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SAHṚDAYALOKA
the same theme as is read in sargabandha, i.e. we also read elopement of a girl, fights, love in separation, etc. even here. (K.D. I. 29) -
"kanyaharaṇa-samgrāmavipralambhódayā"dayaḥ sargabandha-samā eva
naite vaiśeṣikā guṇāḥ." -
These discriptions are not exclusive to verse-compositions only. They can be part of major compositions both in prose and verse. Even the special marks woven by a poet in a mahākāvya such as the word 'śrī in Śiśupālavadha, or 'lakṣmi' in Kirātārjunīya, etc. could be found in major prose works also, according to Dandin, who suggests that for the masters any special mark can serve as a means to achieve their goal.
K.D. I. 31 observes :
"miśrāņi nāṭakā❞dīni teṣam anyatra vistaraḥ, gadya-padya-mayī kācic
campur ity abhidhiyate."
Thus like Bhamaha, Daṇḍin also avoids discussion concerning nataka etc. which are 'miśra' for Daşdḍin and 'abhineyártha' for Bhāmaha. It may be noted that Dandin looks at nāṭaka etc. perhaps from the angle of the style of writing which is both prose and verse, while Bhamaha has looked at them from the angle of their being enacted on the stage. Dandin refers to another form of mixted type such as 'campu', which of course is not to be enacted on the stage. Dandin then observes (K.D. I. 32):
"tadetam vānmayam bhūyaḥ samskṛtam, prākṛtam tathā,
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apabhramśaś ca miśram ca
ity ahuraryāś caturvidham." -
Literature as a whole could be written in Sanskrita, Prākṛta, Apabhramsa and a mixture of all three. When written in sanskrit a major verse writing is called sarga-bandha, skandhaka is in prākṛta and osara in apabhramśa. Dandin says that sanskrta is God's language, while prākṛta is three-fold such as tad-bhava, tat-sama and deśī. For him (K.D. I. 34) mahārāṣtrī is the best prākṛta dialect. 'Setubandha' is written in this dialect. Śauraseni, gauḍī, lați and such other dialects (such as
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