banabhatta essay in sanskrit

बाणभट्टः (Banabhatta ) | Sanskrit Essay on Banabhatta

Essay on banabhatta in sanskrit.

Read Also: Essay on Maharishi valmiki / Essay on Lord Mahavir महाकविः बाणभट्टः गद्यकाव्यजगतः चक्रवर्ती । पद्यं वद्यं गद्यं हृद्यम् इति उक्तिः बाणस्य गद्यप्रबन्धारचनादनन्तरमेव लोकोक्तितामशिश्रियत् इति भाति । कविराजः इति नामा गद्यकविरेकः वदति यत्-सुबन्धुर्बाणभट्टश्चकविराज इति त्रयः इति श्लेषार्थचमत्कारे वयं त्रय एव गद्यकवयः इति साधयति ।शोणानद्याः पश्चिमे तीरे स्थितः प्रीतिकूटम् नाम अग्रहारः (ब्राह्मणानां निवासस्थानम्) बाणस्य जन्मभूमिः आसीत् । वात्स्यायनवंशजः “चिन्तामणिः” बाणस्य पिता । राजदेवी बाणस्य माता । बाणस्य भट्ट इति उपनाम आसीत् ।शैशवे एव बाणस्य मातृवियोगः अभवत् । ततः पिता एव बालस्य रक्षणपोषणभारम् ऊढवान् । समुचिते वयसि विधिवत् उपनयनादिसंस्कारान् विधाय शिक्षणं च प्रादात् । बाणस्य चतुर्दशे वयसि पितापि दिवंगतः । शिक्षको रक्षकश्च पिता यदा मृतः तदा खिन्नः बाणः स्वस्य यौवनारम्भे किंकर्तव्यतामूढः स्वगामं गृहं प्रियान् मित्राणि च त्यक्त्वा एकाकी सन् नाना देशान् बभ्राम ।

एवं भ्रमता बाणेन शूद्रस्त्रीसञ्जातौ चन्द्रसेनमातृषेणौ, भाषाकविः ईशानः, वारबाणवीसबाणनामानौ विद्वांसौ, वर्णकविः वेणीभारतः जाङ्गलिकः(विषवैद्यः) मयूरः, भिषक्पुत्रः मन्दारकः इत्यादयः बाणस्य नूतनाः सुहृदः समभवन् । एवं च बहुकालं यावत् देशाटनं कृत्वा पुनः स्वग्रामं प्रीतिकूटम् प्रत्याजगाम । इष्टगोष्ठीषु कालयापनं कुर्वन् आसीत् । बाणस्य स्वग्रामागमनं पाण्डित्यं च कर्णाकर्णिकया श्रुत्वा श्रीहर्षसार्वभौमस्य मातुलः चित्रभानोः मित्रं च कृष्णः श्रीहर्षं सम्प्रार्थ्य बाणम् हर्षस्य आस्थानपण्डितमण्डल्यां प्रवेशयामास । ततः किञ्चित्कालानन्तरं बाणः हर्षस्य आप्तमित्रम् अभवत् । बाणः स्वस्य आश्रयदातुः हर्षस्य जीवनचरितम् हर्षचरितम् नामकं ग्रन्थं गद्यरूपेण न्यबध्नात् ।

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• October 25, 2024
• Ancient history
• Unlocking the Legacy…

Unlocking the Legacy of Banabhatta: Exploring the Mastermind Behind ‘Kadambari’

• Ancient history Lifestyle

• September 26, 2023

Banabhatta, a famous author of traditional Sanskrit literature, is a guiding light in the extensive canon of Indian literature. His literary skill helped to shape the development of Sanskrit literature in the seventh century CE, leaving a lasting impression on the fields of the arts and culture. The “Kadambari,” a compelling work of fiction that deftly combines love, fate, and spirituality into a captivating story, is Banabhatta’s magnum opus and the reason he is most well-known. This essay tries to explore the life, works, and continuing influence of Banabhatta, inspiring his priceless contributions to the canon of ancient Indian literature.

