13 PDF Article

Kadambari: Bana: great work, the prose romance Kadambari, is named for the heroine of the novel. The book describes the affairs of two sets of lovers through. “Bana is among the three most important prose writers in classical Sanskrit, all of whom Kadambari is a lyrical prose romance that narrates the love story of. The Kadambari Of Bana has 5 ratings and 1 review. Dirk said: In a word ornate. This 7th century novel was originally written in India in Sanskrit. It is.

Author: Mezigore Gardagal
Country: Djibouti
Language: English (Spanish)
Genre: Health and Food
Published (Last): 28 July 2017
Pages: 399
PDF File Size: 15.92 Mb
ePub File Size: 10.81 Mb
ISBN: 155-1-30129-659-1
Downloads: 77955
Price: Free* [*Free Regsitration Required]
Uploader: Yozshugrel

Search the history of over billion web pages on the Internet. Thomas in this series ; and Professor Peter- eon’s Introduction to his edition of ‘ Kadambarl ‘ Banx Sanskrit Series, 1H89 deals fully with Bana’s place in literature.

Full text of “The Kadambari of Bana”

The facte here given are, for tlie most part, taken from the latter work. For this and other chronological references I am indebted to Miss C.

Duff, who has let mo use the MS. I have to thank Mr. Thomas for allowing mo to see the proof-sheets of his translation.

In his youth he travelled much, and for a time ‘ came into reproach,’ by reason of his unsettled life ; but the experience gained in foreign lands turned his thoughts homewards, and he returned to his kin, and lived a life of quiet study in their midst.

IX Forest to the hermitage of the sage Jabali, from whom it learnt the story of its kadambagi life. In due time Candraplda was anointed as Crown Prince, and started on an expedition of world-conquest. At the end of it he reached Kailusa, and, while resting there, was led one day in a vain chase of a kadamnari of kinnaras to the shores of vana Acchoda Lake.

Kadambrai sprang up between the prince and Kadambarl at lirst sight ; but a sudden summons from his father took him to UjjayinI without farewell, while Kadambarl, thinking herself deserted, almost died of grief. At her words the prince fell dead from grief, and at that moment Kadambarl came to the hermitage. It was now brought by her to King Tudraka, but knew no more. The author in person tells all that happens to Cudraka pp.

The parrot’s tale pp. He was kadakbari through the air by a Yidyfidhara, and beheld Makarandika. They loved each other, and a marriage was arranged between them. The prince, how- ever, was suddenly recalled by his father, and Makaran- dikiVs wild grief brought on her from her i arenis a curse banx she should be born as a Nihlifida. Pulastya added that the curse would be over when the story was told in a king’s court. Tawney Calcutta,vol.

Somadova’e date is about a.

The Kadambari Of Bana

Bfina is shown in his not attaching the degrading forms of birth to Kfidambari or her parents. The horse is given as a present to the hero by Indra, who sends him a message, saying: When you mount it you will be invincible. It appears possible that both this story and ‘ Kfidambari ‘ are taken from a common original now lost, which may be the Brihatkathu of Guumlhya. It begins with stanzas in saluta- tion to some divinity, as also descriptive of the behaviour of bad men and others.

Tlio italics represent words supplied by the translators. The story of Pundarika and Mahayveta receives mention, firstly, for the introduction of death, contrary to the canon ; secondly, for the determination of the nature of their sorrow, and its poetic quality, and consequent appeal to the feelings of the reader.

The commentary gives Mahri ;vetri as the instance, and continues: The first I owe to the kindness of Professor C. In a collection of manuscripts at the British Museum Or.

It forms part of an introduction to the Kamandakiya-Niti- Castra, and occurs without any hint of its being a quotation from another work. Mac- miUan, April, Historical interest, so far as that depends on the narration of historical facts, appears to be entirely lacking, though it may be that at some future time our knowledge from other sources may be so increased that we may recognise portraits and allusions in what seems now purely a work of romance.

It is indeed true that it probably in many ways does not give a picture of contemporary manners, just as a media val illuminated manuscript often represents the dress and surroundings prior to the time of the illuminator, so as to gain the. In India, where change works but slowly, the description of the court and city life, where all the subjects show by outward tokens their sympathy with the joys and sorrows of their ruler, as in a Greek choius, is vivid in its fidelity.


Peterson, ‘ Kridainbarl,’ p. The writer describes the workshops where the brethren labour, and the orchard used for rest and quiet thought, and goes on to say hnw the Aube is raised by the toils of the ‘ brethren to the level of the Abbey ; it throws half its water into the Abbey, ‘as if to salute the brethren, and seems to excuse itself for not coming in its whole force.

The description of Ujjayini, surrounded by the Siprfi, is too general in its terms to give a vivid notion of what it then was. The site of the temple of Mahakula is still shown outside the ruins of the old town.

A point of special interest is the argument against the custom of suicide on the death of a friend. Those, too, who die may not be reunited for thousands of births. The question of food as affected by caste is touched on also p. The zenanas include aged ascetic women p. Eale’s’translation of ‘ St. Oriental Translation Fund Series, p. This shows that the reign of Harsha was one of religious tolerance. It may perhaps contain nothing not found elsewhere, but the fact of kaeambari having a date gives it a value.

The unsettled kadambwri of Indian literature makes it impossible to work out at present Buna’s ‘ KadambauI. The first thing that strikes the reader is that the sense of proportion, the very foundation of style as we know it, is entirely absent.

No topic is let go till akdambari author can squeeze no more from it. In descriptions every possible minor detail is given in all kxdambari fulness ; then follows a series of similes, and then a firework of puns.

