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composition or a chapter or section of another work. The latter is probable."28 Further on p.821 V. Raghavan refers to it as 'a variety of a small story', and 'a tale which is introduced as an off-shoot of some wellknown story'.
A.K.Warder simply says: “The upakathă is apparently a supplement or sequel to a wellknown older work."24
10. Sakalakathā :
Paryāya-(the same as parya-) bandhā, parikatha and sakalakatha- these new types of composition are met with for the first time in Anandavardhana's Dhvanyaloka (111.7. Vrtti, p. 323). Anandavardhana combines khandakatha and Sakalakatha together in dvandva compound. Abhinavagupta in his Locana explains: "Since these two types of kathă are wellknown as written in Prakrit he has combined them together in a dvandvacompound .
Anandavardhana continues in the same Vrtti, regarding samghatana :...
परिकथायां कामचारः । तोतिवृत्तमात्रोपन्यासेन नात्यन्तं रसबन्धाभिनिवेशात् । खण्डकथासकलकथयोस्तु प्राकृतप्रसिद्धयोः कुलकादिनिबन्धनभूयस्त्वाद् दीर्घसमासायामपि न विरोधः ।।
From these observations it is clear that (i) the khandakatha and the sakalakathā were wellknown in Prakrit literature; (ii) they abounded in kulakas, etc.; (iii) there is no objection or harm if in composing them the poets adopt the samghatanā involving long compounds; and (iv) since 'kulakas' are mentioned we can assert that these two types were both in prose and verse.
Anandavardhana says that "in 'parikathā', the real interest is in the story only. "V.Raghavan opines that it is also to be taken that this applies to the Khandakathă and sakalakathā too."25
Abhinavagupta defines sakalakatha as follows: 'The narrative which ends with the attainment of all the desired aims is to be known 23. Bhoja's Srngāra Prakasa by V. Raghavan, p.625. 24. Indian Kavya Literature, Vol.1, paragraph 446,p.193. 25. Bhoja's Srngāra Prakasa by V. Raghavan, p.612.
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