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The Sadayavatsa-kathā
247
krit with renderings and adaptations in regional ianguages of India. Penzer has noted various western versions of the motif deriving from the Arabian Nights which itself is based on the version that occurs in Seven Vazirs, the Arabic version of the Book of Sindibād 8.
15. The text in which Śūdravatsa, and Țuņțaka are said to figure is mentioned by Bhoja as Kāmasenā-vipralambha. But the references and the works we have discussed consistently refer to the tale by the name of the hero ; Suddavaccha-vira-cariya, Sadayavatsa-vira-prabandha, Suddavaccha, Suddaya etc. So it seems that the work referred to by Bhoja was possibly a composition based on the love-affair between Sūdravatsa and Kāmasenā. Bhoja has referred to another similarly titled work : Irșyālu-vipralambha.19 Moreover a work cited by Bhoja as a Rāsakānka is identified by Raghavan as the Rādhā-vipralambha of Bhejjala, on the basis of Abhinavagupta's references 20. This fact makes it likely that Kāmasenā-vipralambha was the title of the full work, possibly a dramatic type. On the other hand, from the SP. references like Karpūrikalābha, Kalingasenālābha etc. which are names of sections
Brhatkathā version known to Bhoja", and not titles of complete works, we see that Bhoja sometimes gave reference to a section only of a work wherein the episode, character etc. he wanted to illustrate figures. In that case Kāmasenā-vipralambha can be taken to refer to a particular section or episode in the Sudravatsa-kathā, known to Bhoja.
Notes
This is a revised and expanded version of my paper entitled "Suddayacariyà, a lost romantic tale in Apabhramśa' which was published in the Proceedings of the Seminar on Prakrit Studies (1973), ed. by K. R. Chandra, Ahmedabad, 1978 (L. D. Series 70), 24–27. 1. 1978, “pithamardaḥ dantaka Sūdravatsasya Kāmasenā-vipra
lambhe' (Srngāraprakāśa, p. 999). 2. Bhoja's Śrågāraprakāśa, p. 826.
