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SAHRDAYĀLOKA launched upon a new perspective to classify poetry based on an internal measure and not just an external form. Now viewing from this criticism-based classification, even a muktaka or a single stanza as of Amaru Kavi, or a prabandha or major composition such as a mahākāvya like say Raghuvamsa or a Kathā or ākhyāyikā, the major prose compositions such as Kādambari and Harśacarita or even a nātaka such as Abhijñāna-sākuntala could fall under the class of 'dhvani-kāvya'. But for the present we will continue with the Kāvya-prabheda as seen in Anandavardhana's successors, though of course Abhinavagupta is primarily interested only in the varieties and sub-varieties of dhvani, gunībhūta-vyangya and citra.
As noted earlier, though Abhinavagupta is primarily interested in criticismbased classification, he does attempt to explain under Dhv. III. 6. (Locana) some of the types beginning from Muktaka onwards, based on external form only. He observes : (pp. 225, Edn. Nandi, Ahd. '97-'98) - muktakam iti - muktakam anyena anālingitam, tasya samjñāyām kam. - Abhinavagupta unlike Dandin is careful in observing that 'muktaka' is that single stanza which is totally independent i.e. not embraced or touched (through context) by any other stanza. Thus, for him a single verse independent in itself, but taken from a given 'sarga' of a mahākāvya and or such other type of poetry, is not to be designated as 'muktaka'. It is an independent unit, by itself, first and last : "tena svatantratayā pari-samāpta-nirakānksārtham api prabandha madhyavarti na muktakam ity ucyate." muktaksyaiva viśeşanam samskstety ädi. This does not tally with Dandin.
He explains 'sandānitaka' as a unit of two stanzas which give a complete sense : "dvābhyām kriyāsamāptau sandānitakam." Three stanzas forming a unit are 'višeşaka'. "tribhir viśeşakam", and four make for ‘kalāpaka' - 'caturbhiḥ kalāpakam'. 'pañca-prabhṛtibhiḥ kulakam.' - 'Five roll-on stanzas forming a unit make for a kulaka.'
'Paryāyabandha' is that group of stanzas which covers up a topic, such as one which describes for example the spring season (perhaps in Kumāra-sambhava). Locana observes : “iti kriyāsamāptikrtā bhedā dvandvena nirdistāh. aväntara-kriyā samāptāv api vasanta-varṇanā”dir eka-varṇanīyóddeśena pravsttaḥ paryāya-bandhah."
It may be observed that according to Locana, the four types viz. muktaka, sandānitaka, visesaka and kalāpaka are based on 'completion of one activity.' They are therefore mentioned by a dvandva compound. All these four varieties are available in all languages also. We will go to observe that Hemacandra also suggests that these four varieties are seen in all languages i.e. Sanskrit, Prakrit and Apabhramśa with all their sub-varieties.
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