Early Life and Background of Banabhatta:

Banabhatta, also known as Ba, was born into a Brahmin household in the seventh century CE. His birth and early years are obscured by historical uncertainty, although it is generally accepted that he was born in an area of modern-day Uttar Pradesh, India. King Haravardhana of Theshvara (modern-day Thanesar) appointed Banabhatta to a high post in his court in addition to his distinctions as a poet and scholar.

A Literary Jewel: The “Kadambari”

The “Kadambari,” Banabhatta’s most well-known work, is a superb prose romance that ranks among the best works of traditional Sanskrit literature. This outstanding work of literature is written in a distinctive form known as “camp,” which combines prose and verse. The “Kadambari”‘s” intricate, visually stunning story addresses the concepts of love, fate, and spirituality. The plot centers on the connected destiny of the two main protagonists, Kadambari and Chandraekhara, who go through different hardships brought on by supernatural intervention. Celestial princess Kadambari and aristocratic prince Chandraekhara are meant to be together through love and divine intervention. Banabhatta’s story explores the essence of love, the fleetingness of life, and the intricacy of fate while also having philosophical and metaphysical overtones.

The “Kadambari” language and style demonstrate Banabhatta’s command of Sanskrit, fusing melancholy with complex wordplay and symbolism. This literary masterpiece has won respect from all generations due to the elegance of the text and the complexity of the characters. Kadambari, frequently recognized as a masterpiece of ancient Sanskrit literature, displays Banabhatta’s unmatched storytelling talent. The dense narrative, vivid descriptions, and flawless language use define this epic tale. The reader is captivated by Kadambari’s elaborate vocabulary and complex structure, which highlights Banabhatta’s command of the Sanskrit language. The destinies of the main characters, Kadambari and Chandraekhara, are intertwined throughout the story of Kadambari. It develops mystically and covers topics like love, fate, and the cyclical cycle of existence. Using a combination of prose and poetry, Banabhatta deftly spins a captivating narrative that holds the reader’s attention on several levels.

Legacy and Impact:

Banabhatta has had a significant impact on Sanskrit literature. His distinctive storytelling approach in the “Kadambari” established a new standard and influenced subsequent generations of authors and poets. The “camp” style of narrative, which is characterized by a combination of prose and verse, rose to popularity and influenced future literary works in several other languages.

The “Kadambari” translation into several languages throughout the years is proof of its timeless significance. The literary and philosophical richness of Banabhatta’s work has been acknowledged by academics and translators, who have worked to make it more accessible to a larger audience. Readers are still attracted to the “Kadambari” themes, which delve into the complexity of fate and the human experience.

Other well-known works by Banabhatta, such as the “Haracarita,” offer more context for the society, culture, and literary accomplishments of his period. His writings showcase the magnificence and vitality of a vanished age while illuminating the political and social person of ancient India. Finally, Banabhatta remains a timeless character in the canon of Indian literature. His creative brilliance, best seen in the “Kadambari,” continues to enthrall and inspire book lovers and academics, confirming his long-lasting reputation as an Indian literary master. Banabhatta holds a rightful position in the way of international literature thanks to his profound awareness of human emotions, philosophical insights, and unmatched storytelling.

Banabhatta displays his skill with metaphors, similes, and descriptive language in Kadambari. He uses words to construct detailed pictures that stimulate feelings and bring the settings to life. The reader is transported to an extinct era by the manner and language, which represent the cultural and social context of ancient India. This immersion provides knowledge about the customs and beliefs of the era while being entertaining and educating.

Banabhatta’s other notable book, Haracarita, is a biography of Kashmir’s King Hara. The Haracarita develops as an interesting story, rich with historical information, courtly intrigues, and lyrical flourishes. This historical account demonstrates Banabhatta’s mastery of the Sanskrit language and his capacity to create gripping tales. Banabhatta’s work is notable for its skillful use of language to communicate both literal and metaphorical meanings. He can explore the depths of emotion, philosophy, and human experience because of his grasp of Sanskrit. The complex insight into human psychology that Banabhatta had is reflected in the characters’ talks, actions, and interior reflections, which give them life.

