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mostly from the Agama or earlier Dharmakathā literature as their subject, which they develop in a number of kadavakas. The Antaranga-sandhi of Ratnaprabha (13th century A.D.), Bhavanā-sandhi of Jayadeva Gani, Cauranga-sandhi, Mayaņarehā-sandhi (1241 A.D.) and several other Sandhis of Jinaprabha (13th century A.D.) may be named as the typical instances.
The language of many of the Apabhramsa works after the 13th century reveal an ever-increasing influence of the contemporary speechforms, some of which were already being employed for literaty purposes, though, to start with, these new literatures were but further extensions of the Apabhramsa literary types and trends. This influence of the spoken idiom is left even in some of the illustrative verses cited in the Apabhramsa section of Hemacandra's grammer, and conversely, the Apabhramsa tradition in form, style and diction continues in literature with diminishing vigour up to the 15th century or in some cases, even later.
Concluding Remarks
From the preceding broad survey it would be seen clearly that Apabhramsa can boast of a considerably rich and varied literature. Most of the known Apabhramsa authors were Jainas and the lion's share goes to the Digambara Jainas. The high artistic traditions of the classical Sanskrit poetry were ably and creditably maintained by the Apbhramsa poets, their inescapable didacticism notwithstanding. Of course in accord with the atmosphere and spirit of their times poetic expression had become further elaborate, pedantic and fond of display. But it cannot be denied that Svayambhu, Puspadanta (and possibly Caturmukha) had a stature equalling that of any famous authors of the Sanskrit Mahākāvya. Their works have a classical eminence. The mystic verses of Yogindu, Kanha and Saraha too with their direct and penetrating spiritual note, as also the lyrical appeal of the Sandeśa-rāsaka assure them of a Venerable place in Ancient Indian literature.
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