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Parapura-pratimataya, copajivanam as also Padapādādināmyathocitamupajivanam and Samasyāpūranadi as Hemachandra wants to deal with all these topics in greater detail, by quoting in the Viveka text the theoretical authority of Rajasekhara with examples.
Thus the Viveka commentary contains the following explanation of the different varieties of poetic imitation.
Shadow of the sense. Dependence on the sense consists in some cases by way of imaging (Pratibimbakal patāyā) as pointed out by Rajasekhara (K. M. Chapter 12). "The sense is almost the same but the setting is in other expressions. That poem, not fundamentally different, would be a kind of imaging or "poetic paraphrase". In some cases, it is in the manner of a 'copy-sketch' or just like a picture (Alekhyaprakhya) as has been said (by Rajasekhara): "Through a moderate elaboration (slight change) of particulars, a subject appears as if different." In other words, an idea is imitated by a slight change of particulars. This poem is called a copy-sketch or just like a picture. In some cases, borrowing is done by way of 'corporeal equivalence' (Tulyadehitulyataya). Rajasekhara defines it "where, despite difference of subjectmatter, identity or similarity is apprehended through extreme resemblance, that poem is called similar by corporeal equivalence or similar in respect of phraseology."
In some instances, imitation is attempted by way of 'entrance into a foreign town'. Rajasekhara defines this kind of imitation "The basis is substantially identical, but the garnishing is widely different. Such a poem representing imitation in the manner of 'a foreign city entrance', is enjoyed by good poets." And of these four types of imitation, the superiority is in an ascending order.
Now the gloss and the Tika mention that, in addition to the four main varieties of borrowing (like a shadow of the sense), there are other ways of borrowing such as (1) borrowing a word (Pada, or (2) a line (Pāda) or (3) two lines
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