Chapter 1 - Introduction

I. 1. GENERAL BACKGROUND THE PROBLEM

I.1. GENERAL BACKGROUND The Problem: 1 No introduction is needed for a writer like Bana who is the master of Sanskrit gadya literature as Kalidasa is the master of the world of sanskrit. It is hardly necessary to record the profound meed of praise and appreciation for Bana; for, it is so common and self evident. He can rightly be called as the prince of sanskrit prose writers. As soon as one speaks of a prose writer in sanskrit, it is Bana that comes to one's mind; it is again his Kadambari of the prose-writings that dwells in the mind of the readers for ever. It would not be exaggeration to say even that the deficiency from the point of view of the extent of prose writings can aptly and adequately be compensated by the only work called Kadambari. Right from the emergence of this brilliant literary composition, the great Indian minds have bestowed their unfailing meed of praise in so many words.

Still one is surprised to notice that Bapa is much a neglected writer who has not yet drawn considerable attention of the modern critics in comparison to Kilidasa and others. This statement in no way implies that modern critics have not taken it seriously, or have not commented upon. We have the views of the great critics like De, Dasgupta, M.M. Kane, Keith, Peterson, etc., * to name some selected few. What we mean to propose is: a lot is to be done with regard to the study of Kadambari. No study is known to exist giving a closer analysis of the rich and varied references to the mythological allusions in the works of Bana, and Kadambari in particular. It will not be out of place to record here the fact that without a thorough grounding of Indian mythologies it is very difficult to grasp the sense in many a case throughout the work. That is precisely the reason why the Western critics have a poor view so far as the understanding of Bana is concerned, when he gives a rich wealth of mythological allusions with their brilliance, plenty and variety. 2

Further, no serious attempt is made to study the available variants with a view to give the probable and proper reading of Kadambari. With these objectives in mind, the present work Kadambari studies on the basis of Bhanucandra is undertaken. * It may be mentioned here that Bhanuchandra's (and his disciple Siddhichandra's) is the only complete commentary available to us and scholars have a very poor opinion of this commentary. The harsh criticism by the learned Pandit Mathura nath Shastri that this commentary of Bhanu. is almost a useless one not having any merit whatsoever*, is to be reexamined thoroughly. Thus one of the prime concern of the present endeavour would be to verify the validity and truthfullness of his criticism. * Vide Introduction to the critical edition of Kadambari, edited by K. Pandurang Parab., pp.13-17. 3

I. 2. SURVEY OF THE WORKS DONE

I.2. SURVEY OF THE WORKS DONE : Before going to propose the plan and the nature of the present work, a brief survey of the works already done on Kada. is in order. As stated earlier, Bana is much a neglected writer who has not drawn much attention of the modern critics it deserves to. We present here some important and significant works on Kadambari. 1. Dr. P. Peterson: Kadambari; Bombay 2. Sanskrit Series, 1883. C.M. Ridding: The Kadambari of Bana; London, 1895. 3. M.M.P.V. Kane: Kadamba -I, Bombay. 4. M.R. Kale; Kadambari Motilal Banarsi Dass, 5. Baranasi, 1968. V.S. Agrawali Kadambari ek Sanskritik adhyayan, Baranasi, 1958. 6. H.R. Karnik and V.D. Gangal: of Bana; Bombay, 1939. The Kadambari 7. S.V. Dixit: Banabhatta: His life and literature; Belgaun, 1963. 5 sl

8. R.D. Karmarkar: Bana; Dharwar, 1964. 9. Neeta Sharma; A literary study of Banabhatta; Delhi, 1968. 10. Raja Kumari Trikha: Alankaras in the works of Banabhatta; Delhi, 1982. 11. Amarnath Pandeya: Banabhattaka sahityika anusilana, Baranasi, 1974. Still more or less these studies are of a general type and the study based on Bhanu's commentary has not yet been done. Further, no considerable attempt has been made so far to study the available variants on the basis of the commentaries and critical editions. Again no study is done giving a closer analysis of the rich and varied references to the mythological allusions in Kadambari. Amongst these works mentioned in the foregoing pages, the endeavour made by Dr. Peterson, M.M.P.V. Kane, and few others are of great importance and are worth mentioning. 6

