2023-02-19 13:23:12 by ambuda-bot
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PREFACE,
There are not many prose works in Sanskrit
literature; so much so, that this paucity is generally
believed to be the cause of Sanskrit not being a spok-
en language. Though this is not the place for an
examination of the correctness of this theory, there is
no denying the fact that the number of prose works
in Sanskrit can be counted on one's fingers. It is
also undisputed that of all the authors of extant
Sanskrit Prose works, Bana is the most famous and
even among Bana's works, Kadambari is admittedly
by far the best in point of style, diction, majesty and
flow. Its plot is most skilfully woven; its style is most
elegant and musical. Its discriptions are always
realistic and its characters are life-like and consistent
to a very unusual degree. The feelings and emotions
delineated in it are quite natural. In short it is one of
the ornaments of Indian classical literature; its study
invigorates its readers and refreshes the depressed.
On his representation of Kadambari in particular,
Bana has spent all his wealth of observation, fullness
of imagery and keenness of sympathy. His flight of
imagination is such that even after the most exhaust-
ive description he feels that it is not enough and so
adds the words इत्येतानि चान्यानि च ।
Even such a masterpiece is, I am afraid, not widely
read and appreciated. In the midst of the multifari.
ous subjects to wich he has to direct his attention,
the student has not the time enough for a patient
There are not many prose works in Sanskrit
literature; so much so, that this paucity is generally
believed to be the cause of Sanskrit not being a spok-
en language. Though this is not the place for an
examination of the correctness of this theory, there is
no denying the fact that the number of prose works
in Sanskrit can be counted on one's fingers. It is
also undisputed that of all the authors of extant
Sanskrit Prose works, Bana is the most famous and
even among Bana's works, Kadambari is admittedly
by far the best in point of style, diction, majesty and
flow. Its plot is most skilfully woven; its style is most
elegant and musical. Its discriptions are always
realistic and its characters are life-like and consistent
to a very unusual degree. The feelings and emotions
delineated in it are quite natural. In short it is one of
the ornaments of Indian classical literature; its study
invigorates its readers and refreshes the depressed.
On his representation of Kadambari in particular,
Bana has spent all his wealth of observation, fullness
of imagery and keenness of sympathy. His flight of
imagination is such that even after the most exhaust-
ive description he feels that it is not enough and so
adds the words इत्येतानि चान्यानि च ।
Even such a masterpiece is, I am afraid, not widely
read and appreciated. In the midst of the multifari.
ous subjects to wich he has to direct his attention,
the student has not the time enough for a patient