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first verse of Șaddarśanasamuccaya of Ācārya Haribhadra (7th-8th cent. AD) was explained by Gunaratnasuri in five different contexts. The detailed account of the prominent Jaina Sandhāna works is as follows: (1) Independent works: Kāvyas and Stotras
Dvisandhānakāvya also called Rāghavapāņdaviya is composed by Digambara Dhanañjaya (9th cent. AD) containing 18 cantos, it depicts the stories of Rāmāyaṇa and Mahābhārata, simultaneously. After salutation to two Thankaras Muni Suvrata and Neminātha and goddess Sarasvati, the poet, simultaneously, describes the cities of Ayodhyā and Hastinapur, the two kings Dasaratha and Pāņdu, the birth of Raghavas and Kurus. Then it depicts the detachment of king Daśaratha and Pāņdu on attaining old age and their going to forest, the assasination of demons Khara and Düşaņa by Rama and Laksamana and rescuing the cows back by Arjuna and Bhima from Kauravas after a ferocious battle, the kidnapping of Sita by Rāvana, the killing of Sāhasagati by Rama at the request of Sugrīva and the fight against the army of Jarāsandha by Krsna, the lifting up the Koțiśila by Lakşmaņa and Kțşņa, sending of Hanumāna by Rāma and Srisaila by Śrīkęsņa, as messengers, respectively to Rāvana and Jarādsandha, the march of armies to Lankā and Saurāṣtra, the battles fought between the armies of Rāma and Rāvana, Śrikrsna and Jarāsandha and the coming back of Rāma with Lakşmaņa and Sītā to Ayodhyā, Śrīkļşņa to Hastināpur, after having killed Rāvana and Jarāsandha, respectively.
This work departs from other Jaina epics in not depicting the previous births of its heroes as well as the tenets of Jainism, altogether an essential feature of Jaina Mahākāvyas. Of the style, the poet himself asserted that it should be full of all the sentiments, figures of speech, deep meanings, qualities of sweetness etc. and should be poetically and grammatically correct. Significantly, despite the handicap of Sleșa, the poet's style is lucid and playful. The richness of vocabulary, wealth of description, profusion of epithets, similes and onceits and frequency of learned allusions are distinctive of Dhanañjaya. The richness of the poet's fancy is unquestioned. Even the most general beliefs have been expressed in fanciful way. The poet like Māgha has used the
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