7 The introduction of Peterson and his notes are very rich from the point of view of modern research. In his exhaustive introduction to Kadambari, he has discussed almost all important aspects of the study of Kadambari in a general manner. His notes are very significant for the study of variants and from the point of view of textual criticism. He has utilised the comm. of Bhanu., and other four manuscripts to prepare the text. For the first time we are informed about the existence of the commentaries of Sivarama, Balakrsna, Mahadeva, Sukhakara and we get extracts from these commentaries from his notes only.* However, he has not discussed these variants except giving the reading of some. From the point of view of interpretation also this seems inadequate and incomplete. The introduction and the exhaustive notes of M.M. Kane is a model of excellent research and study. It must be admitted honestly that all later researches are based on his work alone. In his introduction, he has given a clear picture of the personal history of Bana. *For more information on these commentaries, supra pp. 15-27.

8 The date of Bana, he proves with arguments, to be towards the end of 6 th and 1 st half of the 7 th century A.D.1 on the date of Bana, M.M. Kane comments 'B¤na's date is one of the surest planks in the tottering structure of ancient Indian chronology. He has discussed further the works of Bane, the distinction between Katha and Akhyayika, the literary estimation of Bena, the commentaries on Kadambari in a greater detail. We quote here a few lines from his estimation, to point out the merit and defects of Bana's writings.² 1. 2. For the arguments on the date of Bana, vide P.V. Kane, op cit. pp. 6-14; R.D. Karmarkar, op cit. pp. 1-2; S.V. Dixit, op cit. pp. 12-24; A.N. Pandeya, op cit. pp. 1-7, Neeta Sharma, op cit. pp. 35-37. For the works of Bana, vide Kane, op cit. pp. 14-21, Karmarkar, op cit. pp. 9-10, Dixit, op cit. pp. 36-47; Prof. Pandeya, op cit. pp.21-59; Neeta Sharma, op cit. pp. 37-46. For the appreciation of Bana, vide Dr. Peterson's Introduction to Kadambari, pp. 36-43.

9 1. He shows great skill and discrimination in characterisation. All the characters in Kadambari are life-like and consistent. The gentle and youthful Harita..., these are characters that are bound to make a deep impression on the heart of the reader. Bana, however, lavished all his skill in depicting the hero and the heroine of his romance, 2. Although Bana was fettered by canons of rhetoric which laid down that long compounds were of the essence of prose he displays considerable variety of style. His diction is generally smooth and graceful and he could write with force and bravity when it suited his purpose to do so. 3. He seems to have been a close observer, not only of courts of kings, but even of the less bright aspects of human life. 4. Bana seems to be have been a great lover of nature. He is never tired of using for poetic purposes the flora and fona of India. His reference to plants and flowers though sometimes overdrawn and fanciful are generally charming.

One of the greatest flaws of Bapa's writing is that they abound in puns on words and recondite amidst the arry of double meaning words, bold and fanciful allusions, to grasp the exact meaning of the author. 1 10 One of the most important point to be mentioned here is that he has widely utilised the two unpublished commentaries on Kada., namely, Amoda and Darpana. His notes in two parts (pp. 1-124 and 124-237 of Dr. Peterson edition) are very rich from the point of view of understanding and interpretation of Kada. Amongst the other works, V.S. Agrawal has made a detailed analysis of Kadambari from the point of view of culture. The Indian tradition and culture at the time of Bana has exhaustively been studied as reflected in Kadambari, in these books. The work of Karmarkar, Bana, Neeta Sharma's A literary study of Bana Bhatta; Prof. Amarnath Pandeya's The literary study of Banabhatta (in Hindi) are of general nature. 1. vide his introduction, p. 21-26.

11 S.V. Dixit's Banabhatta: His life and literature is an excellent collection of the findings of research on Kadambarl. He says in his preface "I have tried to furnish them with the views of the earlier scholars in the field and often giving numerous quotations from their works", It should be mentioned here that he has his own share of contribution while meticulously presenting the essence of the earlier researches in the subject. Banabhatta's biography, his date, his works, some studies in Kadambari, merits and demerits of Bana and society in Bana's time are some of the special features of discussion of his work. Alankaras in the works of Banabhatta by Dr. Trikha She has is fully devoted to the study of Alankaras. tried to identify all the cases of figure of speech in Kada. classified them on the basis of the definitions of the rhetoricians with examples. It may be mentioned her approach is a model of research on a single aspect of a work or an author.

