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[Full title: Characters of the play Sankalpa-Surodaya, forming the counterpart of the main hero (3) Kama, Rati and Vasanta]

The roles of Kama, Rati and Vasanta can be considered as the major ones. It is Kama, who first enters the stage soon after the Prastavana of the first Act is over. Kama indeed has excelled all gods including Mahesvara. "My bow is the tender sugarcane in my hand. My arrows are flowers, and the row of bees sitting on them forms the string of my bow. (with all that) can even Siva when he went to conquer the demon of the three cities (Tripura) who had the mountain Meru as his bow and the wind and the fire as his arrows dare, even for an instant, to transgress my command ?" "Brahma, the Primeval Deity, wears his wife in his mouths resonant with the chanting of the three vedas; the left half of Siva become transformed into that of a woman, and even that Supreme Being (Visnu) is controlled by (subservient to), the Gopis. How, then, can lesser beings remain untroubled by the pangs caused by Manmatha ?" 2 Rati is another role here brought in assisting her husband Kama. She has full confidence in the valour of his husband. Yet she expresses a doubt, whether Kama gets success. Because his enemy has resorted to a strong fortress of Vairagya and is well guarded by his ministers like Sama and Dama. Having realised the doubt and entertained by Rati Kama says that the prowess and glory of Kama never goes futile. His triumphant instruments are very strong to employ in the conquest the world. He says : "My first bow is the incomparable body of beautiful women; this bow is slightly bent; its string (guna) is strong and consists of the quality of women's loveliness; its 1. karadhrtalaliteksudhanvano me bhramaragunarpitapusyamarganasya | marudanalasaro'pi merudhanva ksanamatilanghitasasanah katham syat || S.S. I 35, p.81 2. vahati mahilamadyo vedhastrayi mukharairmukhairvaratanutaya vamo bhagah sivasya vivartate | tadapi paramam tattvam gopijanasya vasamvadam madanakadanairna klisyante katham vitare janah || S.S. 1 36, p.82-83

191 arrows are their eyes extending to the ears; the middle of this bow is their waist which is so slender as to be held within one's hand."³ "Even the very name of sweet - tongued women which is delicious to the ear like nectar, destroys one's self-possession; it puts down mental peace; it banishes shame and makes the spirit of detachment impossible. Is there any change that it does not produce ?"4 Kama is confident of his strength. He is well-versed in discharging the arrows at his enemies, at proper time. Thus his arrows are unassilable even to Lord Narayana. "Leave the gods alone. The Supreme Narayana whose words have the authority of the Vedas, who, in the assembly of sages, sings of the ways of winning Moksa and who performs austerities, - even He displays His serenity of mind when He creates from His thigh that gem among young women (Urvasi)" 5 Like a true foe man, Kama also does not bear the flattering of Viveka. He gets angry in such occasions. Therefore, when Rati starts describing the power of Viveka, Kama says that she is mislead by the words of some fools. He tries to avoid entertaining, fear from Viveka. Another quality of Kama is not disclosing the secrecy of polity. When Rati enquires about the strategies employed by Viveka against Mahamoha, Kama does not disclose it though he knows it well. He does not hesitate to emphasize the point that the secrets of polity should not be revealed much less to a woman. The entire source of Kama's strength is his bow. As he says: 3. vapurapratimam nitambininam drdhasaundaryagunam daravanamram | sravanavadhinetracitrapunkham dhanuradyam mama mustimeyamadhyam || S.S. 1 38, p.85 4. sailim vilopayati santimadhah karoti vridam vyudasyati viraktimapahnute ca | karnamrtam kimapi tatkalabhasininam namapi kim na vikaroti nisamyamanam || S.S. 1 39, p.86 5. m alamiha vibudhadyairagamagrahyavaco muniparisadi dharman gayato muktihetun | tapasi niyatavrttestasya devasya santim janitayuvatirannam darsayatyurukandam || S.S. I - 45, p.94

192 "Even the Moon and Indra, while condemning the forcible molestation of women as conduct resembling that of the cock, strayed from the path of virtue themselves. When my bow with the murmur of the rows of bees is bent, who is there that will desire even to look at the threshold of the house of vairagya ?"" "Friend Vasanta ! my bow is this sugarcane, so tender; these flowers are my arrows; this fine row of bees with their sweet humming sound is the string of my bow; women, timid and weak, are (the source of) my strength; this is the great truth; (with these) I have conquered Siva and others and I grow in strength by mere thought."7 In the second phase, Kama enters the stage again in the fourth Act being accompanied by Vasanta. As Vasanta tells, every person submits his deeds unto Kama only. He exclaims that: "What do you say? You are, indeed, Kama. Desiring this or that siddhi, and doing with their body and the senses this or that karma prescribed or forbidden, people then become wiser and throw the blame on you saying, "Kama did so; Krodha did so." 8 Further, it is described that Kama's prowes delights in playing with persons like Siva, the mansions of gods are free resource of Kama. And Kama's garden is the entire earth surrounded by the ocean. Thus the splendour of Kama's role is extraordinary. On par with Kama, Vasanta is also powerful. Kama himself praises Vasanta as below: 6. kuvrttimiti kaukkutam vratamadhiksipadbhistatha sudhakarasatartuprabhrtibhih skyam carakhale | nadadbhramarapankti ke namati karmuke mamake viraktigrhadehali ka iha dehali viksate || 7. 00 S.S. 55, p.114 | iksuh pesalamidrsam mama dhanuh puspanyami sayakastantrimanjulanihsvana madhukara sreni subha sinjini | bhiruh sannabalajano mama balam tathyam param kathyate so'ham nirjitasulabhrtpramrtikah samkalpasiddhodayah || S.S. IV - 1, p. 396 kamam kamam kamapi siddhim karanaih svaih karam karam karma nisiddham vihitam va | nyasyanti tvayyadbhutasimni pratibuddhah kamo'karsinmanyurakarsiditi nam || S.S. IV 3, p.397

