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P. 19. A. 1. S. 10. ] 18
विषयस्य यत्र भेदेऽप्यभेदबुद्धिनितान्तसादृश्यात् । तत्तुल्यदेहितुल्यं काव्यं बध्नन्ति सुधियोऽपि ॥
When two poems have their subjects different from each other, but in other respects they are closely similar to each other (in point of phraseology etc.), the latter poem is called तुल्यदेहितुल्य.
(4) परपुरप्रवेशप्रतिम kind of imitation is defined by राजशेखर as “मूलैक्यं यत्र भवेत्परिकरबन्धस्तु दूरतोऽनेकः "
In this kind the idea or the subject-matter of two poems is the same but the manner of putting it is entirely different.
In addition to the above mentioned ways of borrowing or imitation, there are other ways such as:
(1) Borrowing a word or (2) a line or (3) two lines (4) three lines (5) a fraction of a word etc. Borrowing all the four lines of others' poems is obviously a plagiarism of the first magnitude and should never be resorted to. The word gerface used by 497 is significant. Even while borrowing, there is a sense of propriety which should be always observed by a poet-aspirant.
The practice of composing should be extended to समस्यापूरण and such other things. समस्या is completing a verse when only one line is given. Sometimes even two or three lines, apparently without any sense, are given, and the fourth line is to be added to it in a manner in which all the four lines appear as one homogeneous whole giving proper sense. This is the most difficult variety of ARRII. Almost all the varieties of #HEIT are illustrated by हेमचन्द्र in his विवेक.
From “aquatsfa FAFT” up to "TATET EFTAFITI Starlę ” 247, in the body of the text, gives a fairly
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