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DHANAPĀLA AS A PROSE WRITER
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class mate only to shroud his laurels with the better score won by him. Dhanapāla's referring to Soddhala was out of question since he was senior to him and Soddhala inadvertently ignored him in order, not to acknowledge his debt of gratitude to him and simply paid homage to Bāņa who was the real preceptor for his inspiration. It is possible to draw certain parallels between the muse of Dhanapāla and Soddhala, but the overall effect would make it apparent that it is Bāna and not Dhanapāla who is goading the pen of Soddhala.
Odayadeva Vādībhasimha (12th Century A.D) writing his Gadyacintāmaņi and Kșattracūļāmaņi seems to have had some inkling of borrowing from Dhanapāla. The gap between the two being so apparent that it can be possible to presume that Dhanapāla's fame had reached his ears by that time. According to Pandita Amaranātha Pāņdeya Vādibhasimha has also followed Bāna in the basic construction of his text. But Dhanapāla seems to have influenced him more than Bäna who himself was the source of inspiration for the former. The very fact that Odayadeva has devoted ten out of the fifteen Introductory verses to the eulogium, of Jina and the Jaina sages like the first sixth, nineteenth, thirty second, of the Introductory portion of Tilakamañjarī of Dhanapāla, amply illustrates the influence of the latter on the calibre of the former. The remaining five verses deal with the patronage of the poet and some homage to the old predecessor poets (Sūribhih). Even the descriptive and the narrative mode has been influenced by Dhanapāla. The description of the Janapada named Hemāngada and its Capital Rājapuri have been influenced by Dhanapāla's description of Ayodhyā in the Northern Kośalas. The description of Hemāngada also bears semblance of the description of the Nagara Sīmā of the Capital of the Simhalas.
Both have started their muse with the word 'f' and given the relative clauses in such a manner that the descriptions have an apparent similarity of thoughts and motifs between them. The description of Rājapurī in Gadya Cintāmaņi has many parallels to derive from the description of Ayodhyā in Tilakamañjarī.
"तत्र चास्ति समस्तभुवनविख्यातसंपदाभोगा, भोगवतीव भुजंगचरितोद्वेगेन भित्वा भुवमुत्थिता, नमुचि मथननगरीव निरालम्बनतया नभःस्थलान्निपतिता, माधुर्यकुलभूमिः फलमंजरीव भारतवर्षभूरुहस्य, भवनवलभीमण्डनमक्तासरमरीचिनिचयकवचिताकर्णचामरिकेव हेमांगदयमतंगजस्य, मरकतमणिकुट्टिममयूखपत्रला पद्मसरसीव कमला कलहंसीविहारस्य, पातालवासिभिरप्यनालोकितमूलेन गगनचरैरट्यलक्षितशिखरेण पराजितपरनरपतिकरदीकृतकनकोपलपटलघटितेन विघटितकुलगिरितटाभिर्दिगन्तदन्तावलदशनकुलिशकोटिभिरप्यभैद्यसंस्थानेन स्तम्भितजगदुपरमसमयसमीरसंरम्मेण त्रिभुवनलक्ष्मीकनकपादकटककान्तितस्करेण प्राकारेण परिवृता स्नानावतरदवनीपतिमदवारणकपोलतलविगलितदानजलवेणिका व्याजेन जलनिधिसमुत्कण्ठया यमुनयेव
