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5. The Anibaddha Composition or Form
Sanskrit literature abounds in many lovely, stray verses. These single verses which are unconnected are subsumed under the fifth type of Śravya Kavya viz. Anibaddha. Hemachandra defines the Anibaddha Kavya as Muktakas and others (VII. 10).
The Anibaddha type of literary form includes Muktakas, Sandānitaka, Višeşaka, Kaläpaka, Paryā, Kośa etc. When a verse is complete in itself and is independent of any other verse or idea, it is called a Muktaka. Amaru's Muktakas oozing sentiments are well known. His one hundred stanzas on love in its many facets are excellent in point of poetic charm and beauty.
When two such verses form a group, it is a Sandānitaka. Three such verses make a Visesak. A Group of four verses forms Kalapakas. A Group of five or more verses upto fourteen forms a Kulaka. These may be in any and every language but in verse form.
When a number of such stray verses is introduced in a big poem it is called Paryā. Generally in a Mahākāvya such Paryās are found copiously in the portrayal of seasons, sunrise, night, etc.
When there is a collection of one's stray verses it is Kośa. Even the collection of the stray verses of others is called Koša; for instance, the Gāthasaptas'ati of Hala is a Kośa.
Other types of stray verses are Samghāta and Samhitā. These are collections of a single poet. When the subjects are varied, it is a Samhita. Thus the class of Anibaddha is endless. This sense is conveyed by the word Ādi in the list (VII1.9).
Lastly, Hemachandra points out an important rule that the five Sandhis, the beauty of style and matter, as mentioned in connection with the Mahākāvya are equally applicable to Akhyāyika, Campū and other forms of literature.
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