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motifs like scientific discussion, and the poet's tendency towards Introducing religious and didactic elements wherever possible, definitely point to the fact that the poet has given us one more Campū in the tradition of the celebrated Nalacampū of Trivikrambhatta with its flair for doble entendre involving a dual break up of the syllables of the compounds. Even by the literary norms of the author's senior contemporaries like Hemacandra and Vāgbhatta, who hold Campū as a composition in mixed prose and verse, marked with the poet's personal stamp and divided into Ucchvāsas, 27 the MRA would have to be classed as a 'Campu', since it copforms perfectly to the three cbaracteristics meatloned above. It is not unlikely that Jinabbadrasūri had in his mind these specifications formulated by Hemacandra, when he undertook the compositions of his work, and he took care to comply with them in toto, as is quite noticeable in the text of the MRA.
At the same time, the authors of Campüs have themselves been calling their work a 'Katha' too. Trivikramabhatta seems to introduce his work as a «Katha', 28 and then as a 'Campū’ in the very next verse.29 Soddhala too Introduces his work as a 'Katha-campū'.30 And Somadeva, in his YTC rules out the medium, viz. prose and verse, as of no consequence since the aesthetic relish is quite independent of them both, 81 and prefers to call his work a ‘Kavya' which was composed without requisitioning the help of, without keeping in view as an ideal, any other work of his predecessor." Bhoja in his Campū-rāmāyaṇa declares that the mixture of prose verse gives one the joy of vocal music accompanied by Instrumental one, and hence his attempt at composing a Campū.38
It has been pointed out by Krishna Chaitanya that this form arose after the prose Kāvya, and as the latter approached more and more the ornate Kavya and began to incorporate verses, there came a time when the
27. Kyns (H), Chap. VIII, p. 408 :
गद्यपद्यमयी साङ्का सोच्छवासा चम्पूः । संस्कृताभ्यां गद्यपद्याभ्यां रचिता प्रायेण यान्यकनानि स्वनाम्ना परनाम्ना वा कविः करोति तेयुका उच्छ्वासनिबद्धा चम्पूः । यथा वासवदत्ता दमयन्ती वा । Kyns(V), Chap. I, p. 19: गद्यपद्यमयी साङका सोच्छवासा चम्पूः। यान्यकनानि स्वनाम्ना परनाम्ना वा करोति कविः
तैर्युक्तका उच्छ्वासनिबद्धा चम्पूः । यथा वासवदत्ता दमयन्ती वा । 28. NC, p. 82. 29. Op. cit., Chap. I, vs. 25. 30. USK, P.13.
इति चेतसि विचिन्त्य चम्पूमेव का कर्तमपजनितनिश्चयः, 31. YTC, Intro, vs. 24. 32. Ibid., vs. 14. 33. CR, I, 3.
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