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264
unnecessarily hindered the progress of the narrative.
Prose was, thus, the fashion of the day right from the
48.
AR
49.
47 days of Bhamaha. In Subandhu's days paronomasia ruled
the roast. B膩na emphasized on the sprightly and musical
gaity of the language coupled with incessant denseness
of double-meaning compounds. The technique of emboxing
tales within tales, developed very early since Gu峁嚹佱笉hya's
Brhatkath膩 as a means of suspense and cleverness of
presentation, was, of course, adopted with due modifica-
tions to bring the narrative back to the point where it
started. But Bak B膩峁嘺's versification was not regarded
equally powerful as his prose by Bhoja Dhanap膩la, there-
fore, aimed at striking a balance between the fashion of
times and the demands of his days for exhibiting one's
scholarship by trying one's hand at the difficult task
of composing a Sanskrit prose fiction. The form was ready
in its highly developed stage in the K膩dambari of B膩峁嘺.
He had simply to adept the framework to his story with
necessary modifications, such as: (1) beginning the
narrative at a point where Bana introduces King T膩r膩pida,
47.TM(N).Intro.vs.17 cd; ~STETT 44
啶о�傕お啶氞�佮ぐ啶� 啶氞ぎ啷嵿お啷傕ぃ啶�
啶曕ぅ啶距ぐ啶膏ぎ啷� 啷�
[dh奴pacur膩 camp奴峁噄
kath膩rasam ||
] 48.KVL(B).I.iii.21 ff.: 1454191
49. SKB (RJ) 鈥� Intro. p. 4 : 啶膏ぞ啶︵�冟�椸�� 啶椸う啷嵿く啶掂た啶о�� 啶�啶距ぃ啶� 啶�啶︵�嵿ぎ啶�啶ㄠ�嵿ぇ啷� 啶� 啶むぞ啶︵�冟ざ啶� 啷�
( [s膩d峁沢 gadyavidhau b膩峁嘺岣� padmabandhe na t膩d峁浥沘岣� ||
(] It is strange that the reading in the text proper at
II.20 is o褔ussfu
啷� 啶�啶︵�嵿く啶�啶ㄠ�嵿ぇ啷囙そ啶�啶�
[0 padyabandhe'pi
] etc.)
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