I. 3. SCOPE OF THE PRESENT WORK

I.3. SCOPE OF THE PRESENT WORK: The present thesis bases its study and analysis on the Purvabhaga of Kadambari mainly in the light of the commentary of Bhanuchandra. It is presented and arranged in six chapters including the Introduction and Conclusion. In the introduction, it has been attempted to present a general estimation of the commentaries on Kadambari and about the present commentator. The second chapter is devoted to the study of the textual criticism of Kadambari (of Bana) on the basis of Bhanucandra. We have selected some one hundred important readings having variants and scope for confusion. The criticism of the editor against the readings of Bhanu, have been thoroughly examined and verified. For deciding the actual reading or rather the probable ones, that might have been intended by the author, we have consulted and made use of the following editions and commentaries. Further we have also given due importance to the context and the symantics of the usage. 13

1. NSP edition (with the comm. of Bhanu.) Kane's edition (Bombay edition) 3. Peterson edition (as recorded by Kane) 4. Calcutta edition 5. Chaukhamba edition 6. Bhanu.'s comm. Amoda (from the notes of Kane) 14 7. 8. Darpana ( 9. Balakrsna, etc. 10. C Kala. -do- (from the notes of Peterson) In the third chapter attempt has been made to unveil the mythological allusions in Kadambari. Here the occurrence of the allusion in Kadambari is given with reference and is arranged in an alphabetical order. Where the text cannot be understood and there is an allusion, we have given the story. As far as possible we have tried to trace the source and make a reference to it. Those cases where there is a mere reference to a mythological person, event, etc., and no allusion, are collected and presented here. In the chapter of interpretation, we have selected some important words having scope for clarification and explanation. In Kada., we come across many. a case where it is difficult to construe the words to

15 yield a good sense. Some of these cases are included here. There are interpretation of words, concepts and situations. But all these are not classified. The entire chapter is arranged in alphabetical order. We have utilised chiefly the commentary of Bhanu., along with the two unpublished commentaries, namely, Amoda and Darpana, from the notes of M.M. Kane. The fifth chapter is entirely devoted to the exposition of the scholarship of Bhanu. We have tried to give ample references with regard to his knowledge of grammar; his acquaintancy with the laxicons; his familiarity with Indian lores, beliefs, etc. In this chapter we will be giving a detailed list of definitions of various aspects of Bhanu. In the concluding chapter, we have given the special features of the comm., peculiarity of the commentator, Bhanu.'s influence on the latter commentaries and modern scholars. This will also include some observations on the criticism of Bhanu. Along with this we have appexed the following appendices; Appendix I : Citations Appendix II: Influence of Bhanuon Modern Scholars

Appendix III : Appendix IV Some peculiar words used by Bhanu. Index to mythological allusions. 16

17 I.4. A GENERAL ESTIMATION OF THE AVAILABLE COMMENTARIES OF KADAMBARI: Bhanuchandra and Siddhichandra's is the only complete commentary available to us on the Purvabhaga and the Uttarabhaga respectively. The commentary has been published by the Nirnaya Sagar Press. We reserve 'the discussion on this comm., to the last, with regard to its merits. On the personal life of Bhanu., we learnt from the introductory verses and the colophon of the Purvabhaga that Bhanu. was a Jaina Pandit. his comm. in many cases it has been reflected. interprets Krsna as Jina, etc. He was a pupil of Suracandra and was honoured by emperor Akbar with the 2 1 Even in For, he title of Upadhyaya. He has commented on the Purvabhaga of Kadambari to please his pupil siddicandra who also 3 was patronised by Akbar. We do not know much regarding 1. Vide Kada., p. 69, L. 16, p. 427, L. 6, etc. 2. 3. SrE suracandrah samabhut tadiya sisyagrani, etc. p.2, s. 5. sri vacakah samprati bhanucand ro hyakbara ksmapati dattamanah.... sri siddha candro'sti madiya disyah. Kadambari vrttirivam tadiya manomude tena maya pratanvate. p.2, SL. 810.

