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1039
If B膩峁嘺 is marvellous in his descriptive power and in
masterly monologues like Sukan盲sa's advice to Candr膩p墨岣峚 or
the latter's consolation of Mah膩svet膩, Dhanapala is uniquely
fascinating in highly picturesque depiction of village life,
and a
experiences of a dying girl hanging from a k noose, 鉁� beinni
bewildered loving friend frantically striving to save her
from the very noose. If B膩峁嘺's humour finds vent in his des-
cription of old ugly priest, Dhanap膩la's sense of humour finds
still better expression in most approprietely designed diningno
dialogue of King Meghavahana with the Vet膩la and with the
Goddess Sri.
u
Dhanap膩la, unlike Bana, does not prefer lawless splen-
dour to decent insipidity, and he is free from B膩峁嘺's relish
in the extended and over-ostentations method which is a hin-
drance not only to the vigorous narrative, but also to the
reality of sentiment and character. Dhanap膩la's personages
are not shadowy%3B the world he depicts is removed in time and
character, but not in appreciation and sympathy, from our own.
Unlike B膩峁嘺's heroes etc., Dhanap膩la's heroes, kings and he-
roines are compact characters; they are not far removed from
human beings.
At the same time, it must be admitted that Dhanap膩la
did not possess that wonderful insight into the currents of
youthful passion and virgin modesty, in their varying impul-
ses of joy and grief, hope and despair, which Bana did.