This is a tale in 8 Ucchvasas describing daughter of
Sikhandatilada king of the Nagaloka and Malayavahana king of Pratithana.
Chapter I gives a detailed account of his genealogy and elevated state of his
Race. He refers to Siladitya king of Valabhi.
The dotif of the pure of
Citrasikha proves his indebtedness to Kadambari of Bana only in its apparent
norm but not in its true spirit though autobiographical account of parrot bears
similarity in its superficial norm. the proper story starts from Ucchvasa II and does
bear the scmblance with Kadambari in point of embodiment of narratives though
not interwined like those of Kadambari. Ucchvasas II and III detail the tale of
Ucchvasa IV details the tale of Kumara kesarin. The
intervening tale of Mayabala having the marvelous sentiment in conversion of
Kankalaka into an aircraft. Ucchvasa VI details the tale of Taravati assuming the
form of a mare as a result of the cure of Visvabhuti continued in Ucchvasa VII. The
intervening tale of huge monkey likewise adds to the Rudra and Bhayanaka rasas
with Bibhatsa in the Scene of cemetery. Pining states of Malayavahana and
Udyasundari afford the Vipralambha having karuna as the accessory Mood.
Three styles have been employed by Soddhala Vaidharbhi Gaudi and Pancali.
Kapalikas and Raksasas cater to the Bibhatsa or odium. Soddhala has referred
to the Campu Kvyas Asokavati of Candanacarya and ratnamanjari of
Candrakara. The style and technique in point of diction have an element of
colloquial norm representing the idiom and phraseology of the states to which he
The present edition is the first ever English translation of the
famous tale Udayasundarikatha.
Your email address will not be published *
Send as free online greeting card
Email a Friend