110. The sandhi of the poetic dialect is more than mere coalescence of sound with sound. Its laws effect changes in the initials and finals of words, and operate with so much uniformity that they constitute the dominant characteristic of the phonology of the literary dialect. A majority of these changes are based on the classification of all words into two distinct classes, Kala and Drutaprakritika. This distinction is so important that it runs through the entire framework of the grammar of the poetic dialect. Certain case inflexions, verbal forms, particles and individual words are called Drutaprakritikas, because they end in (n) in their normal condition, and when the (n) drops, as it sometimes does, it is supposed to be still present for the purposes of sandhi. When the final (n) dropped in the earlier stages of the language, either it left a faint nasal sound or, a sound-idea which developed into (n) before an initial vowel. Drutaprakritika words have generally three forms:
111. All the three forms were freely used in the poetic dialect according to metrical or rhythmic exigencies. These drutaprakritikas have almost disappeared from modern Telugu. In the Kavya dialect all words which are not drutaprakritikas are called kalas.
112. The initial sounds of words within a sentence undergo two sets of changes according as the previous word happens to be a Kala or a Drutaprakritika. After drutaprakritika words which have dropped (n) the initial vowel of a following word invariably took the augment (n) in the absence of coalescence. After a drutaprakritika, unaspirated initial surds changed into the
