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Kadambarinataka of Narasimha

A Dramatic Version of Bana’s Classic Kadambari by: Hideaki Sato

This is the first-ever English translation of Narasimha’s Kadambarinataka and its critical evaluation. It highlights the play’s importance in Sanskrit-Prakrt literature of medieval India and compares it with the kavyas of classicists like Sudraka.


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ISBN: 9788124600641
Year Of Publication: 1997
Edition: 1st
Pages : xvi, 300
Bibliographic Details : Abbreviations; Bibliography
Language : English
Binding : Hardcover
Publisher: D.K. Printworld Pvt. Ltd.
Size: 25 cm.
Weight: 750


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.



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

Meet the Author
Hideaki Sato is a Japanese scholar of Sanskrit literature, with strong interests in Eastern religions and philosophies. A landed immigrant in Canada since 1984, he took both his M.A. and Ph.D in Sanskrit literature from the University of Toronto — where, now associated with its Centre for South Asian Studies, he is a postdoctoral research fellow. He is also Member of American Oriental Society; Canadian Association for Asian Studies; and a few other similar bodies. Dr. Sato knows over a dozen languages, is recipient of several scholarships/fellowships, has travelled across the continents. He has published research articles/papers and books, and has taught Japanese at different institutions, in Canada and India, for the last fifteen years or so.
Books of Hideaki Sato