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all the three of them is that in them the narration of the story is stressed, and not so much the Rasa. Language as a Basis of Classification
While speaking of the Muktaka etc., Anandavardhana makes language the classifying condition. Thus, the Muktaka etc. upto Kulaka can be in any language; Parikathā is in Sanskrit; Khandankatha and Sakalakathā are in Prakrit; the Sargabandha (Mahākāvya) is in Sanskrit; Rūpaka and Uparupaka are in all languages, i e., Mišra. Akhyāyikā and Katha both are in Sanskrit.
According to Anandavardhana, the Akhyāyikā and the Kathā are generally in prose, so far as the medium goes. Anandavardhana bases another typification on Rasa and Narration of the story. Now, Anandavardhana's remark that in Parikathā, the interest is in the story only, also applies to the Khandakathā and the Sakalakathā. The Sargabandha may be Rasa-tātparya or Kathā-tātparya.
Bhoja also describes the non-dramatic literary forms or Srvya -kāvya-bhedas. Among its twentyfour varieties are mentioned : Akhyāyika, Upākhyāna, Nidarśana, Pravahlikā, Manthalika Manikulyā, Kathā, Khandakathā, Upakathā, Brhatkathā, Campū, Parvabandha, Kāņdabandha, Sargabandha, Āśvāsakabandha, Sandhibandha, Avaskandhabandha, Kävyaśāstra, Sastrakāvya, Kosa, Sanghāta, Samhita and Sahityaprakāsa (Sr. Pr. XII). The underlined forms are new. Hemachandra's View-point on Kathā and Akhyāyikā
Dr. V. Raghavan observes : "Hemachandra follows Bhāmaha and Bhoja on Akhyāyikā (p. 388), but makes this ingenious suggestion that the hero in an Ākhyāyikā is a Dhiroddhata and in a Kathā, a Dhiraśānta. This is due to his own deduction from Bhāmaha's remark that in an Akhyāyika, the hero relates his own story; but in a Kathā someone else does; for, how can a noble man, Abhijāta, be conceived as waimiy singing of his own doings ? From Bhāmaha's line
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