the personal life of Bhanucandra. It may be mentioned 1 here that scholars of very poor view of this comm. It is a fact that there are many mistakes throughout the comm., which has been thoroughly noticed by many scholars. But it is sad to note that this comm., has not been given due credits, which it deserves. 2 It may be regarded here that the later studies in Kadambari, even the commentaries are greatly been influenced by this commentary, which we will point out in detail in our concluding chapter. 18' 1. Vide Mathura nath Shastri, The Introduction to Kadambari, edited by K. Pandurang Parab, pp. 13-17, M.M. Kane; Introduction to Kadambari (Purvabhaga) I, p.45. 2. Sri Krishna mohan Shastri, Introduction to Kadambari, etd., with the C Kala, p.30. S.V. Dixit, Banabhatta: His life and literature, n.98. It is hardly necessary to enumerate those cases of mistakes which have profusingly been pointed out in the notes of Parab's edition. M.M. Kane also hos pointed out those shortcomings in his notes to Kada.

Casaka: From the notes of Dr. Peterson on Kada., it appears that Sivarama Tripathy wrote a comm. on the Purvabhaga of the Kada., called Casaka. Krsnamacaryar also mention the name of this comm. in his History of Classical Sanskrit Literature.1 We present here a few examples from the extractions from Casaka, as quoted by Peterson. 1. Sasekharaih kara culyadi vat prasiddhaih 1. maukharibhih p.111. 2. Vainyah prthuh p.116. 3. samantakrta padaravinda, etc., p.112. 19 4. Anekaguptah vaisyah, p.112. 5. Bandhure sundare, p.113. 6. Mahavirah surah pakse mahavirah makhagnayah, etc., p.114. 7. Aliko nagarah, nagaravasi vadhu krtolakabhangah kesaracana visesah julupha iti bhasa prasiddhah.... aliko nagare smrta iti visvaprakasah. yadva alike lalate yolaka bhangah bhramaraka bhanigah, p.114. M. Krsnumacaryar, HCSL., p.450.

8. Atidvay advitiva · p.115. 20 9. Asesa narapatayah rajapaksevartamanah. indra pakse nahusadayah - p.115. Karmanah desatva vivaksayam sasthi - p.117. Sometimes Sivarama notices variant readings. The comm. is not very rich and tries to explain the meaning of the words generally. It is yet to be published. Sukhakara: This is also not published and Peterson has utilised this comm. in his notes to Kada. Sukhakara gives the text of the seven introductory verses without any comment. This comm. is also very scanty and gives the meaning of the words only. Here follows a few extractions from the comm.: Jatir alankara puspa visesas ca guptah kumaraguptadayah p.112. : manthare gambhire p.113. p.112. niqrhyamana svamet prasthapyamana & c - • dvijanmanam hiranyagarbho brahma sa ca dvijanmanam patih, etc. p.113. p.113. * : mahavirah surah p.114.

Vaidyanathas The name of the comm. is Visama pada vivrtti. Vaidyanath comments only on the Purvabhaga. It tries to explain the important words. It is not published. Prof. Pandey gives the description of the manuscript as follows I Kadambari visamapada vivrtti 1 granthakara Vaidyanatha Kramagankhya - 41238 Patrasankhya akara Pafikti sankhya (every page) Aksara sankhya (every pafikti) Lipi - 1 - 18 - 12.2' - 4.7' 10 - 50 devanagari.² 1. avaculeti guccakam cavaculakam iti sobhana pta jat yasya, pta jatapi prakirtita Amamath Pandeya, Banabhattaka sahityika Anusilana, p.28. 2. ibid. p.27. 21

