13. CHAPTER VI POSITIVE MERITS OF THE KALĀPŪRŅODAYAM

CHAPTER VI POSITIVE MERITS OF THE KALĀPŪRŅODAYAM

Sūrana's greatness as a poet in general, and the unique- ness of the Kalāpurnodayam in particular, lie firstly in delinea- tion of characters, secondly, in the background provided for the vanous episodes and persons, thirdly, in making the names inte- gral parts of the story, fourthly, in the structure of the incidents and episodes and lastly, in the significant technque adopted in presentation. Of course this list does not include the beauties of style, wordnusic, and description, and the profoundity of the theme. Since these aspects are not immediately concerned with the subject, the delineation of characters can be directly taken up for discussion. 111

Generally speaking, Surana belongs more to that class of poets who dive deep into experience to sound the depths of the human heart than to those who soar high on the wings of luring idealism and fantastic imagination. Hence he must be more real- istic than romantic and more dramatic than narrative. These qualities in turn must necessanly determine and bestow on the work other qualities if it is really to be sui genens. Characters, whatever supernatural powers or abnormal traits they may have, must be definite, concrete and human through and through. The story therefore must be sufficiently broad and deep for the char- acters to have full play. A poet who prescribes for himself these rules cannot escape from being a humamst. That means the characters he introduces, whether they are Gods, or risıs, or de- mons, must be presented purely from the point of view of man. This in its own turn leads to realistic styie and natural expres- sion keeping wordmusic, bewitching phrase, mesmerising exag- geration and awe-inspiring idealisation in abeyance. These are the general tendencies to be met with in Surana's characters. If G V. Knshna Rao

it is not a repetition, one may say that his characters are in- tended more for one's understanding and appreciation than for one's identification with them and imitation.

NĀRADA

These remarks can be fully grasped when the major char- acters of the story are examined. The examination may begin with Närada, the sutradhära or director of the whole play. Tradı- tion says that he is a maharsi well accomplished in music as well as in bringing about conflicts and fights between two parties. He is capable of cursing those with whom he is displeased, and bless- ing those with whom he is immensely pleased. With these quali- ties and halos about him, he appears to belong to the world of the change less, the eternal and the absolute rather than to the world of human beings. The poet brings him down to this world of change and motion, and makes him move among the creatures of 112 flesh and blood without depriving him of his divinity. Neverthe- less, nothing appears unnatural and incongruent. On the other hand, he becomes more human and more lovable. When Narada is approaching Dväraka from the aenal path with his disciple Manikaridhara, the latter is attracted by the beauty of Kalabhasini and her friends swinging in cradles of flow- ery twigs, and bursts into poetic expression. He knows quite well his disciple's unconscious love, and instead of checking it with his strong grunt and reproof, encourages him by his approval. At the same time he takes every care not to let his disciple under- stand his intention. This approval of the statement of Manıkandhara by Narada wounds Rambha's pride in her beauty. Knowing that it is the opinion of Närada, the great seer, she is neither able to accept it in silence, nor burst into a passion. Along with her lover she pays homage to the seer when he blesses them with ever-increasing mutual love. She takes that opportunity to express her real heart in a subtle manner. The great seer is neither insensitive to nor tolerant of such vanity and petulance. If it had been Durvasa or some other maharsi, he would have flown into anger and boisterously cursed them. Narada's tem- Stuces m Kalapurnodayam

