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CCCXXIV
Kavyanusasana to have been largely drawn upon by the Al. C. in this adhyāya. (See Dandin's Kāvyādarsa Pari. I vs. 11-36).
The Al. C. and the Viveka mention some poems by name which are otherwise not-known, as e. g. Abdhimanthana as an example of an Apabhramşa poem, Bhīmakāvya as that of a Grāmya poem, * Hariprabodha as that of a Samskặta poem divided into Āşyāsakas (pp. 455 - 462 ). The seventh and eighth sūtras describe Ākhyāyikā and Kathā respectively. In this matter, Bhāmaha has been followed (See Bhāmaha Alamkāra Pari I. vs. 18 - 25–29. See also Dandin's Kāvyādarşa Pari I. vs. 23-28). The Al. C., in addition to the Harshacharita and the Kādambarī, mentions Līlavatī as a Padyamayī kathā (story in verse as distinguished from the Kādambarī as a story in prose).
The other varieties of Kathā are explained in the Al. C. with their respective examples. They are Akhyāna (Govind ), Nidarşanā (Panchatantra, Kuttanimata ), Pravahlikā (Chetaka ), Manthallika (Gorochanā and Anangavatī), Maņikulyă (Matsyahasita ), Parikathā (Sūdraka), Khandakathā (Indumati ), Sakalakathā (Samarāditya – no doubt of Haribhadraşūri ) and Bịhatkathā (Naravāhanadattādi Charita referring to Guņādhya's work ). Most of these works are unknown to us.
The ninth sūtra defines Champū while the tenth defines the anibaddha as muktaka etc. This refers to the composition of verses ( without the story element or so little of it as to be negligible). The eleventh sūtra tells us that if there is a single verse, it is to
* This Bhīmakāvya might have for its subject matter Bbīma I the grand-father of Siddharaja.
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