Balakrana: We know from Dr. Peterson's notes that Balakrsna has commented upon the Purva. of Kada. Peterson has referred to this comm. for almost each and every word. This commentator has also noticed Here follows a few extractions variant readings. from the commentary: asana viksa visesah p.122 : Urna mesadi lomni & c p.121 $ Kaukseyakena khadgena • P.121 8 Carca tu carcikyam & c p.121 p.114 $ Mahavirah dharmamrnmaya Maukharayah karaculyadivanmaharaja visesah p.111 Viruddha jatimatim vigata jati kusumam p.124 For further references vide pp. 125, 126, 127, 129, 132, 135, 138, 154-160, etc. Mahadeva: Dr. Peterson has presented and utilised the extract from this commentary. Aufrecht also mentions this commentary in his catalogue. It is not published 22

and has not been utilised by anybody further. It is a very meagre and gives the explanation of words. Example: Guptah raksitah p.112 Parsudhareva parduh parasuriti sabda bhedah p.121 & sa pratinari (actually sa refers to matanga kanyaka) p.121 Bandhure ramye unnate va p.113 Purodasah havidesam p.113 Mahavirah surah, etc. p.114 Atidvayi advitiva p.115 23 Ganga pravaha iva bhagirathasya rajnyah p.116. Unmukhamayukha unmukhah mayukhas tesam kantih panthah, etc. mei P.121 Urna mesadi lomni p. 121 Astamurti: The name of the commentary is Amoda. Astamurti was the son of Narayana, a brahmin by caste. He was an inhabitant of Kerala and belonged to Bhrgu gotra.1 1. Purvena gunatam asit Keralesu bhrgoh kule, vipro narayanas tasmed a tamurtir af yata - Vide P.V. Kage, op. cit. p.46. See also Amarnath Pandey, op.cit. $.28.

24 In the introduction of his comm., he says that he composed his commentary in matrical form, as a thing is not easily remembered and retained in mind unless if be put in a matrical form. He has commented upon the both the Purva., and Uttara., Kadambari. It is a learned comm., and the comm. seems to be wellread and thoroughly acquainted with the works of poetics and laxicography. exhaustive and rather meagre. It is fuller in the However the comm., is not beginning and three-fourth of the comm. is devoted to The comm. often records variants. It Purva. only. refers to other commentaries in the words kenacit, sparah, etc. We get a reference to a commentator called Matsyaketu in Amoda. 2 The comm. begins with upasmahe, etc., and ends with tatva vicara caru taraya drstvaiva vikhyapyatam." 1. Na vina vrttabandhena vastu pravena sugraham, ibid. 2. Atha matsyaketupathah kutracit upacara metra madhuram iti. vide para 204 of Kane. II. 3. Vide Kane, op. cit. pp.44-45.

Ed 25 We get reference to the following works and authors: Ajaya, Anargharaghava, Amara, Kamandakiyaniti, Kalidasa, Kumarilabhatta, Kesavasvami (the laxicographer), Kautilya, Ksemendra, Dandin, Dhananjaya, Badarayana (the author of the Brahmasutra), Murari, Bharata, Bhoja, Magha, Yadavaprakasa, Rajasekhara, Ramayana, Vasavadatta, Vaijayanti, sakatayana, saradatanaya &halayudha, ; Among the other works those are quoted without mentioning the name are: 1. Kavyaprakaga 2. Kavyadarsa 3. Manu smrti. Nothing can definitely be said about the time of However since he refers to the Kavyaprakasa, the comm. Ksemendra, etc., he cannot be earlier than 1200 A.D. Kadambari Padartha Darpana: It is by an anonymous writer. He has commented upon both the Purva and Uttara bhaga. The comm. begins

1 with a salutation to lord Krsna. The comm. seldom notices variant readings. He gives south Indian equivalents for Sanskrit words. The comm. seems to be from Kerala or at any case from South India, It is very meagre comm. He has quoted the following works and authori 1. Kumara sambhava 2. Krsna 3. Kegava 4. 5. Kautilya Kiratarjuniya 6. Chando viciti 7. Dandi 8. Bhava viveka 9. Mahimapara stava. He has also quoted from the following Kodas: 1. Amara 2. Vaijayanti 3. Halayudha. 1. Pranamya varadam devam ballavi jana vallabhem Kadambari padarthanam kriyate darpanam maya, 26

Amoda vis-a-vis Darpana: A careful observation of the extract of the two commentaries reveal that they remarkably coincide in their explanations of certain words and phrases. We give here a few examples from both: A. Aham nirvartisye. Sakala visayopabhogad D. idrea sapatha trayeneva. Tritvoktis tu trisatya hi deva iti kila sruteh -do- -do- p.105. A A. Uunita bhagatrayasya sanikoce kunitam caksurisyate p.210. D. akunitam isannImilitam A A - p.210. A. arohanavarohana sadhanabhedah svarasrutinam yah. grama visesabhivyaktyarthah sa sarana jneva p.215. D. Sarapa vina vadanam p.215. A. adhusara cchado hamsah Kadambah samudahrtah p.70. D. Kadambah kalmasa varno hamsah 27

