References to Bana in other works are given by Professor Peterson, so that three only need be mentioned here. The first I owe to the kindness of Professor C. Bendall. In a collection of manuscripts at the British Museum (Or., 445-447) 'consisting chiefly of law-books transcribed (perhaps for some European) on European paper in the Telugu-Canarese character,' one, Or., 446 c., the Kamandakiya-Niti-Çastra, contains on folios 128-131 a passage from 'Kadambari' (pp. 76-84, infra) [11] on the consecration of a crown-prince, and the duties and dangers of a king. It forms part of an introduction to the Kamandakiya-Niti-Çastra and occurs without any hint of its being a quotation from another work. The author of the Nalacampu not only writes a verse in honour of Bana, [12] but models his whole style upon him. A curious instance of the long popularity of 'Kadambari' is that in the 'Durgeçanandini' by Chattaji, an historical novel, published in 1871, and treating of the time of Akbar, the heroine is represented as reading in her boudoir the romance of 'Kadambari.' [13]
It may be asked What is the value of 'Kadambari' for European readers? and to different persons the answer will doubtless be different. Historical interest, so far as that depends on the narration of historical facts, appears to be entirely lacking, though it may be that at some future time our knowledge from other sources may be so increased that we may recognise portraits and allusions in what seems now purely a work of romance. But in the wider sense in which history claims to deal with the social ideas that belong to any epoch, 'Kadambari' will always have value as representing the ways of thinking and feeling which were either customary or welcome at its own time, and which have continued to charm Indian readers. It is indeed true that it probably in many ways does not give a picture of contemporary manners, just as a mediæval illuminated manuscript often represents the dress and surroundings prior to the time of the illuminator, so as to gain the grace of remoteness bestowed by reverence for the past. In India, where change works but slowly, the description of the court and city life, where all the subjects show by outward tokens their sympathy with the joys and sorrows of their ruler, as in a Greek chorus, is vivid in its fidelity. [14] The quiet yet busy life of the hermits in the forest, where the day is spent in worship and in peaceful toils, where at eve the sunbeams 'linger like birds on the crest of hill and tree,' and where night 'darkens all save the hearts of the hermits,' is full of charm. [15]