perament is quite different, and he speaks just like a cultured man without appearing offended in the least. For all practical purposes his reply appears to be pure and simple, but in reality it is a terrble curse inflicted on the divine coulple. The seer does not leave the events to take their own course. When he meets Kalabhasini, he understands her ins and outs and sympathises with her ambitions instead of hating her caste and the wrong course her love takes. He wants to use her as a medium for the materialisation of his curse on Rambha and Nalakūbara. What is more interesting in this sıtuation is that Kalabhasini thinks all the while that she is achieving her ends with the help of Narada, and Närada knows not only her mind but also his personal inten- tion He accepts her as his disciple to carry the vina into the harem of Krsna and does everything to encourage love between Mankandhara and Kalabhäsin in such a way that the latter is unaware of it. Another interesting thing is that, in spite of his proficiency in music, Nrada is said to have been visiting Krsna only to im- prove his knowledge of this art. This point has created antipathy in more than one critic. They seem to reckon without their host because music is one of the fine arts whose scope is infinite, and however well-accomplished one may be, there still remains some- thing more to learn and master. If this is conceded, there is nothing silly or absurd in Närada learning it from Krsna who is an incamation of the Lord Visnu. After he finished his education in music, he expressed his doubt to his disciples about his profi- ciency in spite of the unreserved compliments of Krsna and his wives. Is it worthy of a maharsi to doubt the very gurus who taught him music? Cannot he know whether the compliments are meant to be sincere or only to please him? Having dıvyadrsti, he cannot be said to have really doubted them. His main pur- pose is to humour Kalabhāsini's ambition, and thus create con- ditions for the fulfilment of his curse upon Rambha. The irony of the situation is she does not know her gurū's motive, but only gloats over the boon she gets from him to achieve her ends. G V. Knshna Rao

Rewarding Kalabhāsini for her sincere service, he sends her away and then gives proper advice to Manikanidhara as to how he should make use of his poetic faculty and musical talent in the service of the Lord Visnu. He tells him pointedly that there is no easier path than music to enter into the grace of the Al- mighty. He illustrates this point from his personal history, his conflict with Tumburu, his jealousy of his nval, his long penance and final achievement after a labonous struggle. This episode reveals the human heart at its very root. Even maharsis and devas are no exceptions to these jealousies and passions. They may not react so vulgarly as common folk do, but all the same they too are victims in their own way. Then Manıkaridhara bids his guru adieu and cuts his lonely furrow. After more than one and a half years Narada once agam meets his disciples involved in a very interesting situation. This

114 really provides one with an opportunity to understand the great soul in its true colours. Since his curse materialises and Rambha reaps the fruit of her insolence, Narada dances with joy. But there are two more questions to be taken into consideration. His very disciples are involved in such a dangerous situation as would spell utter ruin of their present lives. On the other hand, the real Nalakūbara is made to bear undue punshment for no fault of his. Added to this, ethical decency is thrown to the winds. How is one to understand Närada's bursting into laughter over this incident? Has he no compassion for his disciples, nor respect for ethics? He is not so simple and insensitive a being as he appears to be. Rambha deserves her punshment, and so he does not hesi- tate to rdicule her even in her pitiable condition. He taunts her with this remark addressed to Maya Nalabkūbara :-

யல் ஸ் நல்ைய் ஸ்கஸ் ஸூ bவ்கc ரி

Stdes in Kalapurnodayam

Though he has affection for his two disciples, he does not try to save them nor reprove them for their improper behaviour simply because he knows beyond doubt that both of them have to incur curses in order to have a more glorious future. When this tolera- tion is mistaken for approval, and when he is requested to help in detecting the real Rambha, Narada gives a serious but suggestive rebuff to Maya Nalakübara :-

Thıs for Māyā Nalakūbara means: "Why do you talk of real- ity and unreality, when you yourself assume such a false form? You fool, don't talk of it any more." And for the other two it means: "Why do you raise the question of reality and unreality? Do you think that this form is natural? Nothing is real in this 115 world." When Māya Nalakūbara receives this reply, he shakes in his shoes and sends him off as soon as possible. Warning him not to overstep the limits, Närada leaves the scene only to ap- proach the real Nalakubara and inform hım of Maya Nalakūbara's love affairs with his beloved and to send him immediately to that spot. Why does he take so much trouble? Is it out of a perverted nature of rejoicing over others' quarrels and feuds? If that is the reason, why does he not appear on the scene as on the previous occasion? So this attribute (3385 5 di ode ač8"is not to be taken too literally. He wants justice prevail on the one hand, and does not like his pupils to come to grief before his very eyes on the other. Moreover, Rambha has received sufficient retribution for her insolence. There will be no more sense in allowing the scene of sin to continue. Narada, therefore, sends Nalakubara to the spot to put an end to it. Such is the character of Narada as he appears in the Kalāpūrņodayam. In spite of his divine qualities, he is human through and through. Though his supernatural powers prevent G. V. Knshna Rao

the readers from completely identifying themselves with him, they feel him to be one moving amidst them, understand his jealousy, crave for his affection, fear his anger and applaud his nghteous- ness.