193 "It is well-known that you are the cause of flowers; the whole world is filled by you with delight; of the six different kinds of seasons, you are the best yajna Jyotisthoma depends upon you (for it has to be performed only in spring); from you the goddess Laksmi gets the lotus which she holds in her hand (from you arises beauty); the Supreme Madhava meaning Lord Narayana and (also the month of Vaisakha) depend upon you; Kama is your friend and assistant. Who else among the seasons can compare with you ?"9 "You are a (great) fire; the breeze from the Malaya mountain is your charioteer; the Asoka flowers are your flames (being red in colour); the rows of bees are your smoke; the moon (who sheds nectar) is the oil or ghee (which keeps that fire always burning; of you who never become extinct (who has conqured all talk of Moksa), the Vairagya of even such (great persons) as Brahma and Siva is the fuel (which is these only to be consumed by you.)" 10 Though for some time Kama and Vasanta forget themselves in praising each other, they are dutiful servants of Mahamoha. Therefore, they recollect their duties. As Vasanta says: "The common mission assigned to both of us is to confound the mind of Purusa now inclined to Samadhi or contemplatior of God. The duty that rests with me is to create the proper atmosphere (like moon light, flowers and the like) for inciting love. Yours is to provide the proper support (in the form of beautiful women) and excite the required emotions." 11 9. prakhyatastvayi sambhavah sumanasam visvam tvaya nandyate mukhyastvam kila sadvadhesu rtusu jyotiratvadekasrayam | yatra srirdhrtapankaja sa ca pararatvatsamsrayo madhavah kamaste sacivah ka evam bhavita kalottamastvatsamah || S.S. IV 5, p. 398 10. vasantastvam vahnirmalayapavanah sarathirasavasokadirjyala madhukaragano dhumpatali | sudhasutih snehastadiha jitanirvanavacaso viraktiste dahya druhinagirisaderapi satah || S.S. IV - 6, p.399 11. tadiha samanabhavayoh samadhipravanapurusa cetah ksobhane | srangaroddipanavibhavakrtyam mayyayattam | bhavata punaralambana vibhavasampattirupapadaniya | S.S. IV - p.400

194 Kama is clever in locating the weakness of Purusa. Therefore, he says that Purusa is unaccustomed to the contemplation on Brahman, therefore he can be easily diverted towards the contemplation of a lovely form of a woman, to which he has long been accustomed. Having observed the condition of Purusa Vasanta informs to Kama says: "Purusa now dreads the great fears of Samsara; at the same time, he longs also for the home (and other pleasures); he is eager to attain Brahman and, at the same time has an eye for the prosperity (of Samsara). He has a passion for the pleasures of the senses and, at the same time, is ashamed of them. So his contemplation of the Supreme Brahman is both manifest and unmanifest, and is therefore in sure peril." 12 Therefore, Kama thinks that it is the proper time to discharge all his missiles at Purusa as his yoga is not complete. Therefore he impels celestial women to enter Purusa's mind. Kama further laughing in anger says: "If Viveka grown arrogant by his association with Vyavasaya continues his efforts (to lead Purusa towards Samadhi), in disregard of me, he will then be himself the cause of creating in Purusa the condition of Soubhari (who was lured by a hundred women)." "13 In the fourth Act, Kama meets Krodha. So the power of Kama gets increased to vanquish Viveka. Therefore Vasanta says that the meeting of Kama and Krodha is just like a meeting of fire and wind in one place. Thus Vasanta thinks that it is certain to get victory over Viveka with such abundant powers of Kama and Krodha. Addressing to Krodha, Kama expresses his joy for getting abundant help from others to win over Viveka. He says: 12. 13. smarati mahatamatankanam manaskurute grhan prasajati parabrahmapraptau samrddhimapeksate | abhinivisate bhogodanvatyapatrapate punah pranidhiradhuna siddhapayah sitasitapaddhatih || yadi mamavamatya samyateta vyavasayanvayadarpito vivekah | vanitasatavancitasya pumsah svayamadhasyati saubhareravastham || S.S. IV 18, p.409 S.S. IV 12, p.405 -

