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Characterisation occupies a position of supreme importance not only in English dramas, but also in Sanskrit dramas. Writers on rhetoric and dramaturgy make elaborate divisions of Nayakas and Nayikas, carefully lay down the various characteristics that belong to them and accurate definitions of almost every character that figures in a drama. All this elaboration creates the impression that the task of dramatist is more or less mechanical and little scope is left for the poet's ingenuity. But actually poets have freely excerised their powers and though characterisation as such does not occupy a position of commanding importance in the science of dramaturgy, we possess in Sanskrit drama characterisation of a very high order. "Characterisation is of two types either to portray highly individualised characters or to present pictures of highly typical men and women. This was a time in England when dramas like Ben Jonson's Volpone or Every man in his Humour, which depict types of character without much plot in them, could please the people. The dramatist's skill however, lies in portraying characters that are both individual and universal, characters that are sufficiently individualised, but have a permanent interest for all time." In this vein, the Sankalpa-suryodaya too, though an allegorical drama, is a unique one in so far as the portrayal of different characters. This drama imbibes many more characters like Viveka, Mahamoha etc. which of course are symbolical 1. A.B. Gajendragadkar, Abhijnana-Sakuntala of Kalidasa, Bombay, 1934, p.50 (Introduction)

130 ones. There are more than forty characters including both male and female in the drama. Of these, some twenty characters are grouped under the leadership of the king Viveka, the Nayaka of the drama. And similarly other characters belong to the king Mahamoha, the Pratinayaka. These characters are appropriately chosen here. In all, forty four characters are portayed in the Sankalpa-suryodaya. They are as below: 1. Sutradhara 2. Viveka 3. Purusa 4. Sumati 5. Buddhi 6. Sraddha 7. Vicarana 8. Vyavasaya 9. Vedanta Siddhanta 10. Vada 11. Tarka 12. Samskara 13. Visnubhakti 14. Pusti The Stage Director - The King Father of Viveka and Mahamoha Queen of Viveka Wife of Purusa Friend of Sumati Friend of Sumati - A commander of Viveka Preceptor of Viveka (Guru) Disciple of Vedanta Siddhanta - Viveka's charioteer Viveka's artist Devotion to Visnu Servant to Sumati 15. Virakti 16. Ksanti 17. Drusta-pratyaya 18. Narada -doServant to Sumati Messenger of Viveka - Divine Sage 19. Tumburu Divine Sage 20. Sankalpa God's Will

131 21. Sama and Dama 22. Mahamoha 23. Durmati 24. Kama 25. Rati 26. Vasanta 27. Raga 28. Dvesa 29. Samvrti Satya 30. Krodha 31. Lobha 32. Dambha 33. Tarka 34. Jighamsa 35. Trsna 36. Kuhana 37. Irsa 38. Asuya 39. Stambha 40. Abhinivesa 41. Durvasana 42. Srngara 43. Kali 44. Bhrama Ministers of Viveka - The Great Delusion Wife of Mahamoha - Leader of the army of Mahamoha Wife of Kama - Comrade of Kama Friend of Kama Mahamoha's minister Messenger of Mahamoha - Leader of the army of Mahamoha Minister of Mahamoha - Mahamoha's follower - 路 Viveka's charioteer 鈥� Wife of Krodha - Wife of Lobha Wife of Dambha Wife of Darpa -do- Mahamoha's follower W Mahamoha's Treasurer Abhinivesa's Wife Kama's follower - Mahamoha's follower - Mahamoha's friend

132 In the succeeding pages, a critical estimate of all main characters has been taken into consideration. King Viveka is the leader of the characters promoting for the fulfilment of the dawn of Sankalpasurya, while Mahamoha is the leader of the characters obstructing the path of Purusa's attaining the Final Bliss.