The literary works of Banabhatta have endured the test of time and continue to resonate with readers of all ages. His writings are still being studied by academics and aficionados, who are discovering deeper levels of meaning and admiring the pure elegance of his prose and poetry. The fundamental books Kadambari and Haracarita continue to provide important insights into ancient Indian philosophy. Banabhatta’s impact is seen outside of the literary world. Numerous authors, poets, and painters have been influenced by his works, which have helped to shape Indian literature and culture. Love, destiny, morality, and the human condition are some of the timeless topics he covered in his writings, and they are still relevant and thought-provoking today.

Conclusion:

Banabhatta represents the peak of traditional Sanskrit literature with his foundational works like Kadambari and Haracarita. He has been elevated to the status of a literary god because of his skill as a writer and his profound knowledge of social dynamics and human emotions. Because of the everlasting beauty of his ideas and words, Banabhatta’s legacy continues to benefit the world.

Prakash Israni

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Harshacharita (socio-cultural Study)

by Mrs. Nandita Sarmah | 2014 | 67,792 words

This page relates ‘Part 4(a): Banabhatta: His time, Date and His Works’ of the English study on the Harshacharita: A Sanskrit (poetical work) which can be studied as a Historical book of Indian society during the 7th century. It was originally written by Banabhatta who based his Harsacarita on the life of the Gupta emperor Harshavardhana. This study researches the religion, philosophy, flora and fauna and society of ancient India as reflected in the Harsha-Charita.

Go directly to: Footnotes , Concepts .

Part 4(a): Bāṇabhaṭṭa: His time, Date and His Works

[Full title: Position of Harṣacarita Among the Gadyakāvyas in Sanskrit Literature ]

Bāṇabhaṭṭa acquires the topmost position among all the prose-writers in Sanskrit literature due to his excellent poetic merits. Although, Subandhu was predecessor of Bāṇa , the latter got a higher position than him for careful avoidance of all the faults of the former. But Bāṇa was greatly influenced by Subandhu, and therefore, he praises him in his Harṣacarita . [1] Daṇḍin , however, had shown new style in the prose- kāvya by using simple elocution in his Daśakumāracarita . But, he (Daṇḍin) too even couldn’t acquire Bāṇa’s standard, although he [2] had flourished later than Bāṇa.

The date of Bāṇabhaṭṭa is very important for the chronology of Sanskrit writers. His date can easily be fixed from the autobiographical accounts given by himself in his famous kāvya in Harṣacarita . In this ākhyāyikā , it is mentioned [3] that he had been patronized by the emperor Harṣavardhana , and, he based his Harṣacarita on the life and reign of king Harṣavardhana of Northern India . The lifeevents of Harṣavardhana and his reign are found in various reliable sources such as—the writing of Chinese traveler Hiouen Thsang [4] who wrote in detail about the king Śilāditya of Kanauja, the emperor of Northern India . A comparative study of both Bāṇa and Hiouen Thsang proves that the description of Śilāditya by Hiouen Thsang is identical to king Harṣa , the great patron of Bāṇa. Hiouen Thsang visited India during 629-645 A.D., and on the basis of his writing the historian [5] has concluded that Harṣa reigned from 606 A.D. to 647 A.D. Again, the Madhuban [6] copper plate and Banskhera [7] copper plate inscriptions of king Harṣa are also reliable sources of the time of king Harṣa.

