 

 scholar should undertake a complete investigation into the 

 Sanskrit Prosody and should write a comparative treatise on 

 the subject. This meagre contribution would be more than 

 amply rewarded if it should serve to promote such an inquiry. 



Note. 



After writing my paper on the discovery of a long metre 

 in Prabodhachandrodaya I came across a Dandaka stanza in 

 Sankalpasuryodaya, a religious philosophical play by Vedan- 



tadecjika. This new ^k^k forms the twentieth stanza in the 



tenth Act of the play. The poet himself makes his character 

 f^nrof^i expressly indicate that it is a ^m^i "^;^?%^r ^Rmsrirr- 

 *11 ^Tftto " | Then follows the ^ysm: — ar^flfa^Mrterfa^ — 



**TT#fare^faf?Ri ii ^wangm**!, Act X, 20. 



It is a regular kind of ^*3*s as distinguished from the ir- 

 gular one of WTtf^TTt^* and that occurring in ^fr^'sfT^y, etc. 



This regular ^faf has four quarters, each consisting of 108 

 syllables consisting of the initial pair of mm s followed by Kms. 



This ^n?^ metre, which very much resembles stately prose, 

 was invented out of the desire to give expression to the sense of 

 the sublime, which can be hardly adequately expressed by 

 ordinary verse or by non-rhythmical prose. Therefore this 

 rhythmical prose or poetic prose came into existence, which 



has its correspondence to the rftfif of the Maharastra poet 



*W*PCTO*. The only difference we find there is that in qcfrta 



alliteration (^nraro) does the work of the prosodial iw s. Now 



if we turn our attention to the hymn to Narayana in the Nara- 

 yanlyopakhyana of Qantiparva, chapter 338 of Mahabharata 

 by Narada, we shall find that there is a piece of poetic prose 

 with frequent Yamakas and Anuprasas to give it rhythm. This 



exactly corresponds to the *fe^* of ^*IH<T*I and perhaps 



