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In delineating the minor characters, Saktibhadra has tried to 107. aho parusavacana manusyajatih ! graha Ibid., Act. V, Act. V, p.170.

146 allow his rich fancy and superb dramatic skill run riot. of the minor characters, the most important are the minister and the charioteer. The poet has made a striking departere from the Valmiki Ramayana in presenting and depicting these two characters. This he has done with a view to giving greater dramatic effect to the play. He has presented them as good characters in order to serve as an effective background to portray the evil character of Ravana. Charioteer appears in the third act driving the chariot with Ravana and /Surpanakha to the Dandaka forest for abducting sita. Though he does not do anything significant, yet his soliloquies and passing remarks reveal him sufficiently to the audience. Being the humble charioteer of Ravana, it is his lot to carry out the instructions of his master and drive his chariot as he likes. He is not happy with his position as he has to carry his evil master to all places for his nefarious purposes. He has to carry for instance his master and Surpanakha to the Dandaka forest for abducting sita and again bring them back with sita to boot 108 He is again asked by his master to assume the guise of Lakshmana in order to cheat Sita and abduct her. He condemns his fate 108. ayusmannadhikaraniraparaddo'ham atah paramayusmaneva pramanam ! esa mukhyami (atmagatam ) prathamam sadhvacaram paca- pragraham ! Ibid., Act. III, p. 98.

147 147 for having made him a silent witness and partner to his master's evil deeds by temperament. 109 However, he is witty and humorous When Ravana first sees Sri Rama, he is stricken with fear and falls into a swoon. Soon he is revived by Surpanakha. Ravana pretending that he has no fear of 'Sri Rama asks his charioteer whether he is afraid of Sri Rama. The latter replies in the affirmative and further says that he considers Sri Rama adenon compared to whom they would by far be human beings 110. He knows at heart that Sri Rama is no ordinary human and he is the incarnation of Lord Vishnu with the avowed object of freeing the world from the atrocities of demons. His mind is perturbed by seeing his master do the unrighteous deed of abducting another's wife. He makes his exit at the end of the fourth act and does not appear again in the drama. Saktibhadra again presents a similar character in the fifth act namely the minister to Ravana. The Minister to Ravana compares favourably with the charioteer in his noble character, though he is superior to him in rank. He appears to be a very learned scholar, well-versed in the Vedas, the Sastras and the Surtis and his arguments with 100. aho balavan bhartrpindah ! idamapi maya kartavyamasit ! Ibid., p. 112. 110. ayusman satyam bhita evaham ! samprati vayam manusyah ramo raksasa iva ! Ibid., p.102.

14 148 Ravana bear an eloquent testimony to this. He attempts to deflect his master from the wrong path and though his efforts in that direction end in failure, they show clearly his innate humanity and his abiding interest in the welfare of his master. He first appears in the drama in the beginning of the fifth act when Ravana is going to court sita in the Asokavanika. He thinks whether he should offer good counsel to his master and thereby face the probability of death or to keep silent and witness his master's doom 111. He ultimately takes the decision to tender good advice to Ravana and court death rather than see his master ruin himself. He is very disconsolate on seeing the pitiable condition of Ravana who has fallen a prey to animal passions 112. He presents himself before his master and informs him that Sri Rama has killed Bali and that Sugriva has been placed on the throne of Kiskindha. He further tells him that 'Sri Rama in collaboration with Sugriva has sent monkeys in search of sita. He also discloses to his master the divinity of Sri Rama and also advises him that coveting the wife of another person is not righteous and that it is not 111. Ibid., Act V, V. 7, p. 151. 112. kastah svamino vrttantah ! yadvesa balena baddho musalena hanyate ! Ibid., p. 152.