MANIKANDHARA

Manıkandhara, the hero of the Kalāpürnodayam is a gandharva by birth and a lover of beauty by temperament. When he hears the poems in praise of the Lord Anantapadmanabha, his heart throbs with so great a joy that he wants to acquire that inimita- ble faculty. Goaded by this inner urge, he goes to the temple of Mrgendravahana, and cutting off his tongue with a sword as pre- scnbed by the rites mentioned in the inscription on the pillar, he acquires the poetic faculty.156 He exhibits this divine gift in praising the Lord and receives the blessing of the devotees. Mere acquisi- 116 tion of this poetic gift does not satisfy him; his vanity or one may call it his poetic sincerty, compels him to get it tested by the famous alamkārkas of Käshmir. But this object has to be post- poned sine die due to the tragic disapearance of Sugätri and Sälına. With lapse of time Manikandhara develops a taste for mu- sic which makes him the disciple of Närada. Daily he accompa- mies his guru to the court of Krsna where he happens to meet Kalabhasini for the first time. It may be presumed that Kalabhasini's wonderful talent of recapitulation of the poem (dandaka) composed on Krsna by Manikandhara has drawn his attention and appreciation though the poet does not say so ex- plicitly. After a few days, while he is on his aerial path to Dvaraka he is attracted by the beauty of Kalabhäsini swinging along with her mates in the flowery twigs and bursts out-

கர்ககுகஸகள ாவு்சை க515 Stuches m Kalapumodayam

This unconsious love of Manikandhara for Kalabhasini is approved by Nārada. Later on, as Kalabhasını becomes the disciple of Närada, both the hero and the herome come into closer contact. But this mntimacy never precipitates itself into open love due to their great respect and fear for their guru. Thus this love of Manikandhara remains altogether suppressed. After Närada and Manıkandhara have achieved their object of learning music, the former advises the latter before his final departure to dedicate his tow great faculties to Lord Vısnu and lead a life of piety and pilgrimage. The hero, being virtuous by temperament, follows the instructions of his guru to the letter, and at last takes to penance in a forest to the west of Anantasayana. The inherent weakness of his artistic tempera- ment makes him a victim to the allurements of Rambha's beauty and when he comes to know her love for Nalakūbara from her own lips he feels hurt. But his affection for Rambha does not lelave him in rest until he assumes the form of Nalakubara and 117 gets united with her. The most interesting and character - revealing episode in the life of Manikandhara is that of Rambha and Māya Rambha each claiming his love Though he perfectly knows that Rambha loves only Nalakübara and that she has spent some time with him only to achieve the object of Indra, he does not hesitate to assume the form of Nalakubara. In his passionate craving for her he loses all self-control and oversteps the bounds of decency. Chance or destiny, as it may be called, ensnares him in his own meshes when Kalabhäsini enjoys his company in the form of Rambha. Circumstances do not leave him there in the net of lust and deceit of his own creation. They bring the real Rambha into the picture so as to reveal the horror of his action in retrospec- tion. When he sees the two Rambhas quarrelling before his very eyes he is baffled. He seeks the help of Narada who has come to riducule Rambha and enjoy the funny situation, and receives only rebuff and a hint that one of the two is Kalabhasini. Now the important question is whether Manikandhara has grasped Naradā's suggestion and understood that one of the two is G V. Knsnna Rao

