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SAHRDAYĀLOKA Bhāmaha picks up the thread and defines "ākhyāyikā' or a major prose composition, or a prose romance, at Kā. I. 25-27, in words:
"samskrtā’nākula-śravyaśabdártha-pada-vịttinā, gadyena yuktódātrárthā soc-chvāsā ākhyāyikā matā.” - I. 25 “vịttam ākhyāyate tasyām nāyakena sva-cestitam, vaktram cā’para-vaktram ca kāle bhāvy artha-samsi ca." - I. 26 : "kaver abhiprāyakrtair . ankanaiḥ kaiścid ankitā, kanyā-harana-sangrāma
vipralambhódayánvitā.” - I. 27 Thus an ākhyāyikā is a major prose composition cut into chapters called ucchvāsas having verses in their beginning composed in vaktra and/or aparavaktra metres, which go to suggest future happenings. This composition is written in sanskrit in a style which is not affected and which abounds in words and meanings having felicity of expression. The theme is lofty and the hero himself narrates his own story. The composition also carries certain marks special to the poet and the narration is full of incidents such as eloping a girl, fight, love in separation etc.
This form, viz. ākhyāyikā differs from kathā, also a major prose composition which has no parts or chapters in form of ucсhvāsas, with suggestive verses at the head written in vaktra or apara-vaktra metres. Kathā is written either in Sanskrit or in other language (= a-samkstā i.e. prāktā) and is also in apabhramba. (Kā I. 28) In Kathā the story of the hero is narrated by others and not by the hero himself. The idea is that how can a person who is nobly born would sing songs of his own valour and merits.
Anibaddha i.e. single unconnected verses include such minor compositions as individual gāthā, śloka and the like. Bhāmaha does not elaborate over this variety. But what is of utmost importance to Bhāmaha is that all types of compositions have to be necessarily accompanied by beautiful expression - “tat punaḥ
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