Studies in Jain Literature

SR No.: 001868
Original Sutra Author: N/A
Author: V M Kulkarni
Publisher: Shardaben Chimanbhai Educational Research Centre
Publication Year: 2001
Total Pages: 114
Language: English
Classification: Book_English, Literature, & Story
File Size: 14 MB

Page 546

528 STUDIES IN JAIN LITERATURE Vakpati refers to it thus : __ महुमहविअअपउत्ता वाआ कह णाम मउलउ इमम्मि / पढम-कुसुमाहि तलिणं पच्छाकुसुमं वणलआणं // 22 -V.69 9. Upakatha : Bhoja and, following him, Hemacandra define upakatha as follows : "An upakatha is what is very well known by that name, a sub-story coming up in the middle of a main story". The upakatha thus resembles the upakhyana. Bhoja cites Citralekha as an example. It is not known whether Citralekha is a separate composition or a chapter or section of another work. The latter is probable."23 Further on p. 821 V. Raghavan refers to it as a variety of a small story', and 'a tale which is introduced as an off-shoot of some well-known story'. A. K. Warder simply says : "The upakatha is apparently a supplement or sequel to a well-known older work". 24 10. Sakalakatha : Paryaya-(the same as parya-) bandha, parikatha and sakalakatha--these new types of composition are met with for the first time in Anandavardhana's Dhvanyaloka (III. 7. Vitti, p. 323). Anandavardhana combines khandakatha and sakalakatha together in dvandva compound. Abhinavagupta in his Locana explains : "Since these two types of katha are well known as written in Prakrit he has combined them together in a dvandva compound. Anandavardhana continues in the same Vrtti, regarding samghatana :.. परिकथायां कामचारः / तत्रेतिवृत्तमात्रोपन्यासेन नात्यन्तं रसबन्धाभिनिवेशात् / खण्डकथासकलकथयोस्तु प्राकृतप्रसिद्धयोः कुलकादिनिबन्धन्भूयस्त्वाद् दीर्घसमासायामपि न विरोधः / From these observations it is clear that (i) the khandakatha and the sakalakatha were well known in Prakrit literature; (ii) they abounded in kulakas, etc; (iii) there is no objection or harm if in composing them the poets adopt the samghatana involving long compounds; and (iv) since kulakas are mentioned we can assert that these two types were both in prose and verse. Anandavardhana says that "in parikatha; the real interest is in the story only. "V. Raghavan opines that it is also to be taken that this applies to the khandakatha and sakalakatha too."25 Abhinavagupta defines sakalakatha as follows : The narrative which ends with the attainment of all the desired aims is to be known as sakalakatha26. Bhoja has omitted this type. Hemacandra reproduces the above definition given