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Prakrit Literature / 189
6.9.4.2. Prabandha, a synonym for kavya, meaning a well-knit poetic-composition. In Kannada, Telugu and Tamil languages, the word prabandha is used in place of kavya. In such prabhandhas, usually campūkāvyas, aṣṭādaśa-varņas, the traditional 18 descriptions, nine (9) rasas, poetic sentiments, a happy amalgam of märga and desi elements, Vastuka-kavya and varṇaka-kavya elements find a place. Amalgamating the patron with the hero of Purāṇa-kāvya, a speciality of Kannada authors of the Räṣṭraküṭa age. The idea of this new concept was to immortalise and perpetuate the memory of the benefactor making him kriti-pati.
6.9.5. Poems of this period had a set pattern of its own. A comprehensive description of poet's dynastic lineage is followed by a concise bio-data of the author. Pampa had imbibed the quintesence of two religions, Brahminism and Jainism. Bhimapayya, father of Pampa was a proselyte. Considering the virtues of the Arhatamata, had relinquished viprakula and accepted Jaina dharma. Pampa composed his two epics in campu genere, an admixture of more verses and less prose/sporadic prose pieces. Hence, campū classics are miśrakāvyas, called tonmai in Tamil.
6.9.5.1. The genere of campu form originated with Jaina authors who took the model from Prakrit works. Jaina campū poets inspired Sanskrit, Kannada, Telugu and Tamil genius to opt to campuū form of poetry. Campū kāvyas are a normal feature in Kannada language, all authored by Jaina poets, during the period under consideration.
6.9.5.2. Śrīvijaya, poet-laureate and a close associate of Nṛpatunga, was a prolific author, who composed his works at the prescription of his overlord. Though, Kavirājamārga is composed only in verses, his other two poems, not extant, were in campû style. Śrīvijaya inaugurated a new method of composing a laukika kāvya, a non-religious secular poem, and a agama/matiya kāvya, a Jaina theme based poem. This
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