In Ancient India, the creative and exegetical literature has developed together. The creative literature, including poetry, was the outcome of pratibha or creative genesis. And the exegetical, critical or explanatory literature was the outcome of erudition of the scholar. Gradually, both the types cross-studied by the students and scholars as critical literature helped to understand the other type of literature thoroughly. Slowly almost all the poetical, traditional compositions found their own exegetic writers, well known as commentators, who find to evaluate the literature by explaining and defending it on the basis of some sastric compositions. Thus a tradition of original and commentarial literature, took in deep insight into the contemporary Śästras. The commentators approached many sastras like Grammar, Lexicography, Vedanta and they enriched their commentaries and indirectly linked the greatness of the creative writers by pointing out their greatness in using appropriate ideas or diction. The commentators mastered Etymology, Grammar and Kośa-disciplines, which helped readers understand and appreciate the text clearly and delightfully.
Dr. Mrs. Jayanti Tripathy has highlighted the merits of Bhanucandra (Dasa) a commentator of Banas Kadambari. She has critically evaluated the various devices employed by him to bring the right import of the composition of Bana and has brought home the greatness of the prose composition-Kadambari.
As is known to Sankrit scholars, Bana is very affluent in his diction, style and figures of speech. Rightly goes the saying banocchistam jagat sarvam. Though Bana at times, appears to be too ornate and verbose, his style is always mellifluous and his wortings enriched in allusions and cultural ideals to all the people. At the same time, the good style, marked by long compounds and lofty imaginations, can never be lost sight of. In a fomous example of a figure of speech called concealment (Apahnuti), a verse lauds the sweet and charming nature of his style.
Commentators vie with one another to bring on to the significance and attractive nature of his style of narration. The writer of this book has alluded to many commentators like sukhakara. Bālakışna, Mahadeva, and the must important one Bhanudasa and some commentaries like Padartha Drapaņa, Tattva prakasika, Amoda by their own name. The writer has devoted the second chapter to the study of textual criticism of Kadambari which forms- critical portion of Kadambarī studies. In this chapter Dr. Jayanti has selected certain important readings in the Kadambari and shown preference to certain readings assigning reasons, for example: anabhibhavanīyam of Bhānu is contrasted with the reading anabhavakṛttim' not to be insulted'. She has remarked that the latter is more fitting to the description (p. 24).
The present work is the revised version of my Ph.D. thesis submitted to the Pohdiccherry Central University in 1992 and subsequently awarded Degree. Thought both of the external experts have recommended its publication could not be materialized till the date. I am happy that the work is seeing the light of the day though late.
As soon as one speaks of a prose writer in Sanskrit it is Bana that comes to ones mind. Again it is his Kadambari that dwells in the mind of the readers forever, But it is sad to note that Bana has not drawn considerable attention of the modern critics in comparison to others poets; A lot is to be done with regard to the study of Kadambari No attention has been paid to the study of mythologies it is very difficult to understand Kadambari properly. No serious attempt is made to study the text of Kadambari from the point of view of textual criticism and study the available variants with a view to give the probable and proper readings of Kadambari. With these objectives in mind, the present work was undertaken for a critical study.
Further, the commentary of Bhanuchandra and Siddhichandra, which is the earliest commentary on Kadambari is harshly criticized by learned Mathuranath sastri giving the impession that this commentary of Bhanu is almost a useless one.
The present work bases its study and analysis on the Purvabhaga of Kadmbari mainly in the light of the commentary of Bhanuchandra. It is arrnged in six chpters including the introduction and conclusion where a general estimation of the commentaries on Kādambarī is presented. The second chapter is devoted to textual criticism of Kadambari. The criticism of the editor regarding the text have been thoroughly examined. The third chapter is devoted to mythological allusions in Kadambari. The fourth chapter deals with the interpretation, on the basis of the commentary of Bhanuchndra along with two unpublished commentaries namely Amoda and Darpana. Fifth and Sixth chapters are devoted to the exposition of the scholarship of Bhanuchndra, and special features of the commentary.
It is my sincere wish to record now the help I have received from others during my research and in preparing the work in the present shape. First of all, I express my sincere gratitude to my guide. Dr. C. Panduranga Bhatta, Pondicherry University for leading me throughout this research work. I am also grateful to then Professor and Head. S. P. Narang for his valuable suggestions during my research.
I express my sincere gratefulness to Prof. P. G Lalye for his kind blessings and valuable suggestions. He was very kind to go through the entrire work and obliged me by writing a foreword to this work.
I am highly indebted to my previous teachers Prof. V. N.Jha, Prof. S. M. Shah, Prof. M.D. Pandit, for their blessings and academic scholarly advice.
I sincerely thank the authorities of Pondicherry University for awarding me a Research Fellowship during my research. I sincerely thank the authorities of the libraries of Pondicherry Central University, BORI, and Deccan College and CASS for their timely co-operation.
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