Other various external evidences are also thrown light on Bāṇa. Vāmana , who flourished in 750-800 A.D. refers to some words from Kādambarī in his Kāvyalaṅkārasūtravṛtti . [8] Kādambarī and Harṣacarita are mentioned as specimens of the two types of prose composition by Namisādhu, the commentator of Rudraṭa ’s Kāvyālaṅkāra , [9] who appeared in 1069 A.D. Again, Dhanañjaya who flourished in 1000 A.D. and was patronized by king Muñja , mentions Bāṇa’s name in his Daśarūpa . [10] In Sarasvatīkaṇṭhābharaṇa [11] of Bhoja (1025 A.D.), it is found that Bāṇa was not an expert in poetry as he was in prose compositions. The names Harṣacarita and Kādambarī are mentioned many a times by Anandavardhana in his Dhanyāloka [12] (850 A. D.).

Again, in the beginning of his Harṣacarita , Bāṇa mentions a number of Sanskrit authors and Sanskrit works viz., Vyāsa , [13] Vāsavadattā , [14] Bhattāraharicandra, [15] Sātavāhana , [16] Pavarasena, [17] Bhāsa , [18] Kālidāsa , [19] Bṛhatakathā [20] and Ādhyarāja. [21] These references prove that Bāṇabhaṭṭa flourished in the first half of the 7 th century A. D.

Although, it is very rare to find out personal history of Sanskrit poets , Bāṇabhaṭṭa reveals his personal life in both his gadyakāvyas. He reveals that he was born in a highly learned brāhmaṇa family of the Vātsāyana [22] race. A detailed description of his family back -ground has been given in the first three chapters of the Harṣacarita . His forefather lived in Prītikūṭa, [23] on the western bank of the river Hiraṇyabāhu , [24] in the Kānyakubja region known also as Śoṇa . The village Prītikūṭa was the resort of the learned brāhmaṇas , which is mentioned by Bāṇa as brāhmaṇādhivāsa . [25] In the Harṣacarita details of his family starts with the description of Vatsa , [26] and that after many years Kubera [27] was born in that family. In the Kādambarī mention of Kubera [28] starts with the information that he was experienced in Vedic rituals and pleased many Gupta kings . Pāśupata [29] was one of the four sons of Kubera. Pāśupata’s son was Arthapati , who has been mentioned in the Kādambarī . [30]

But the Harṣacarita [31] mentions that Arthapati was the only son of Pāśupata. Arthapati had many sons, and Citrabhānu [32] was one of them. Citrabhānu and Rājadevī’s son was Bāṇa. [33] Bāṇa lost his mother in his childhood, [34] and after that his father brought him up. [35] But when Bāṇa was only 14 years old, his father too, died [36] after performing his religious ceremonies (i.e., upanayana etc.). After he lost his father, [37] Bāṇa lived an unsteady life for sometimes due to his boyish curiosity. Then, he set out from his home [38] with curiosity to see various lands, and to earn wealth and knowledge . A large group of friends accompanied him, [39] who were engaged in various professions such as- bhāṣākavi, varṇakabi , barks, snake doctor, goldsmith , painter , singer , gambler, dancing girl etc. After he had visited many royal courts and several universities, participated in debates with learned men, he again returned [40] to his native place Prītikūṭa. There, he received a message from Kṛṣṇa [41] a cousin of king Harṣa, that on the basis of some wicked person ’s information, [42] the king had formed a wrong impression about him. So, Kṛṣṇa summoned [43] him to the court as early as possible. At that moment, he had felt hesitation because; neither he nor his family had ever been to the royal court. [44] But at last, he decided to go. [45] Next day, after performing some auspicious rites which were followed by an orthodox brāhmaṇa , Bāṇa went out for the journey. [46] On the third day, he reached the camp of king Harṣavardhana, [47] near the town of Maṇitārā, on the bank of Ajiravatī. When Bāṇa had reached the court, at first, king Harṣa treated him with negligence and called him a wanton. [48] Bāṇa replied [49] him with a wounded pride and calm dignity. Then, king Harṣa was impressed with him and later, he became a great favourite to king and got the royal favour . [50] After receiving the highest regard from king Harṣa, [51] Bāṇa returned home, [52] and his friends and family warmly welcome him at home. To welcome him, his friends recited [53] various verses from different books . One of them, the bard Sūcibāṇa recited two verses in āryā metre [54] on the life of king Harṣa. Hearing his verses, Śyāmala , Bāṇa’s cousin, requested [55] him to narrate the life story of Harṣa’s life from the beginning. Then Bāṇa promised [56] to narrate a part of it, which related the Harṣacarita . [57] With this description, Bāṇa’s autobiography is closed here. His life history is not found elsewhere in Sanskrit literature.