Kalabhāsini his co-disciple. Mr. Mallādi Sūryanārāyana Sāstn positively asserts that he does158 and this is not altogether with- out reason. When Narada curses Rambha 159 and blesses Kalabhasini with a boon,160 Manikandhara is present. Hence there is ground for the readers to believe that though Manıkandhara is not able to recognise the real Rambha, he should have known that one of the two is Kalabhäsini. If this interpretation is vald, his character is certainly not pure and praiseworthy. Judged from this angle, he appears to be selfish through and through without the least trace of sympathy even for a co-disciple with whom he has moved and whose friendship he has cultivated for more than four years. Even after he has known that Kalabhasını is involved in the ugly situation, he does not try to prevent their quarrel. At least he should have prevented Rambha from inflict- ing a curse on Kalabhäsinı who has been loving him sincerely. On the contrary, he not only approves of the curse of Rambha 118 but also insults Kalabhäsin by demanding from her her name. 161

Commenting on and at the same time supporting the strange behaviour of Manıkandhara, Mr. Sūryanārāyana Sāstrı says :- "By the words of Narada, Mayā Nalakubara certainly knows that Māya Rambha is Kalabhäsin. Even then, what does it matter? This is not the tıme to take freindship into consıderation. Kalabhāșıņı can never guess that it was Manıkandara that necked her out. She has never come there because of her love towards Manıkandhara. He has not enjoyed with her under the impres- sion that she has been Kalabhasinı. Though the story tells us that they both meet once again, they, in their present circum- stances, cannot anticipate further meeting. Nor is there any scope for either of them to think that they would become husband and wife in their next births. Apart from these considerations the real Rambha has undergone much trouble and agony. Ifhe does not neck her out who has been the cause of her gnef how can Rambha be relieved of her grief? How can she believe him to be the real Nalakubara? How can he who is still craving for Rambha restrain himself from punshing the Maya Rambha who has with- Studies in Kalapurnodayam

out any justification inflicted so much pain? Though he knows Mãya Rambha to be Kalabhāsini how can he avoid pretending not to know her? Can he burst into sympathy saying " Oh! poor creature why have you come and fall him into the snare?" If he utters this the whole aesthetic effect will be shattered to pieces. The curse which is later on to be inflicted by Nalakūbara or some other punishment greater than this would have been hurled at by Rambha there by damaging the structure of the story beyond repair".162 This comment is scholarly but unfortunately does not seem to throw light on the matter. One does not question the probabil- ity of Manıkandara behavıng as he does towards Maya Rambha even after an intimate frendship of four years. What concerns us here most is this if it is maintained that Manıkhandara have behaved ın that manner knowing Mayā Rambha to be Kalabhāsın, can it explain his later behaviour without any mnconsistency? This is not a question of ethics, but of aesthetics. 119 'If the commentator is right, i.e. if Manikandhara is to be understood as having behaved in that manner knowing quite well that Maya, Rambha is Kalabhäsinı, he is selfish to the core. Ner- ther friendship nor comparision for the unfortunate, nor love for truth, weighs with him where self interest is involved. These qualities are utterly absent in his later behaviour. On the con- trary the oppossite traits are met with. When he meets Kalabhasıni in the temple of Mrgendravähana after long seperation he be- trays not merely simple warmth but also great emotion. He puts a volley of questions which shows his attachment to and deep love for Kalabhäşını. Even a horrble person like Maņıstambha who tred not only to sacnfice Kalabhāsını to Mrgēndravāhana but also to rape her, his shown some leniency and consideration. If these actions are meant only to please others and to keep up decency and civility what necessity is there for Manıkandhara to reveal himself as the person who has enjoyed the love of Kalabhäsını? It cannot be argued that he feared a curse from her because he had already received one from Nalakubara. Moreo- ver, ifhis sympathy and love for Kalabhāsin are only a pretention G. V. Knshna Rao

