146
Tilakamanjari is obviously the heroipe and the nates in her union with Samaraketu in marriage. The story follows the Kadambari in many of its details. this latter work was on the author's desk to refer to for construction of the plot itself. Not one occasion of note •the Kadambari escapes a corresponding parallel in our poet s-work. However we must be disappointed to find here t:tie same voluntary flow of expression of Bana. The whole torae-seems half-forced and half-ungenuine. If the characteristics-of Dhanapala's style are to be sketched, we must only more or less repeat what* we already said of Bana. His Risha&3***~ ^panchasika and Paiyalachchi are written in prakrit, the former being a collection of fables and the latter a Desi lexicon.
• . SECTION II.
The Champukavyas. '*' '
TJtie artificial epics are pure verse and the romances air^ pare prose. A class of compositions intermediate between tlie two was of later growth and these were the Champus or trainee! works of prose and verse. Thus runs the definition :
So far as research can take us
these compositions could not have arisen before the era of great King Harsha of Uj Jain.
The earliest extant work of this class is the Nalacham jpd of Trivakrama. He alludes to Bana (L 14) and is himself quoted in the Sarasvati-Kanthabharana. Therefore Trivifcratxi-a. most probably belongs to the latter half of the eighth or the former of the ninth century. His father was De vaditya , a* court-pandit of some ruler of the day. During his father's absence, apu adversary advanced to the royal presence and* of our poet's liu^s;-7^which were occasioned in the talk of the mob— on the untimely, decease of King Satyandhara through the bad policy, of, Kash tan gar a. King Bhoja flourished in the-