The Harṣacarita and Kādambarī are two gadyakāvyas, for which Bāṇa is able to get the position of the master of Sanskrit prose-romance. He has clearly mentioned that these two kāvyas [58] are the ākhyāyikā and kathā respectively.

Besides these two gadyakāvyas, he composed—

[a] the Caṇḍīśataka , a work containing a hundred verses, concerning goddess Caṇḍī , a form of Dūrgā, [b] the Śivaśataka , containing a hundred verses to praise lord Śiva , [c] the Pārvatīpariṇaya , a drama ascribed to Bāṇa. (But, some scholars do not accept that it is Bāṇa’s work), [d] the Mukuṭatāditaka , a drama written by Bāṇa, from which Trivikramabhaṭṭa [59] quoted a verse in his Nalacampu , and [e] the Śāradacandrikā is a play, the plot related to Candrāpīḍa . [60]

There are other various kāvyas such as Daśarūpaka , Padyakādambarī , Sarvacaritanāṭaka attributed to Bāṇabhaṭṭa, but nothing is known about the reliable sources of it, which can be proved.

About his works, Prof. S. V. Dixit [61] details that Bāṇa had written 9 books viz.,

• Harṣacarita,
• Caṇḍīśataka,
• Śivaśataka ,
• Mukuṭatāḍitaka,
• Sarvacaritanāṭaka,
• Śāradacandrikā,
• Padyakādambarī and
• Pārvatīpariṇaya .

Footnotes and references:

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kavīnāmagaladdarpo nūnaṃ vāsavadattayā | śaktyeva pāṇḍuputrāṇāṃ gatayā karṇagocaram || Harṣacarita ,I. intro.v.11

bhinnastīkṣṇamukhenāpi citraṃ bānena nirvyrthaḥ, Avantīsundarīkathā , v.19

[a] atidakṣiṇaḥ khalu devo harṣo yadevam…. manasā srihyatyeva mayi , Harṣacarita ,II.p.37 [b] svalpaireva cāhobhiḥ paramaprītena prasādajanmano mānasya premṇo vibhrambhasya draviṇasya narmaṇaḥ prabhāvasya ca parāṃ kotimānīyat narendreṇeti, Ibid .

[a] Buddhist Record of Western World , vol. I.p.209 [b] On Yuan Chwang’s Travels In India , p.343-345

Early History of India , p.348

Epigraphica Indica , Vol. I, p.208

Ibid ., Vol. IV, p.67

anukarotibhagavato nārāyaṇasya…, Kāvyālaṅkārasūtravṛtti ,v.2.44

Kāvyālaṅkāra of Rudraṭa, XVI. 22,26

yathā hi mahāśvetāvarṇanāvasare bhaṭṭabāṇasya, Daśarūpa ,II.35

yādṛggadyavidhau bāṇaḥ padyavandhe na tādṛśaḥ, Sarsvatīkaṇṭhābharaṇa ,p.52

[a] yathā harṣacarite samavāya iva.., Dhanyāloka ,p.101 [b] yathā kādambaryāṃ kādambarīdarśanāvasare, Ibid .,p.87

Harṣacarita ,I.v.3

Ibid .,I.v.11

Ibid .,I.v.12

Ibid .,I.v.13

Ibid .,I.v.14

Ibid .,I.v.15

Ibid .,I.v.16

Ibid ., I.v.17

Ibid ., I.v.18

[a] brahmaṇo’smi jātaḥ somapāyināṃ vaṃśe vātsāyanānām, Harṣacarita ,II.p.36 [b] babhūva vātsāyanavaṃśasambhavo dvijo jagadgītaguṇo’graṇīḥ satām | anekaguptārcitapādapaṅkajaḥ kuberanāmāṃśa iva svayambhuvaḥ || Kādambarī , v.10

