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Bhoja explains all the Alaṁkāras of the Prabandha one by one. The first Sabdalamkara refers to the begining of the Kavya. The second, elaborated by Hemachandra, refers to the details of the poet and his work, the purpose of the work, etc. The next Sabdalaṁkara refers to change of metres at the end of a Sarga. It is dropped by Hemachandra. The next feature of Sabda or form is use of word-figures and tricks in entire Sargas. The next one is the marking of the last verse of each canto with some favourite word. Such words or marks may contain one's favourite idea or name or auspicious word or benediction. The Arthalaṁkāras are based on Dandin's description of the Mahakavya (K.A. 1. 16-17).
Daṇḍin uses the expression 'Susandhibhiḥ' (I. 18) and Bhoja takes it as a Guna but Hemachandra includes it (Satsandhi) in the definition. It means the close relation between one canto and another. However Daṇḍin does not refer explicitly to Sandhis in a drama, whereas Hemachandra quotes the Natyaśāstra Kārikās on the dramatic junctions called Mukhasandhi etc. (see ante). Bhamaha says the Mahākāvya has five Sandhis (1. 20). Thus Bhoja (and Hemachandra) follows Bhāmaha. This becomes clear when Bhoja explains Mantrādāta etc. in terms of the Artha Puruṣārtha (Bhāmaha I. 21). Hemachandra omits the dramatic features. About Deśakālapātrāceṣṭā etc. it can be said that it distinguishes the Mahākāvya on account of the former's vast range of action, time, character etc. Hemachandra omits Dvisandhāna.
In K.A. I. 21-22 Daṇḍin lays down that "to describe the hero first and then the defeat of the hero's foes by the superior qualities of the hero is a method naturally nice. Also, to describe the heredity, valour, learning and other attainments of the hero's rival at first and then to describe the hero's excellence by the defeat of his foe this method too appeals to us. He uses the word "Marga" for these two methods. Thus Dandin gives two methods (Mārgadvaya) of bringing out
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