It is conventionally divided into Purvabhaga earlier part written by Banabhatta , and Uttarabhaga latter part by Bhushanabhatta. This novel has an extremely intricate plot which is difficult to summarize concisely. Its central thread is that of a romantic attachment and eventual union between the hero Chandrapeeda and the heroine Kadambari. However, there are several competing subplots; indeed, the heroine does not make her appearance until past the midpoint. Many of the characters appear in multiple incarnations, some as humans and some as demigods or animals.

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This 7th century novel was originally written in India in Sanskrit. It is rated high among classic Sanskrit novels, and some people have called it the first novel, although Alexandrian pastoral preceded it by several centuries, and you could argue that The Odyssey is a novel. Kadambari is in ornate prose.

This is not for the sort of creative writing class where a plain style and character development are the ideal. A half a page devoted to lapidary comparisons between the In a word ornate.

A half a page devoted to lapidary comparisons between the heroine and the moon in complex sentences with rigid parallel construction is nothing unusual. I got into the prose.

It is deeply involved in Hindu mythology and reincarnation — indeed the protagonists pursue their love through more than one reincarnation. The characters are stereotypes of nobility, passion, and beauty. The moods of romantic intoxication are exquisitely developed. In contrast, the hero conquers the world almost in passing. A parrot narrates to a king the account of a sage, where the parrot hears his own tale one he has become oblivious of, from the sage himself.

The sage enlightens that the parrot was enamoured to a maiden. When he first saw her and asked her It is a legend of two princes and two princesses Chandrapida- Vaishampayana and Kadambari-Mahashveta falling for each other -- each prince falling for a different lady, separated by assorted aspects and situations till they finally come together.

A parrot narrates to a king the account of a sage, where the parrot hears his own tale — one he has become oblivious of, from the sage himself. When he first saw her and asked her whereabouts, the same maiden narrated her story, right from her childhood where she had been friends with another young maiden. The contraption and scheme of this classic is so tremendously multifaceted that it travels seven stratum deep of story contained within a story. The narrative travels from one bottomless to further unfathomable frontiers.

It goes deeper and deeper as the intrigue becomes thicker and attention-grabbing. The story at each level goes travels further and becomes convoluted. After the whole nine yards, so to speak, the plot starts folding back to the original layers. The complete story is a sort of quixotic fiction, narrated with the sumptuousness of places visited, breathtakingly described pieces of nature, so many twists and turns, making it very interesting.

The poet commences with several stanzas in which he proposes that the story seeks favour by its new subject and phraseology, its vibrant portrayals and its similes. The novel is conservatively carved up into the Purbhavaga earlier part written by Banabhatta and Uttaravaga latter part by Bhushanabhatta. The original text is unremitting and is devoid of chapter divisions. If truth be told, Kadambari supplements our knowledge of the political and administrative record of the reign of Harshavardhana.

Banabhatta considered Samudra Gupta and Chandra Gupta as the idyllic sovereigns of India, and as such modelled his protagonists after them. Kadambari reflects upon speckled aspects of administration such as composition of the army, the qualifications of the crown-prince, the significance of the chief minister, council of ministers and so on.

The capable delineation of the royal palace amalgamates the data gathered from the Harshacharita. Besides, it furthermore embodies the then Hindu society and the stature of men and women in that world. With such multifarious depiction, ornamental language, intricate plot, evocative story-telling, Kadambari stands out as a matchless work of art. This novel was penned by Banabhatta in the first half of the 7th century.

The author did not survive to see it through completion.





The Kadambari of Bana


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