..tasmineva pradeśe prītikūṭanāmānaṃ nivāsam, Harṣacarita ,I.p.19

….pitāmahasyāpatyāṃ hiraṇyabāhunāmānaṃ mahānadam, yaṃ janāḥ śoṇa iti kathayanti, Ibid .,I.p.8

vātsāyanavaṃśāśrayāmātmano janmabhuvaṃ brāhmaṇādhivāsamagamat, Ibid .,p.20

..vatse vāṅmayaṃ samastameva sañcārayāmāsa, Ibid .,I.p.18

…vahatsu vatsareṣu,….atikrāmati ca kāle , ……bātsāyanakule, krameṇa kuberanāmā ……dvijo janma lebhe, Ibid .

anekaguptārcitapādapaṅkajaḥ kuberanāmāṃśa iva svayaṃbhuvaḥ , Kādambarī , 10

tasmābhavannacchyut iśāno haraḥ pāśupataśceti catvāro yugārambhā iva tanayāḥ , Harṣacarita ,I.p.18

dvijajanmanārthapatiḥ patistataḥ, Kādambarī , v.13

tatra pāśupatasyaika evābhavadbhūbhāra iva… arthapatiriti nāmnā…. sūnuḥ , Harṣacarita ,I.p.18

so’janayadbhṛguṃ haṃsaṃ śuciṃ …. citrabhānuṃ ……pavitrānputrān, Ibid .,I.p.18-19

alabhat ca citrabhānusteṣāṃ madhye rājadevyābhidhānāyāṃ brāhmaṇyāṃ bāṇamātmajam, Ibid .

ca bāla eva vidherbalavato vaśādupasampannayā vyayujyat jananyā, Ibid .

….pitaivācya mātṛtāmakarot, Ibid ,I.p.19

kṛtopanayanādikriyākalāpasya…..caturdaśavarṣadeśīyasya…pitāpi… kālenādaśamīstha evāstamagāt, Ibid .

gate ca viralatāṃ śoke śanaiḥ śanairavinayanidānatayā svātantyrasya, kutūhalabahalatayā ca bālabhāvasya, ….śaiśavocitānyanekāni cāpalānyācarannitvaro babhūva, Ibid .

sa …..bālatayā nighnatāmupagato deśāntarālokanakautukākṣiptahṛdayaḥ …..brāhmaṇajanociteṣu vibhaveṣu sati cāvacchinne vidyāprasaṅge gṛhānniragāt, Ibid .

abhavaṃścāsya vayasā samānāḥ …… bhāṣākavirīśānaḥ,.. varṇakabirveṇībhārataḥ,… bandinā…jāṅguliko…bhiṣakaputro…citrakṛda..lāsakayuvā.. dhātuvāda ..dārduriko.. tāmracūḍaḥ , Ibid .

. …rājakulāni vīkṣamāṇaḥ, niravadyavidyāvidyotitāni ca gurukulāni sevamānaḥ, mahārhālāpagambhīraguṇavadgoṣṭhiścopatiṣṭhamānaḥ,……punarapi…. janmabhūvaṃ brāhmaṇādhivāsamagamat, Ibid .,I.p.19-20

…śrīharṣadevasya bhrātrā kṛṣṇanāmnā bhavatāmantikaṃ..…prahito.., Ibid .,I.p.23

śiśucāpalaparācīnacetovṛttitayā ca bhavataḥ kenacidasahiṣṇunā yatkiñcidasadṛśamudīritamitaro lokastathaiva tadgṛhnāti vakti ca, Ibid .,I.p.24

ato bhavatā rājakulamakṛtakālakṣepamāgantavyam, Ibid .

