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SAHRDAYĀLOKA 'Samghāta' is defined by Bhoja as,
eka-praghattake yastv eka-ksto bhavati sūkti-samudāyaḥ, samghātas sa nigaditaḥ
vặndāvana-meghadūtā”di. For Bhoja also, samghāta is one-man-creation, having theme of varied nature. He cites 'vrndāvana' or 'meghadūta' as illustrations. Dandin (I. 13) also mentions samghāta. Taruna-vācaspati explains that its subject matter is one continuous theme (ekártha) and the author is one. Bhoja has the same characteristics with illustrations cited as above. Vādijanghāla gives the Meghadūta and Sūrya-śataka as illustrations. Thus śātaka-literature seems to be covered, under the title of samghāta
We agree with Dr. Raghavan when he observes that how a poem like Meghadūta can be called a samghāta is not understandable. If it is a mere description of the cloud, Dr. Raghavan observes, we can understand it being called a samghāta. Tarunavācaspati seems to be correct when he illustrates the samghāta by two collections, the Śarat-samghāta and the Dramida-samghāta. The latter perhaps refers to the collections in which early Tamil literature is preserved. 'Samhita' (pp. 470, ibid) is defined by Bhoja as,
"yasyām sandhīyante manīșibhir viprakīrņa-vșttāntāḥ, sā samhiteti gadita
yaduvamsa-dilīpa-vamśādi.” It is a type in which accounts scattered in different sources are placed together. The illustrations cited by Bhoja viz. Yaduvamsa and Dilīpa-vamsa are lost to us for the present. This type seems to be closer to a mahākāvya.
'Sāhityaprakāśa' is a type illustrated by śrngāra-prakāśa, wherein all vidyāsthānas i.e.-sources of learning are covered up in a single work :
"yasminn aśeșa-vidyāsthānárthavibhūtayaḥ prakāśante samhrtya, sa sāhityaprakāśa etādęśo bhavati."
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