A History of Sanskrit Literature c21.s8.9

c21.s8.9

This is indeed a strange tale, and to those who have no belief in rebirth, or even in a reunion after this mortal life, its appeal must be gravely diminished, and the whole must seem rather a fantastic if not idle romance with uninteresting characters living in an unreal atmosphere. But from the point of view of Indian belief the case is far other, and the story may justly be deemed replete with the tenderness of human love, the beneficence of divine consolation, the pathos and sorrow of death, and the abiding hope of reunion after death as a result of unswerving fidelity to love. To Indian minds also there is a strong appeal in the element of the miraculous, nor to them is there anything save attraction in the wonderful history of the Moon and Puṇḍarīka, even the appearance of the latter in parrot form has nothing ludicrous when it is believed that human beings do pass from one body to another. Bāṇa’s treatment of love is refined and graceful, and shows itself at its best in the scenes between Kādambarī and the prince; in his account of the feelings of Kādambarī from the time when she mounted the terrace of her palace to gaze on the prince, Bāṇa achieves a wonderful insight into the currents of youthful passion and virgin modesty which sway a girl's mind when first she is moved to love.¹ All credit is also due to him for his effective characterization of so many minor characters; to Tārāpīḍa, Vilāsavatī his queen, and, above all, to Çukanāsa he has imparted both life and colour, while the devotion of Pattralekhā is touchingly portrayed.