A. tarjanyangustayormanam pradesam vrusvate budhah p.210. D. 'angustha tarianibhyam parimitah pradesah'. A. 'tripataketyatra punartravividhye vartate sabdah' p. 91. D. 'tripataka urdhva rekha trayam'. A. 'Yuthabhraste dvirade paksacarah svat tathaikacare' p. 84. 28 D. A. D. Paksacerasya ekacarasya yuthabhraste paksacarah syat ekacara paks Inoh. Vajisiksabhyasa bhumirbahyalir iti kathyate p.198. vahyali turaga dhavana paddhati A. Sridrumah pippalo'svattho buddhair bodhi ca kathyate p. 56. D. 'sridrumah candana vrksah.' A. D. Sragbhedo vanamala yamahur vaijayantiti • p.74. Vanamala puspavisesah. Thus arises the question whether the author of A. knew D. or vice versa. One thing is certain that both the commentators hail from South and it is probable that either of the two knew the other. M.M. Kane argued D. to

be earlier than A. and at places he seems to improve on X. 's explanation. But it is difficult to say anything definitely in this regard. Haridasa, Ghanasyama and Suracandra; Krsnamacaryar mentions the names of these three commentaries.1 It was not possible for us to see any of these for reference and use. 29 Tattvaprakagika: And This commentary is by Mr. M.R. Kale and a modern one. He has commented upon the Purva. of Kada. only. It is accepted as a good and learned commentary, needs the need of a reader from every aspect. It gives the synonyms of all important words, it breaks the long passages into smaller units, analyses all compounds, shows grammatical peculiarities with rules, quotes profusingly from various Kosas wherever necessary, quotes frequently from books on poetics, gives similar and identical passages from other sources, gives the narration of mythological allusions quoting sources sometimes, records the variants.

He quotes some from the following Kosas; 1. Anekartha 2. Abhidhana cintamani 3. Amera 4. Kosa 5. Tarapala 6. MedinI 7. Ratnakosa 8. Rudra 10. Visva 11. Vaijayanti 12. Vij Hanesvara 13. Sabdarnava 14. gasvata 15. Halayudha 16. Hemacandra 17. Haima . etc. 30 13. Nirukta 9. Yadava He also quotes the following important works and authors: 1. Amarusataka 2. Anargha raghava 3. Bala Ramayana 4. Dasakumara carita 5. Dasa rupaka 6. Hitopadesa 7. Kavyadarga 8. Kavyaprakasa 9. Kiratarjuniya 10. Mallinatha 11. Manu 12. Mrechakatika 14. Pancalantra 15. Raghuvansa 16. Ratnavali 17. Sakuntala 18. Sankhyakarika 19. Siddhanta Kaumudi 20. Sahitya Darpana 21. Sisupala Vadha 22. Tarka Sangraha 23. Uttararama carita 24. Vikramorvamsiyam, etc.

31 It may be mentioned here that Mr. Kale has widely utilised the comm. of Bhanu. in his comm. In many cases he has accepted the authority of Bhanu, and his interpretation. We are giving here a selected list of citations of the interpretation of Bhanu, as given by Kale with reference. Avataritam anadhijyam krtam, iti Bhanu. p.60, 1.6. anyasya paksinas tatha yuddhe paksapato nasti iti kukkuta grahanam' iti Bhanu., p.73, 1.6. - : Arabaho vihito yo'mrte caruryajna odanah iti' Bhanu., p.71, 11. 2-3. • - anusvarah slesabhangakrnnabhavati iti praficah. iti Bhanu., p.87, 1.6. Komala mukulakarayoh samyaccaranayoh kosa, samyam. araktatva samyad alktaka rasena bartapa Samyam, iti Bhanu., p.103, 11. 3-4. 'Culika prantabhagah' iti Bhanu., p.185, 1.5. : dhatryadinam talanartham mukhene yo dindima dhvanis tena janitotpadita pritiryasya' iti, Bhanu., p.107, 11. 3-4. - 'Papapakhanda sakinidakini prabhrtinam pravesa pratibandhakarmani mantradyausadha prakaroyasmin' iti Bhanu., p.114, 11. 2-3. *Putravatya grhadvaropari manimaya kalasaropanam krivate iti rajasthitih' iti • Bhanu., p.118, 1. 14.

