sibilants ç and s in which ṣ was merged; Sir G. Grierson finds in it a western dialect, which seems more probable. The Çākārī of Saṁsthānaka is nothing more or less than Māgadhī, which is given as the language of that person by the Nāṭyaçāstra, and the Caṇḍālī is merely another variety of that Prākrit. Thus the rich variety reduces itself in effect to Çaurasenī[1] and Māgadhī with Takkī, of which we have too little to say precisely what it was.
5. The Metres
The author of the Mṛcchakaṭikā shows considerable skill in metrical handling; his favourite metre is naturally enough the Çloka, which suits his rapid style and is adapted to further the progress of the dialogue. It occurs 83 times, while the next favourite, the pretty Vasantatilaka, appears 39 times, and the Çārdūlavikrīḍita 32 times. The only other important metres are the Indravajrā (26), with the Vaṅçasthā (9), and the Upajātī combination of both (5). But there occur also the Puṣpitāgrā, Praharṣiṇī, Mālinī, Vidyunmālā,[2] Vaiçvadevī, Çikhariṇī, Sragdharā, and Hariṇī, and one irregular stanza. Of the Āryā there are 21 cases, including one Gīti, with 30 morae in each half stanza, and there are two instances of the Aupacchandasika. The Prākrit metres show considerable variety; of the Āryā type there are 53 as against 44 of other types.[3]
2 ----, ----. In no other classical drama is it found.
