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Classification of Poetry
793 māgadhi, avantijā, prācyā, according-to prabhā, pp. 34, ibid) come under Apabhramśa. From the point of view of sastra, says Dandin, anything else Sanskrit is termed 'apabhramśa'. Sargabandha etc. (by 'etc. are meant khandakavya or minor compositions, : prabhā, pp. 35, ibid), are in Sanskrit. Skandhaka is also the name of a metre. A composition in this metre has to be in Prākta language. The upa-rūpaka called sattaka adds Prabhā (pp. 36, ibid) is also woven in Prāksta. Osara is also a special metre. Anything attempted in this metre has to be in Apabhramśa. The chapter or pariccheda in such a composition is called ‘kadava’. The Prabhā (pp. 37, ibid) observes : tad ukram tīkántare
"apabhramśa-nibandhésmin sargāḥ kadavakábhidhāh, tathápabhramśa-yogyāni
cchandāmsi vividhāni ca.” - iti. etad udāharaṇam karņa-parākramā"di iti prema-candra-śarmāṇaḥ.
Dandin (K.D. I. 38) holds that 'kathā' is written in all prāksta dialects and also in Sanskrta. By Kathā he seems to include 'ākhyāyikā' also. Kadambari is an instance of kathā written in Sanskrta, observes Prabhā. But Dandin himself notes Bịhatkathā written in bhūta-bhāsa i.e. paiśācī dialect, a variety of Prākṣta.
K.D. I. 39 observes that lāsya, cchalita and sampā are to be enacted on the stage. We know that Bhāmaha also refers to such varieties of literature that are to be enacted on the stage such as dvipadī, śampā, rāsaka, skandhaka etc. Actually these are taken as upa-rūpakas. The Prabhā (pp. 37, ibid) explains that lasya is a form of dance performed by ladies and it abounds in śrngara-rasa : "stri-jana krtam śộngāra-rasa-pradhānam nộtyam lāsyam.” Prabhā also quotes from Premacandra Tarkavāgiśa, and also from Hşdayamgamā to this effect. 'Chalita' is said to be a variety of dance performed by the males. Sampā is an item presented by instruments as part of pūrva-ranga. Prabhā explains : śampā pūrvarangántargato vādya-prayoga-viśeşaḥ. (pp. 38, ibid). Prabhā quotes Nāryaśāstra (v. 62) here. 'Salya' is a variant which is also explained by Prabhā. - “bhāle hastam samāveśya nrtyam šalyeti kīrtitam." Whatever that be, these are varieties of performing arts and are enacted on the stage but all these are taken as varieties of miśra-kāvya by Dandin, of course when viewed from the point of view of the written script. By fadi' Prabhā holds that such varieties of performing art as
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