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[59]
This rather long quotation from Dr. Raghavan brings out how ambitious project Bhoja has set himself to. By taking Sāhitya in its widest sense as "coming together of word and meaning", he wants to cover under this banner both poetry (i.e. kāvya) and non-poetry (i. e. śāstra and loka-bhāsā). So, Bhoja first takes sāhitya merely as relation between word and sense in general and includes under it two sets of relations, grammatical and poetical. Among the eight grammatical relations four are classed as kevala-sabda sambandha-śaktis and the other four as sāpeksa-sabda-sambandha-saktis. Dr. Raghavan (pp. 88 ibid) gives the following table to explain Bhoja's classification :
Kāvyam
sabdah (12 types)
arthah (12 kinds)
tayoh sāhityam
(12 kinds)
grammatical 8 kinds of sabda-sambandha-saktis
4 poetical kinds 9-dosahānam 10-gunādānam 11-alamkārayogah 12-rasa-aviyogah.
4-kevala-saktayah 1-abhidha 2-vivaksā 3-tātparyam 4-pra-vibhāgah
4-sāpeksa-śaktayaḥ 5-vyapeksā 6-sāmarthyam 7-anvayaḥ 8-ekārthībhāvaḥ
The first eight go under the name of sabda-sambandha-śaktis. Dr. Raghavan notes that in Bhoja, (pp. 89, ibid) Abhidhā comprises the three vșttis, mūkhyā, gaunī, and laksaņā. Vivakşā is of three kinds - kākvădi-vyañgyā, prakaranādi-vyangya and abhinayādi-vyangyā. In
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