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DHANAPĀLA AS A PROSE WRITER
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discernible in Dhanapāla's muse where he indulges in diction of aviddha' mode being compoundless altogether. This trait of composition is equally admirable in other modes as well where his muse is laden with heavily compounded and less compounded diction's known as 'Utkalikā' or Tandaka and Cūrņaka respectively.'
Homogeneous blend of sound and sense forms the essence of Pāñcālīrīti or style which is available both in the works of Silābhattārikā as well as Bāņa.? Dhanapāla being a true pupil of Bāņa seems to have inherited this function from his illustrious preceptor. The style of Dhanapāla is characterised by all the traits mentioned above. It abounds in lengthy sentences full of compound forms connecting the subject with its verb through a series of qualifying epithets. As for example, the very first paragraph starts with the word 'अस्ति' and ends with 'उत्तरकोशलेष्वयोध्येति
THEH PR' and intervening series of metaphors, alliterative compounds, similes, fancies etc. go to the length of three and a half pages of a small printed book. Another one page illustrates its extra store of virtues, which contains prominent allusions to the cultural data affording clues to the erudition of the poet. Parisaṁkhyā (Exclusion or restriction) and Virodhābhāsa, Atiśayokti or (hyperbole), Samāsokti, Utprekśā, Arthāpatti, Ullekha, Viseśokti, Ślesa, Sleśānuprāṇitopamā, are the main figures strung into the frame of this description. The description starting with 'peli 7 भुवनत्रयाश्चर्यभूतायां नगर्याम् and ending with सार्वभौमो मेघवाहनो नाम' also covers a page and three quarters abounding in all the three modes of style i.e. the long compounded, short compounded and the uncompounded ones. It also contains a galaxy of figures such as Upamā (Simile). Utprekśā (i.e. Fancy), rūpaka (i.e. metaphor), Virodhābhāsa (i.e. apparent incongruity ) and Parisamkhyā. In order to provide a few illustrations here are the chosen examples.
'रम्यतानिरस्तसमस्तसुरलोका' is an attribute of Ayodhya a terrestrial town transgressing the limits of the usage, a fabulous spot. It is gorgeous beyond the grandeur of Suraloka. Hence there is ‘Atiśayokit' or Hyperbole in it.
1. Kadambari cka Sāmskritika adhyayana by Dr. V.S. Agravala p. 12. Chowkhamba
Vidyabhawan Varanasi 1-1957. 2. Bāņa Bhatta- A Literary study by Dr. Neeta Sharma p. 189. cf.
शब्दार्थयोः समो: गुम्फः पांचाली रीतिरिष्यते।
Picgif at alfa runny fi ascribed to Rājsakhera house in Sukti muktāvali. 3. TM. Vol. I p. 43. L. 1.
