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Literary and Performing Arts
anthology of stray verses of different authors on the same theme it would be called Paryāyabandha; but the same type of work of one author would be called Samghāta. In actual practice we find the term vrajyā, a fourth reincarnation of the term Paryāya, frequently used in the anthologies. But the term sanghāta seems to have gone out of vogue quite early, and so when Bhoja mentions the Meghadūta as an example of the Samghāta type, one justifiably feels skeptical about there being a sound earlier tradition in this regard. 12
Notes
1. kośaḥ śloka-samūhas tu syādanyonyānapekşakaḥ/
vrajyā-krameņa racitaḥ sa evātimanoramah// sajātiyānāmekatra sanniveśo vrajyā, yathā Muktāvalyādi.
(Sāhityadarpana, 6, 329). 2. Subhāşitaratnakośa, ed. D. D. Kosambi and V. V. Gokhale
(1957), Introduction p. XXX. 3. Vajjālaggaṁ, ed. M. V. Patwardhan (1969), Introduction p. X. 4. Kosambi, Introduction to the Subhāşitaratnakośa, p. XXX. 5. ekkatthe patthāve jattha padhijjamti paura-gāhāol
tam khalu vajjālaggam vajja tti paddhai bhaniyā||
(Vajjālagga, 4) 6. “avāntarakriyāsamāptāv api vasantavarṇanādyekavarşani
yoddeśyena pravșttah paryāyabandhah.'(Locana on Dhvanyāloka,
III. 7) 7. For a discussion, see Raghavan, Bhoja's šķřgāra Prakāša
(1963), pp. 844-6. 8. Besides Hemacandra has also reproduced Abhinavagupta's
definition. 9. See Raghavan, op. cit., pp. 611, 631.