Mukhameva vadyam iti Bhanu., p.125, 1. 3. 32 - Sonitapuram banasurasya nagaram "tac ca 'devikot' iti prasiddham" iti Bhanu., p.147, 1. 4. Strinam pravena daksino mrgo'pa sakunam iti vasantarajedau prasiddham iti Bhanu., p.324, 11.8-9. Haritah mrdankurah iti Bhanu., p.204, 1. 12. Arjun: On the Uttara Kada. M.M. Kane refers to a comm. by Arjun Pandit, son of Cakradas. It is a learned and critical comm. It discusses and records the variant readings. He seems to be well read and acquainted with the works of poetics. He quotes from Amara, Manu, Gita and Raghu., etc. Among the works and authors quoted are Harsa C., Kalidasa, Kamandakiya nitisera, Kavyadarsa, Magha, Mahabharata, Murari, Uttara rama carita, Vis P., etc. Candrakala, It is a very modern comm. by Krishna mohan Shastri, published from Chaukhamba Sanskrit Series, Benaras. It is based on the P.V. Kane and Peterson's edition of Kada. 1. Vide Kane, op. cit., p.47.

33 It is a good comm. from the point of view of understanding and not research. It gives synonyms of the words, notices the figure of speech, gives the narration of the mythological elements, sometimes quoting sources. It quotes profusingly from Kosas like Amara, Visva, Medini, Anekartha, Haimah, etc. Normally he does not quote parallel lines from other literatures. For definitions, he quotes from Sahitya Darpana mostly. Rarely he discusses variant readings in the comm.

54 I.5. A NOTE ON KATHA; In a work like this that involves the study of a Katha like Kadambari it would not be out of place to discuss in detail the nature and form of a Katha. Kadambari is accepted as a model o: an ideal example of Katha a variety of gadya literature. Thus it becomes inevitable to discuss the nature and form of a katha and brings out its distinction from akhyayika. We have a lot of discussion on the definition of katha, To mention a few: etc. 1. M.M. Kane, op. cit., pp. 21-24. 2. R.D. Karmarkar, op. cit., pp. 22-25. 3. A.N. Pandeya, op. cit., pp. 47-56. 4. S.V. Dixit, op. cit., pp. 144-47, 5. Neeta Sharma, op. cit., pp. 17-27; 87-88. The following discussion is a mere reappraisal of what already has been discussed. Sanskrit rhetoricians have divided sanskrit Kavya in three broad divisions, namely, gadya, padya and midra (campu). The gadya is divided into Katha and Akhyayika,

35 Agni Purana deals with Katha as follows: Slokaih svavamsam sanksepat Kaveryatra prasamsati mukhyarthasyevataraya bhavetyatra kathantaram paricchedo na yatrasyat bhavet va lambhaka ih kvacit sa katha ... Actually Agni Purana enumerates five varieties of prose literature, namely, akhyayika, katha, khandakatha, parikatha and kathanaka,1 subdivisions of katha. the last three being the minor Bhamaha gives a similar definition of katha.2 On the basis of definitions of kathe and akhyayika as given by Agni P. and Bhameha, the characteristics of the two may be presented as follows: 1) In akhyayika there is a detail discussion of the poet's family in prose while in a katha the poet briefly praises his family in verse. 2) In an akhyayika the topics like kidnapping of a girl, battles, separation of the hero are described; in a katha it is not so. Vide Agni P. 337, sl. 113-117. Ravian. 1. 25-29.

