________________
xiv
as sakalakatha.26 Bhoja has omitted this type. Hemacandra reproduces the above definition given by Abhinavagupta and adds by way of example Samarādityādivať.27
Hemacandra who follows Bhoja in describing various types of composition in Sanskrit, Prakrit, etc., occasionally expands Bhoja's definitions or descriptions of a few types. For example, the reader's attention may be drawn to Bhoja's description of the nature of akhyāyikā and kathā in his Srngäraprakäs a (Vol.11,p.469) and Hemacandra's description in his Kāvyānusāsana (pp. 462-463).
Regarding khandakathā, sakalakathā, upakathā and brhatkathā he observes:
Taat THCT Tafa 7 Yer TTTT: 1 (P. 465)
Again in contradistinction to Abhinavagupta's naming one of the types of composition as paryāyabandha' (Locana, p.324) Hemacandra names it as paryā.28 The Kalpalatāviveka (p.171) supports this reading. In Prakrit we have the term 'vajja'.Its Sanskrit equivalent is given as Vrajyă (=paddhati). It is perhaps possible that the word is derived from 'paryā' (pajjā — vajjā); but, they say, phonetically the initial 'pa'of a Sanskrit word is never changed to 'va'in Prakrit.
With this information about the nature and definition of the different types of kathā we now turn to the Jain kathā literature for a very brief survey. For it is most pertinent to the subject of Jain Treasury of Tales.
26. HT1461ffaa autat Haris 2017 | Locana, p.324 27. Haribhadrasūri's Samarādityakathā (Pk. :Samaräiccakahā) is
a famous katha in Prakrit literature. He lived in the period 700-770 A.D. He calls his work a 'dharmakatha' Hemacandra's
description of it as sakalakathā is also justifiable. 28. मुक्तकानामेकप्रघट्टकोपनिबन्धःपर्या । अवान्तरवाक्यसमाप्तावपि
वसन्तायेकवर्णनीयोद्देशेन मुक्तकानामुपनिबन्धःपर्या । सा कोशेषु प्रचुरं gru l-Kavyānus'āsana, p. 466
Jain Education International
For Private & Personal Use Only
www.jainelibrary.org