149 suited to a man of his exalted position. 113 adhitavedavidyo'si dayadudha svayambhuvah paradvarasthya kim tvam parivadvaya kalpase | The minister in the end advises Ravana to return sita to Sri Rama, but Ravana does not heed his words. So he retraces his steps saying in conclusion that he gave his aforesaid advice not out of any fear for battle but out of sheer interest in his master's welfare. Thus the minister though frustrated in his attempt to bring Ravana to his senses continues to share his lot with that of his wayward master and leaves the stage finally to carry out his behest. He Other minor characters that are worthy of mention are Marica, Vibhishana, Sugriva, Sage Narada and Varshavara. Marica is introduced in the third act of the drama just before be takes the form of a golden antelope to cheat Sri Rama. is conscious of his own impending death at the hands of Sri Rama. He foretells the doom of Ravana and of the entire demon race at the hands of Sri Rama. He is killed by Sri Rama while assisting Ravana in the abduction of Sita. vara is a servant of Ravana and he is seen in the fifth act of the drama accompanying Ravana to the Asokavanika. He merely plays second fiddle to Ravana and supports his master's protestations of love. VarshaSugriva and Vibhishana are introduced in the last 113. Ibid., v. 15, p. 158

150 act of the play. Sri Rama sends Sugriva to assist Vibhishana in the performance of obsequies to his (Vibhishana's) kinsmen and also to arrange for his coronation as the king of Lanka. Sugriva accordingly goes with Vibhishana. But he soon returns Soon, to the presence of Sri Rama and conveys to him the vow of Vibhishana 114. Thereupon Sri Rama entrusts him with the job of bringing Sita to his presence from the Asokavanika. Sugriva brings sita to the presence of Sri Rama and he is perplexed to perceive the sudden change on Rama's face. When 'Sri Rama starts accusing Sita of infidelity, Sugriva is worse confounded and to the hearing of 'Sri Rama, he blames himself for bringing her before him (Sri Rama) 115. He simply believes the charge of infidelity raised against sita by Sri Rama and completely fails to form a judgment of Sita's character. aloud that Sita must be removed from the presence of Sri Rama This shows that Sugriva is of a very timid disposition. Vibhishana is another character figuring in the seventh act of the He says 116 114. deva idam vibhisanavacanam ! aham tavannagari na pravisami yavadevi tato na niskramati ! 115. 116. Ibid., Act. VII, p. 211. deva mamatyacaradosadiyam devasya nayana- 3111124141! Ibid., ReE.VII, h.216. nirvasyatameva svamivisayat ! nira- huti citangih kathamarhati ! Ibid., Act. VII, p.218.

151 drama. After the battle is over, Sri Rama asks Vibhishana to take over his duties as the king of Lanka. Vibhishana expresses his reluctance. He says that he prefers to live in the company of Sri Rama and he does not want the evanescent material wealth of his brother. But much against his wish, he is inducted into the office of the king of Lanka. Sri Rama pays his compliments to Vibhishana for his virtuous conduct and good nature. He is described by Sri Rama as the symbol of virtue and goodness and he is asked by the latter to establish virtue in the kingdom of Lanka which his brother has effaced. Another incident referred to in the same act also brings into prominence his spotless character. When he is taken by Sugriva for coronation as instructed by 'Sri Rama, he refuses to do so stating that unless Sita is reunited with Sri Rama, he would not set foot on the soil of Lanka 117 He gets himself installed as king only after Sita is brought to 'Sri Rama from the Asokavanika. Thus Vibhishana's character is set in striking contrast to that of his elder brother Ravana. Sage Narada appears in the sixth act. Though Sita has undergone the fire ordeal, yet 'Sri Rama's suspicion and misunderstanding is not completely removed, the principal reas on being the boon of Anasuya which enables Sita to appear in the eyes of her lord greatly beautiful unruffled by the hardships 117. aham tavannagari na pravisami yavadevi tato na niskramati ! Ibid., Act.VII, p.211.

152 152 She had undergone. The poet has made use of Sage Narada to clear the misunderstanding in Sri Rama by explaining to the latter the above mentioned boon which he was not at all aware of 118