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'Damayanti-khatha' although in form it is a 'Campu'. Jinabhadrasūri might have been actuated by a desire to provide to his Jaina elite and followers a fine Jaina Katha comparable to the work of Trivikramabhatta in its style. 22 Apart from the very closely followed style, the colophone of the MRA by its special literary stamp, viz. Mudanka', the alternative title 'Namicaritra' and the reference to it as an 'Akhyāyika' at once bear a favourable comparision with that of the NC which, too, has its special stamp, viz., Hara-caraṇa-sarojanka', the alternative title 'Damayanti-katha', although it is in fact a veritable Nalacaritam popularly known as Nalacampu.
Now, the question is whether the MRA can be classed as an 'Akhyayika' or a 'Campu". Let us therefore examine the essential characteristics that play a decisive role in the structural pattern of both these literary forms. We know quite well from the well-known specimens, like Bana's Kādambari and Dhanapala's Tilakamanjari, that a 'Katha' is essentially a prose-romance, although it does contain a few occasional verses. It is a literary fiction in that the story narrated therein is imaginary, and involves an elaborate dual plot which is mostly invented in its design, and is accompanied by its technique of boxing the narrative within another, running from cover to cover, as it is not divided into suitable chapters.
Inspite of Dandin's refusal to accept any essential distinction between. the 'Katha and Akhyāyika' form, we have no other alternative but to rely on it and take for our purpose as a representative one. Thus on the basis of Bana's Harṣacaritam, we know that Akhyayika, though essentially a prose-romance like a 'Katha', is built around real people and incidents and is thus normally historical. Since its single narrative flows in chronological order, it does not call for on elaborate plot nor the consequent boxing of the narrative, there being no sub-narrative for the purpose. Moreover, the Akhyāyika is normally divided into chapters in accordance with the significant events in the life of the historical hero, and each chapter begins with a significant verse or two suggesting the events in the chapter as well as the moral that could be inferred from them. As has been rightly observed by Dr. V. Raghavan, the Akhyayika must have developed from the old Akhyana that recounted the story of the kings and the heroes of old in verse form, and the Akhyayika that was inspired by them was prose form.
22. Ibid., vs. 56:
परदारे: परकाव्यैर्बहुमानं स्वीकृतेर्विधते यः । निन्यो लङ्कापुरुषः स्यादेव स मस्तकविद्दीनः ॥
23. Srn. Pr., p. 614.
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