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Upadhyāya Meghavijaya, pupil of Krpāvijaya of the Tapāgaccha in 131 Sanskrit verses, were composed Cetodūta (18th cent. A.D.) by an anonymous in 129 Mandākrāntā metre, in the form of the Pädapūrti of Meghadūta and Induduta by Vinayavijayagaņi, pupil of Vijayaprabhasüri in 131 Mandakranta verses in the form of Vijñaptipatra. Mayūradūtaṁ (1936 AD) by Dhurandharavijaya in 180 verses in Sikhariņi metre on the line of Indudūta was composed in the 19th century. Besides, Candradüta by Vijayaprabha and Manodūta by anonymous, in 23 Sanskrit verses in Mālini metres and Hansapadārkadūtaṁ, are these Dütakavyas: Vacanadütam by Pt. Mülacanda Šāstrī, divided into two parts, depicting the story of 22nd Tirthankara Neminātha and Rājimati and Candradūta by Jambukavi (10th cent. AD).
The credit of giving details of the divisions as well as applying the divisions to the poem at hand goes to Dharmagupta, the commentator on Sukasandeśa. Again, Sukasandeśa-vyākrti, a commentary by anonymous authorship, enumerates the 12 divisions in conformity with Dharmagupta. Thus, a message poem may be arranged in the above division as follows-- Adivākyam-- forming the introductory statement of the poet, setting out the scope of the theme, Dūtayojanamchoosing a messenger and entrusting him with the task, Vrajyānga deśanā-- description of the route to be followed, Prāpyadeśavarmanaṁ-- depiction of the destination, Mandirābhijñāpanaṁ-- the description of distinguishing features of the house to which the messenger is to proceed, Priyasanniveśavimarśanam-- to describe the heroine, so that she could be identified, Anyarūpatāpatti sambhāvanā-- the hero points out the possibility of some change in the physical appearance of the heronie due to the pangs of love. The messenger has to bear this in mind in identifying the lady, Awasthāvikalpanaṁ-- the hero supposes the lady to be in different moods depending upon the time in which the messenger reaches her side. Owing to the pangs of love she may be emaciated doing odd things etc. Vacanārambhaḥ-- depiction of the preparation of conveying the message. The introductory statements regarding the identity of the messenger etc. Sandeśaväcanaṁ-- conveys the actual words of message. Abhijñādānam or the episode of identification. As a part of the message, the hero narrates something
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