195 "This moon is my dear friend and this moon light is my woman friend; Vasanta who shapes my arrows for me is my relative, worthy of the greatest regard; and you, Krodha, with your irresistible impetuosity come to my rescue in times of adversity. Who is there with a longing for life that can stand before me whose bow is made of flowers?" 14 Vasanta too, is a close observer of Purusa's condition. Finding right time, Vasanta promotes Krodha to enter into Purusa to help Kama in his deeds. As Krodha has pointed out, Kama's greatness is really remarkable : Again, what is there to wonder at in my ability to break the beginning of meditation in Purusa, when I have succeeded in causing mental excitement even to such great persons as Mahesvara? 15 "If the elephant, Airavata, bears the King of the gods, overthrows the army of the Danavas, breaks down great mountain-ranges and destroys hundreds of forests, and if, without the least effort, he bears the sphere of the earth on his head as if it were only a bunch of flowers, is there anything to wonder at ?" Kama and Vasanta further get an assistance of Lobha, as delineated in the last scene of the fourth Act. Yet, their power gets ceased before Purusa under the protection of Viveka. Therefore, both Kama and Vasanta lose their courage and decide to quit the place for their own protection. Again in the eight Act, Kama makes his appearance in the battle scene. Suggesting Kama's entrance in the battle field Narada describes as below: "My friend, it is Manmatha who is now advancing bow in hand with an army consisting of women. He has arrows of different colours (flowers) tipped with honey 14. 15. 16. tarakantah priyasuhrdayam candrikeyam vayasya banarambhadbahumatipadam bandhavom me vasantah | tvam ca trata vipadupagame krodha durvaravegah ko va mahyam kusumadhanuse tisthatam jivitarthi || praravyatamidamittham bhavatascaturyam | tatha'pyatyantavitarage ka iva tavavakasah || pumsastyaktaparigrahasya visayagrahojjhitasyapyaham kanthavistara kundikadiharanapracchadanadyasrayah | S.S. IV 32, p.420 S.S. IV, p.428 antah ksobhamalikajalpamaradaroparaprham paisunam sammohadi ca sammukhayya sahasa daraye samadhiksayam || SS IV 41, p. 428

196 given to him by his esteemed friend, Vasanta; Kokilas are the healds who sing his praise and swarms of bees from his twanging bow - string. He is allied with the breeze blowing from the mountain Malaya and has the shark as his banner." 17 "Here is a woman of the Padmini type playing in front; on another side is a cittini; elsewhere is a Sankini and on another still, is a Hastini. These four charming counsellors of Manmatha, the archer who assaults (every one in) the three worlds, promote his glory by their expressive glances and are indeed powerful." 1 Similarly, observing Kama's mearness to the chariot of Viveka, Tumburu anticipates thus: "This insane Manmatha wants to fight with the great Viveka with the help of young women of the following description: the woman who has just had her bath after the period, the woman who is fatigued with dancing, the woman who is wearied on account of a long journey, the woman intoxicated with liquor, the woman who, after being angry with her lover, has relented, the woman who has become reconciled to her husband after a period of separation and the woman who has newly been wedded." 19 On looking at Virakti, Kama feels that his plans have failed. His attendants also appear to entertain doubts regarding his success. Yet Kama tries to scatter the forces of Viveka. He plans to conquer Viveka and his allies banded together. Therefore he is marching ahead armed with his bow of flowers, along with the array of his lovely women in military formations resembling chariots, elephants, horses etc. in order to please Rati with his heroism. But atlast, Kama entered into the fire of the broad vision of Virakti who is like the duty presiding over the battle-field. Thus, Kama once again deprived of his body. 17. mahitamadhupradistamadhudi gdhavicitrasarah parabhrtavandiman bhramarasamhatigitagunah | malayamarutsakho makaralaksana keturasau ghrtadhanurabhyupaiti madanah pramadaprtanah || S.S. VIII 48, p.710 18. 19. kacitkridati padminiha puratah kapyanyatascitrini sankhinyapyaparatra kaciditara hastinyasavanyatah | tasyaitasya samrddhimeti sarasapreksanirudhodayam citram mantricatustayam tribhuvanavaskandino dhanvinah || rtusnata nrttaglapitatanuradhvasramavati madaksiba kruddhaprasadanavata bhinnaghatita | idampurvetyevamvidhayuvatiyuthena sahito yuyutsatyunmattah ramara iha vivekena mahata || S.S. VIII 49, p.711 S.S. VIII 50, p.712 -

197 Thus "Kama who proclaimed the doctrine that the only thing which had value was sexual union, who was keenly interested in dispelling the fear of hell, who was so great an artist as to shape the divine couple Ardhanarisvara by uniting the two halves of two bodies cut into by his weapon Kama whose transgression of the code of virtue is notorious from the conduct of thousands of Gopis enamoured of one who was not their husband (the Supreme Person, Sri Krsna) and whose valour was unsurpassed by that of any one else in the three worlds. slain." 20 Kama has been In this manner, in the drama the role of Kama, Rati and of Vasanta has been described as holding in the highest esteem and whose power is fit to be borne on the heads of all people including gods. But as a matter of fact, the nature and movements of all these characters are backed up by Mahamoha. Hence their being ceased to exit, before Viveka's irresistable power. These roles followed the wrong path and saw the dreadful end.