atigambhīraṃ mahadrājakulam. na ca tatra me purvajapravatitā prītiḥ , na kulakramāgatā gatiḥ …, Ibid .,II.p.25

sarvathā bhagavāna….. sarvaṃ sāṃpratamācariṣyati, ityavadhārya gamanāya matimakarot, Ibid .

athānyasminnahanyutthāya, prātareva snātvā ,…..prathamacalitadakṣiṇacaraṇaḥ, prītikūṭānniragāt, Ibid .,p.25-26

anyasmindivase skandhāvāramupamaṇitāramanvajiravati…..atiṣṭhacca nātidūre rājabhavanasya, Ibid .,p.26

rājā tu tacchrutvā dṛṣṭvā ca taṃ…..apṛcchat-‘eṣa sa bāṇaḥ’ iti. ….tiryaṅanīladhavalāṃśukaśārāṃ tiraskariṇīmiva….kathayat-‘ mahānayaṃ bhujaṅgaḥ ’ iti, Ibid .,II.p.36

bhūpatirapi ‘evamasmābhiḥ śrutam’…..snehagarbheṇa dṛṣṭipātamātreṇāntargatāṃ prītimakathayat, Ibid .

[a] atidakṣiṇaḥ khalu devo harṣo yadevam….manasā srihyatyeva mayi, Ibid .,II.p.37 [b] svalpaireva cāhobhiḥ paramaprītena prasādajanmano mānasya premṇo vistrambhasya draviṇasya narmaṇaḥ prabhāvasya ca parāṃ kotimānīyat narendreṇeti, Ibid .

…rājño samīpādbāṇo bandhūndraṣṭuṃ punarapi taṃ brāhmaṇādhivāsamagāt, Ibid .,III.p.38

atrāntare… pustakavācakaḥ sudṛṣṭirājagām. ….pavamānaproktaṃ purāṇaṃ papāṭha, Ibid .,III.p.39

… bandī sūcībāṇa….āryāyugalamapaṭhat-…śrīkaṇṭhaviniryātaṃ gītamidaṃ harṣarājyamiva, Ibid .

tacchrutvā… śyāmalo nāma bāṇasya preyānprāṇānāmapi ….babhāṣe-‘ tāta bāṇa, …ato’sya sugṛhītanāmnaḥ puṇyarāśeḥ pūrvapuruṣavaṃśānukrameṇāditaḥ prabhṛti caritamicchāmaḥ śrotum.…..bhavedasya carite kutūhalam. …bhavatu…rājarṣicaritaśravaṇena sutarāṃ sucitaraḥ, Ibid .,III.p.41

kaḥ khalu puruṣāyuṣaśatenāpi saknuyādavikalamasya caritaṃ varṇayitum. ekadeśe tu yadi kutūhalaṃ vaḥ, sajjā vayam, Ibid .

…viditābhiprāyasteṣāṃ puro harṣacaritaṃ kathayitumārebhe…., Ibid .,III.p.42

[a] tathāpi nṛpaterbhaktyābhīto nirvahaṇākulaḥ | karomyākhyāyikāmbhodhau jihvāplavanacāpalam || Ibid .,I.intro.v.19 [b] dvijena tenākṣatakaṇṭhakauṇṭhyayā mahāmanomohamalīmasāndhayā | alabdhavaidagdhyavilāsamugdhayā dhiyā nibandheyamatidvayī kathā || Kādambarī , intro.v.20

yadāha mukuṭatāḍitakanāṭake bāṇaḥ-‘āśāḥ proṣitadiggajā iva….| kurupaterdevasya śūṇyāḥ sabhāḥ || as quoted by P. V. Kane , Harṣacarita , Intro. p.xxvi

candrāpīḍasya maraṇaṃ pratujjīvananvitam | kalpitaṃ bhaṭṭabāṇena yathā śāradacandrikā || History of Classical Sanskrit Literature , M.Krishnamachariar, p.451-52

Bāṇabhaṭṭa: his life and literature , p.36-38

Other Kavya Concepts:

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Article published on 01 July, 2023

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