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time, Mah膩k膩vyas and Gadyak膩vyas were being developed on their lines. The camp奴-authors picked up their styles and amalgamated them. It is not possible to say when exactly this must have taken place. It is not necessary to assume for this, the period posterior to B膩峁嘺, for prose romance did exist long before him. Even Patanjali (2nd Century B.C) mentions in his Mah膩bh膩sya, 膧khy膩yik膩s like the V膩savadatt膩, the Sumanottar膩, the Bhaimarathi and Pa峁嚹玭i is credited with the composition of the Mah膩kavyas like J盲mbavatipari峁嘺ya and P膩t膩lavijaya. If we say that B膩峁嘺 was referring to the V膩savadatt膩 mentioned by Patanjali and that it was written in the camp奴 style, then Sanskrit camp奴 date from a period much earlier than 2nd Cent. B.C. Many works in Sanskrit have been irrevocably lost. Camp奴 available at present are only second rate works. Perhaps their predecessors also did not maintain a higher standard and sank into insignificance before the works of B膩峁嘺 and Da峁囜笉墨n.11 According to Ashok Dash- The superior part of that prose composition which comes under the mixed poem and includes in the audible poetry is the Camp奴 poem. All the definitions and explanations of camp奴 are present in the external outline of that poem. No scholar has given stress on the identification of the emetic definition of camp奴. So to define a camp奴, the story, size and characters are not important, only the style of writing is taken for consideration. 12 11. Despande, C.R., Studies in camp奴 literature, p.67
12. Dash, Ashok, Kahita nuhai bh膩rat墨re (Odia), p.86
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