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267
(P. 449. A. di S. 5.
In short, these kinds of its composition are always full of music and dancing and deal with all the chief sentiments.
Other varieties of a गेयकाव्य are शम्पा, छलित, द्विपदा and others, but they are neither enumerated nor defined here by our author. For a detailed study, he only refers his readers to the works of ब्रम्ह, भरत, कोहल and other famous authors on rhetorics.
Under 1624174 come all the varieties of poetic compositions as distinguished from the dramatic compositions.
4678164, the most important of all the 789 compositions, is next defined.
It is noteworthy that he does not limit the HE17109 to Sanskrit language only, but extends their domain not only to the Prakrit language with all its dialects, but also to the DFGHIAT folk-languages or dialects. Another notable feature of his definition of of a relærzy is his mention of the five sandhis as an indispensable factor of a RET 179. Generally, the five Sandhis (mentioned and described below) are considered by all other authors as necessary only for a drama. In all other respects (such as the division of a poem into aris; the last verse of every yî to be written in a metre different from the rest of the verses in the gi) this definition of a H219187 perfectly agrees with all other definitions of a 461967. The synonyms of a nii are 811arer, sifa, 349692, 4977.
The five üfats are mentioned and defined below:
In gazte the poet begins the story in a broad but definite manner. For instance, in the verse facairatzea: of वेणीसंहार (a drama by भट्टनारायण) the poet broadly
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