________________
138
TILAKAMAÑJARĪ OF DHANAPĀLA
___ "आत्मनो महिमानमिच्छता पुरुषेण पूर्वे वयस्यपूर्वा सर्वापि परयोषित् प्रायशो न बहु भाषणीया, विशेषत: प्रथमयौवना व्रतस्था"
“A man desirous of saving his face should avoid talking much to a maiden revelling in the bliss of her puberty, being himself in an age of adolescence at that time. He should be particularly careful in case of a maiden who is in her blooming youth and is standing on a vow.”
D. IMPACT OF EARLIER PROSE WRITERS ON DHANAPĀLA AND HIS
INFLUENCE ON LATER PROSE WRITERS.
Much has already been said regarding the impact of Bānas muse on Dhanapāla's calibre during our discussions on the Art and Style of Dhanapāla and still an urgency remains to dilate upon the topic in minute details. Regarding the influence of Dhanapāla on later writers such as Soddhala (Udayasundarī-kathā), Odayadeva, Gadyacintāmaņi Vāmanabhatt a Bāņa (Vembhūpāla Caritas) we can understand that he had some such on the analogy of Bāņa. Pandit Amaranatha Pandey has discussed the impact and influence of Bana on later writers in his 'बाणभट्ट का आदान प्रदान'.
In this manner this book will help us in construing the Pradāna of Bāņa as 'ādāna' in case of Dhanapāla while the 'Pradāna' of Dhanapāla shall be discussed at its due order.
At the first instance, Bāņa's inspiration on Dhanapāla is conspicuous from Harşacarita and even Kādambarī in so far as in the Tilakamañjarī Dhanapāla has prefixed as many as fifty three verses at the beginning before the actual prose portions start. Bāņa in his Harşacarita as well as in Kādambari has given a good number of Introductory verses which contain the invocations to the favourite deities, to the ruling patrons, to the predecessor poets and dissertations on the special features of prose, its art as well as its style.
Bāna has paid a lofty tribute to Kathā? in Kādambari (Intro. verse 8) whereas Dhanapāla has also done so but described as palling the special type of it (i.e. Kathā) that contains stretches of unending prose. Bāņa has belauded the prose of an efficient poet by characterising it as abounding in many and new meanings being purported forth by the rows of syllables of
1. TM. Vol. III p. 168. LL.5-6. 2. See Part 1 Section B also Part I, works of Dhanapäla. 3. Ibid.