In speeches, be they lamenta- tions or exhortations, grief is not assuaged, nor advice ended, till the same thing has been uttered with every existing variety of synonym.

This defect, though it springs from the author’s richness of resource and readiness of wit, makes the task of rendering in English the bbana of the Sanskrit style an impossible one.

How much more, then, living beings endowed with sense! Peterson, ‘ Kadambari,’ p.

The Kadambari Of Bana by C.M. Ridding

The companions of each are also those declared in the books of rhetoric to be appropriate. Both, too, by a, strange coincidence, died with their work un- finished. But if they have the same faults, they have also many of the same virtues.

We are, indeed, told in one hurried sentence of the heroic deeds of Candrapicja in his world-conquest, and his self- control and firmness are often insisted on; but as he appears throughout the book, his self-control is constantly broken down by affection or grief, and his firmness destroyed by a timid balancing of conflicting duties, while his real virtue is his unfailing gentleness and courtesy.

On the surface it is pure romance, and it is hard to believe that he had any motive but the simple delight of self-expression and love for the children of his own imagination.

Spenaer’s stanzas on Mutability. I have some- times endeavoured to give what might be an English equiva- lent, and in such cases I have added in a note the literal meaning of both alternatives ; perhaps too much freedom may have been used, and sometimes also the best alterna- tive may not have been chosen to place in the text ; but those who have most experience will know how hard it is to do otherwise than fail.

Some long descriptions have been omitted, such, f. It is so entirely an imitation of his father’s work in style, with all his faults, and without the originality that redeems them, that it would not reward translation. In my abstract I have kept the direct narration as more simple, but even when passages are given rather fully, it does not profess in any case to be more than a very free rendering ; sometimes only the sense of a whole passage is summed up. I regret that the system of transliteration approved by the Royal Asiatic Society came too late for adoption here.

I have now to offer my grateful thanks to the Secretary of State for India, without whose kind help the volume could not have been published. I have also to thank Miss G.


Duff for allowing me to use the MS. Dale, of Girton College, for botanical notes, which I regret that want of space prevented my printing in full ; Mr. Tawney, librarian of the Indian Office, for information as to the sources of Indian fiction ; Mr. Arbuthnot and Professor lihys-Davids, for valu- able advice; Professor C. Bendall, for his description of the Kaniandaklya-Niti-Castra, and his constant kindness about my work ; Mr. XXIV for a generosity and unwearied helpfulness which all his pupils know, and which perhaps few but they could imagine.

I read through with him the whole of the First Part before translating it myself, so that mistakes in the translation, many as they may be, can arise only from mis- understanding on my part, from too great freedom of rendering, or from failing to have recourbe to the know- ledge he so freely gives.

Who is there that fears not the wicked, pitiless in cause- less enmity ; in whose mouth calumny hard to bear is always ready as the poison of a serpent? The wicked, like fetters, echo harshly, wound deeply, and leave a scar; while the good, like jewelled anklets, ever charm the mind with sweet sounds. The good man bears them constantly on his heart, as Hari his pure gem.

There was once a Brahman, Kuvera by name, sprung from the race of Vatsyayana, sung throughout the world for his virtue, a leader of the good: In his house frightened boys, as they repeated verses of the Yajur and Sama Veda, were chidden at every word by caged parrots and mainas, who were thoroughly versed in everything belonging to words. From him was born Arthapati, a lord of the twice-born, as Hiranyagarbha from the world-egg, the moon from the Milky Ocean, or Garuda from Vinata.

U ‘ With renowned warriors on their backs. The virtues of that noble man, reaching far and gleam- ing bright as a digit of the moon, yet without its spot, pierced deep even into the hearts of his foes, like the budding claws of Nrisimha Vishnu.

The dark smoke of many a sacrifice rose like curls on the brow of the goddesses of the sky; or like shoots of tamala on the oar of the bride, the Threefold Veda, and only made his own glory shine more bright. From him was born a son, Bilna, when the drops that rose from the fatigue of the soma sacrifice were wiped from his brow by the folded lotus hands of SarasvatI, and when the seven worlds had been illuminated by the rays of his glory.

There was once upon a time a king named Cudraka. He rooted up with the point of his bow the boundary-mountains of his foes as Prithuraja did the noble mountains. He mocked Krishna, also, for while the latter made his boast of his man-lion form, he himself smote down the hearts of his foes by his very name, and while Krishna wearied the universe with his three steps, he subdued the whole world by one heroic effort.

Glory long dwelt on the watered edge of his sword, as if to wash off the stain of contact with a thousand base chieftains, which had clung to her too long. By the indwelling of Dharma in his mind, Yama in his wrath, Kuvera in his kindness, Agni in his splendour, Earth in his arm, Lakshml in his glance, SarasvatI in his eloquence, 10 the Moon in his face, the Wind in his might, Brihaspati in his knowledge. Love in his beauty, the Sun in his glory, he resembled holy Narayana, whose nature manifests every form, and who is the very essence of deity.

Her form was lovely, yet awe-inspiring, and with the scimitar a weapon rarely worn by women hanging at her left side, was like a sandal-tree girt by a snake. Her bosom glistened with rich sandal ointment like the heavenly Ganges when the frontal-bone of Airavata rises from its waters. Placing on the ground her lotus hand and knee, she thus spake: She bears a parrot in a cage, and bids me thus hail your majesty: In the thought that this bird is a marvel, and the treasure of the whole earth, I bring it to lay at thy feet, and desire to behold thee.

Then the portress, immediately on the king’s order, ushered in the Candala maiden.