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with power and with a powerful command of language. Bana's characters are generally carried by the vicissitudes of fortunes or by streaming torrents of feeling. The style of composition, for the rest, is ornate but redundant, learned but extravagant, charming but laboured. Often the same verbose sentence with strings of tautological epithets and with a profusion of similes « runs through several pages.
When dealing with narratives of human interest, Bana's genius has its most realistic effect. "Trie is a mental anatomist." He dissects the thoughts and feelings natural to human beings. The delicate shades of grief, fear, joy and courage, he describes If
with admirable exactness. He has, above all, a fine power to -express the inexpressible—the bewildering effects of sudden: tidings, the vague doubts and fancies of the distressed, the natural consequences of disappointed affection. "
."•To a fault common with most writers of his time," says Dr. Peterson u must be added a defect of constructive art, which arises indeed from a device that is one of the commonplaces of Sanskrit composition, but which our author has exaggerated to the serious injury of the verisimilitude and artistic effott of hi$ work." Postulating that Bana has given us in the Kadambari a complicated plot, does this necessarily show a •defect in the constructive art? Kadambari is a work of art, and as such none but an artist could understand it aright. The attractive pictures of Kadambari and Matiasveta drawn by the renowned artist Ravivarma confirm this view.
With the revival of Sanskrit letters came also the youth of prose and this which s^t in with Subandhu attained its blooming fulness in JBana. He gave to prose its proper shape anders of Sanskrit poetry who introduced a revolution in that art by practically asserting the:eezed to minister to his puerile ambition. There is not one mythological incident to which he has not alluded, not one word whose are signifi-e marriage of Parvati and Siva,-s in question either to Bairxa or