36 3. 4. 5. In an akhyayika it is the hero who relates his own deeds whereas in a katha the story is told by others and not by the hero. An akhyayika is divided in Ucchrasas and contents stanzaz in the Vaktra and the aparavaktra metres which are suggestive of future events; a katha may not be divided into sections and if it is there called lambhaka. An akhyavika is distinguished by possession of certain catch words which the poet puts in; in a katha it is not so. It may be mentioned that Dandin does not find any distinction between the two. 1 Prof. Keith observes : ་ "the distinction between katha and akhyayike... is presented to us in a puzzling confusion in the writers on poetics explaining and justifying in large major the refusal of Dandin in his Kivyadara to have anything to do with the distinction."2 1. Vide Kavya. 1. 23-30. 2. Keith, Classical Skt. literature, p.72.

37 Thus, according to Dandin, the characteristic of the two as mentioned are not exclusive. M.M. Kane gives the distinction between the two after Dandin thus: "1. 2. 3. In an akhyayika it is the hero himself who tells the whole story; while in katha, the story is told either by the hero or by someone else. An akhyayika is divided in sections named Ucchvasas, etc. In a katha, topics like kidnapping of a girl, battles, separation, the rise of the sun and moon are described. In an akhyayika it is not so. A katha is distinguished by possessing certain catch words which the author ,,1 intentionally puts in. It may be mentioned here that there is some difference from the points given to us after Agni P. and Bhamaha. 1. Vide Kane, op. cit., pp. 21-24.

S.V. Dixit on the summery given by M.M. Kane observes "But about points three and four from M.M. Kane summery from Dandin we wonder whether M.M. Kane has not erred in summerising. " Prin. Karmarkar makes additional points:- 1. A katha uses the a~ya metre. 2. Also a katha is written either in sanskrit 38 - |- or in prakrt (katha hi sarva bhasabhih, etc.)². Most probably Dandin had some authority before him for maintaining such view of the non-distinction between the two. He indeed a noted writer and might have heard before him many more examples of Kathas and akhyayikas than what we have today and most have noticed that there are no significant and significant distinction between the two varieties. As one can see his Dadakumara carita neither fits to the stereo-typed definitions of either katha or akhyayika strictly. 1. Vide Dixit, op. cit., p.145. 2. Vide Karmarkar, op. cit., p.24.

59 Inspite of all these, the orthodox division was accepted and followed in later period by rhetoricians like Rudrata, Anandavardhana, Abhinavagupta and others. Bana himself has referred to this two classes of literature among others. His compliments to previous akhyayikakaras suggest that before him these two gady) literature were accepted as different. He himself calls Harpa C. as an akhyayika and Kadambari as a katha, The author of Alankera samgraha makes a further point on the distinction, namely, akhyavika shall be based on historical facts and katha on a fictitious plots (gadyantu kathitam dvidha kathetyakhyayiteti ca, katha kalpita yrttanta satyarthakhyayika mata). Amarakosa makes a similar distinction (akhyayikopalabdhartha prabandhake ipanakatha). This new principle seems to be added following Bana's work. Rudrata in his Kavlam. has defined the katha and akhyayika following Bana's Kada, and Harpa C. as the two standard specimen of the two kinds of prose composition. 1 1. Vide Kavlam (Ru) 16. 20-30.

40 Anandavardhana accepts the distinctions in his Dhvanyaloka with certain reservations on the use of long compounds. To him long compounds should not occur in description of pathos and love of separated lovers. 1 Abhinavagupta distinguishes between these two classes by pointing out that the akhyayika is possessed of sections called Ucchvasas and stanzaz in Vaktra and aparavaktra metres, whereas the katha is free from such characteristics.² The most modern definition of katha and akhyayika are those given by Visvanatha which are based on the earlier ones. "According to him A katha contains a fine plot. In prose with here and there a stray stanza in the arva, vaktra or aparavaktra metres. In the beginning there is a salutation in verse and a mention is made on the conduct of wicked, etc. An akhyayika is 1. Dhvanyaloka, pp. 143-144. 2. Vide Locana, p.14.

similar to a katho but in it we have in addition an account of the poet's family and sometime of other poets. The division of the narrative are styled as asvasas, which contains in the beginning stanzas in the arya, vaktra and aparavaktra metres that are ,,1 suggestive of future events. 41 1. s.v. Dixit, p.147. cf. Kathayam garasam vastu gadyer eva vinirmitam kvacit atra bhavet arva kvacit vaktra apakaktrake adaupadyair namaskarah khalader vrtta kirtanam, etc. sah Dar. VI.