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Buddhi, is the intellect of a human being and here it is personified as the wife of the hero, king 闯墨惫补r膩ja and hence is the queen.

Sage Bharata in his 狈腻峁瓂补艣腻蝉迟谤补 provides four-fold division of the heroines as:

1. 诲颈惫测腻 (divine),
2. 苍峁沺补-辫补迟苍墨 (royal-consort),
3. 办耻濒补蝉迟谤墨 (noble body) and
4. 驳补峁噄办腻 (courtesan).

Again, he further divides them on the basis of their nature as:

1. 诲丑墨谤腻 (steady),
2. 濒补濒颈迟腻 (gay),
3. 耻诲腻迟迟腻 (gallant) and
4. 苍颈产丑峁泃腻 (grave).

In 闯墨惫腻苍补苍诲补苍补 狈腻峁璦办补 queen Buddhi as the 苍峁沺补-辫补迟苍墨 is 诲丑墨谤腻 and 耻诲腻迟迟腻.

The 苍峁沺补-辫补迟苍墨 is one, who has been crowned and is of high birth and character equal to that of the king; understanding the king鈥檚 character, she shares equally in his joys and sorrows and always desires the welfare of her husband. Bharata鈥檚 above given definition aptly suits queen Buddhi in every minute aspect.

Queen Bhuddhi鈥檚 entry with 闯墨惫补 on the stage makes the minister admire her within himself.^[1] On hearing the information received by him from the enemy-camp through 顿丑腻谤补峁嚹�, the queen is very much worried; and suiting her character as buddhi, she immediately asks about the next step to be taken.^[2]

When the minister declares that Rasa and Gandhaka should be gained by worshipping lord 艢颈惫补 and goddess 笔腻谤惫补迟墨, Buddhi decides to join her husband. She also joins in their narrations of the glory of lord 艢颈惫补 and goddess 笔腻谤惫补迟墨

She puts in sharp questions to the minister, regarding the way of worshipping the divine couple (p.47):

kena punarup膩yena tayo岣� 辫谤补蝉腻诲补岣� sa峁僷膩dan墨ya岣� |

The place of worship (p.59):

诲别惫墨-katama峁� punarde艣a峁� 辫谤补惫颈艣测补 up膩san墨y膩 ete |

And how to reach the place, 笔耻峁囜笉补谤墨办补辫耻谤补 (p.60):

办补迟丑补峁� tatra 辫谤补惫别艣补岣� |

Suiting the dramatic tradition, queen Buddhi is portrayed as envious of 艢颈惫补bhakti, about whom the king is vociferous. It is also natural that buddhi cannot easily accept bhakti as logical and reasonable. But here, only when buddhi is conjoined with bhakti, 箩墨惫补 can gain the grace of the Lord. Hence, the dramatist quite efficiently makes the character Buddhi never part with 闯墨惫补.

After returning successfully from their mission of obtaining Rasa and Gandhaka, 闯墨惫补 and Buddhi meet 痴颈箩帽腻苍补.

Again, during this meeting, Buddhi asks searching questions to 痴颈箩帽腻苍补, regarding the power of Rasa and Gandhaka in driving out the enemy (End of Act III; p.177):

tat kathamid膩n墨met膩vat膩峁� rog膩峁嚹佱箖 苍颈驳谤补丑补岣� 蝉耻办补谤补岣� |

She also appropriately asks the king about the availability of knowledgeable person who can correctly use them and is happy to know that 痴颈箩帽腻苍补 艢补谤尘腻 is the right person to handle them and use them in destroying the diseases (III.21/22; p.160):

产耻诲诲丑颈岣�鈥�腻谤测补辫耻迟谤补, kimete rasagandhak膩 膩nyanirapek峁Ｄ佱弗 svayameva vipak峁�ak峁�apa峁嘺峁� nirvahanti |
谤腻箩腻鈥�devi divyau峁�adh墨bhi岣� 艣odhit膩岣� santo vividharas膩yanadv膩r膩 uktas膩marthy膩 hyete |
诲别惫墨鈥攖adeva峁� sa峁僾idh膩nasamarthena ken膩pi bhavitavyam |
谤腻箩腻鈥攙ij峁Ｄ乶a艣armaiva 膩tra nirvo岣峢膩 |

Again, she intelligently observes that 驰补办峁�m腻 shows his ignorance in boasting about destroying 闯墨惫补 since, when 闯墨惫补 perishes, 驰补办峁�m腻 too would perish (III. 34/35; p.174):

诲别惫墨鈥斈乭o 膩n膩tman墨natva峁� yak峁�mahatakasya | yo'sm膩su pur膩nni峁�kr膩nte峁�u svaya峁� kutra sthasy膩m墨ti 膩tmano'pi 苍腻艣补峁� na ga峁嘺yati |

Buddhi鈥檚 participation in the swing-sport arranged by the minister in the royal gardens that evening, again highlights the capacity of the clever queen鈥檚 role in everystep of her life with her husband. 闯墨惫补 has to relax before the severe ensuing war. Buddhi understands this and accedes to this plan of 痴颈箩帽腻苍补 艢补谤尘腻.

The total involvement of Buddhi in the welfare of the kingdom is thus depicted by the playwright.

Footnotes and references:

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[1]:

I.38:
kimapi niyamit膩grai岣� kuntalai岣� snigdhal墨lai岣�parilasadapar膩峁単膩 dh膩rayant墨 duk奴lam |
dhavalamupari bhartu艣c膩mara峁� 诲丑奴测补尘腻苍补峁� viramayati kare峁嘺 vyaktam膩kar峁嘺n膩ya ||

[2]:

I.38/39; p.46:
诲别惫墨鈥�(sodvegam) id膩n墨峁� ki峁� kurma岣