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The Kadambarinataka of Narasimha

A Dramatic Version of Banas Classic Kadambari

It is the first ever English translation of Narasimha's Kadambarinataka. And also its first critical evaluation, highlighting not only its high importance in Sanskrit-Prakrit literature of medieval India, but also below

About This Book

It is the first ever English translation of Narasimha's Kadambarinataka. And also its first critical evaluation, highlighting not only its high importance in Sanskrit-Prakrit literature of medieval India, but also how this fourteenth-century play compares favourably with the masterly kavyas of the classicists like Sudraka, Kalidasa, Bhavabhuti and Rajashekhara.

Kadambarinataka is essentially a dramatic version of Kadambari : an internationally celebrated novel/romance of the seventh century, authored by the legendary Bana and his son. For over six centuries, it has remained unacknow-ledged and unnoticed owing to the prevailing prejudice against the whole range of Sanskrit-Prakrit literature that came to be written after the 10th century or so. Though the play saw its only printed edition in 1936, it was not studied in perspective nor has it so far been translated into any language.

Dr. Hideaki Sato retrieves Kadambarinataka from the centuries of oblivion, offering this literary masterpiece, in two parts, to English-knowing audiences the world over. Part One, in the nature of a critical introduction, focusses on Narasimha: the author, his times and his writings; together with insightful analyses of his nataka's sources, plot structure, language, style, innovative elements, and how far it has deviated from Bana's Kadambari. Part Two comprises the English rendering of Kadambarinataka which, based directly on its two manuscripts available today, also carries extensive textual notes.

  • Foreword By : A.K. Warder
  • Binding: : Hardbound
  • 13 Digit ISBN : 9788124600641
  • 10 Digit ISBN : 8124600643
  • Edition : 1st edition
  • Year : 1997
  • Pages : xvi, 300 p.
  • Bibliographic Details : Abbreviations; Bibliography
  • Size : 25 cm
  • Weight (approx.) : 800 gm


Part One
An introduction to the Kadambarinataka of Narasimha

1. Preliminary
2. The Critical Apparatus for the Study of the Kadambarinataka

The Madras Sanskrit-prakrit Manuscript
The Madras Sanskrit Chaya Manuscript
V. Krishnamacharya's Printed Edition

3. The Poet Narasimha and His Works

Narasimha's Country, Times and Genealogy
Narasimha's Works
Narasimha's Royal Patronage and the Kadambarinataka's Date

4. The Kadambarinataka's Source Story and Its Originality

The Three Versions of the Story of Kadambari

The Kadambari Version -- The So-Called Brihatkatha Version -- he Avantisundari Version

The Originality of the Novel Kadambari

5. Some Basic Problems Concerning Narasimha's Dramatization of the Novel Kadambari

The Title and the Type of the Play
The Languages and the Style
The Verses and the Meters

6. Narasimha's Treatment of the Novel Kadambari's Plot in His Kadambarinataka

Different Views on Innovations in a Nataka Plot
The Altered Sequences of Incidents
Innovated Incidents
Innovations in the Characters

7. A Further Analysis of the Plot Structure of the Kadambarinataka

The Arthaprakritis
The Opening Benediction and the Prologue
The Acts
The Preludes
The Samdhis
The Samdhyangas

The Angas of the Mukha Samdhi -- The Angas of the Pratimukha Samdhi -- The Angas of the Garbha Samdhi -- The Angas of the Avamarsha Samdhi -- The Angas of the Nirvahana Samdhi

The Samdhyantaras
The Patakasthanakas

8. The Garbhanka: A Special Feature of the Kadambarinataka

The Garbhanka According to Theorists
The Garbhankas in Other Sanskrit-Prakrit Plays
The Garbhanka in the Kadambarinataka

9. The Rasas of the Kadambarinataka

Theories of Rasa
The Rasas Developed in the Kadambarinataka

10. Concluding Remarks

Part Two
A Complete English Translation of the Kadambarinataka of Narasimha with Detailed Textual Notes

Note on the Translation
Dramatis Personae
The Kadambarinataka of Narasimha
Opening Benediction

Shuddhavishkambhaka: Prelude to Act one

Act One
Act Two

Praveshaka: Prelude to Act Three

Act Three

 Mishravishkambhaka: Prelude to Act Four

Act Four

Culika: Prelude to Act Five

Act Five

Ankamukha: Prelude to Act Six

Act Six

Mishravishkambhaka: Prelude to Act Seven

Act Seven

Mishravishkambhaka: Prelude to Act Eight

Act Eight


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