he would not have taken so much pains as to narrates the story of Sugathri and Salina in order to assure her of his belief in her words. Even supposing that all these arguments are not suffi- ciently strong why does Manikandhara hesitate and even make delay in sacrificing Kalabhasıni to Mrgendravähana? By that sac- rfice he would enjoy a vast empire unhampered. That hesitation and delay cannot be a mere make belief, becuase the goddess Mrgendravahana herself certifies it and even says that he would become that an emperor only in his next birth, because of his hesitation and delay. Added to these, there are two more inci- dents which reveal his true character. Of these two, the first is his requst to Svabhava to show him the means by which he would not fall a prey to weaknesses and sins that genarally follow in the wake of wealth and power.163 The second incident is that in which he willingly meets his death to save Abhinavakaumudi from Salyāsura. 120 Hence it does not consistent with the later events to main- taın that manıkandhara knows Māya Rambha to be Kalabhasım and consciously behaves in that unconscientious manner. Now another question may araise in this context. Even supposing that Manikandhara does not know that Maya Rambha 1s Kalabhäsini and hence he has behaved so callously does it posi- tively show that his character is not unimpeachable? How can anyone defend Manikandhara when he assumes the form of Nalakūbara and deceives Rambha? Can he be considered to be compassionate when he humiliates a poor creature like Kalabhasin who has been sufficiently punished for her sın ?. Before these questions are answered it is necessary to re- capitulate the whole situation. At the behest of Indra, Rambha has managed to spoil his penance and draw him into the ecsta- sies of love. Very soon to his great grief he fiends that her heart completely belongs to Nalakubara Had he wished he could have continued his dalliance with her in his own form. But his desire to please her and thus take possession of her whole heart en- courages him to assume the form of Nalakubara. Now at this juncture comes in Mäya Rambha. He does not who she is, nor is Stuches in Kalapurnodayam

he able to find any justification for her to appear on the scene This strange position gives him complete freedom of conscience and action.Hence he remains as a simple spectator to their quar- rel and even complains about it to Närada, when his guru gives him a rebuffhe become alert and sends him away. When the real Rambha inflicts a curse on impostress he not only feels relieved of his anxiety but also thinks that simple justice has previled. Had he stopped there would have been no complaint. But driven by curiosity he oversteps the limits of decency when he demands from Maya Rambha her real name. For this one weakness the poet puts forward a justification saying :-

164

Thus this interpretation that Manikandhara does not know 121 the impostress to be Kalabhäsini is quite consistent with his later behaviour. But all the same there are two more things to be cleared. Firstly, how has he, who was present when Rambha was cursed and Kalabhäsini blessed, failed to grasp the suggetion of Närada that one of the two Rambhas ıs Kalabhäsini? Secondly, why does he refer to Kalabhäsini secret desire when he meets her in the temple of Mrgendravahana if he does not know her to be impostrss? If these questions cannot be answered, the commen- tator's explanation is to be accepted. If this explanation is ac- cepted, the inconsistency in the character of Manikandhara also has to be admitted. To avoid the two horns of this dilemma one has to find answers to the two questions. It is true that Narada gives a clue to find out that one of the two Rambhas is Kalabhasını. But Manikandhara who is too much enamoured of Rambha is more anxious to identify her and dally with her than to know who the impostress is. That is exactly the reason why he requests Närada once again :- G. V. Knsnna Rao

Had he really grasped the implications of Narada's sugges- tion as to the identity of Kalabhasini, he should certainly have been taken by surprise. But, such a reaction on his part is com- pletely absent. On the other hand he requests Nārada to point out the real Rambha from the unreal. Even this deliberate sup- pression of one's own feelings is possible only in consummate villains. But the story as it goes no where hints at this possibil- ity. Hence it can be positively said that Manıkandhara has not grasped Narada's suggetion immediately. He has practically no time left to think over matters because event after event follows 122 in such rapid succession that he cannot even breathe. He finds time only after he receives a curse from Nalakubara. That tragic event makes him review the immediate past - the quarrel of Rambhas, the words of Närada, the curse inflicted on the impostress and finally his fate. At this juncture, the thought that the impostress is Kalabhasini dawns on his mind. He is so much taken aback by this thought that he is not able to believe it completely. His guru Narada is a great seer, and so, he cannot be expected to give false information. It is true that Kalabhāsını had acquired the power to change her form. But how did she manage to know that Rambha was spending her time with him, and that it was the most opportune moment for her to meet Nalakübara? Even granting that she knew it somehow, how could she come all the way from Dväraka to the first lying far far away from her native city? Due to these considerations he is neither able to believe Narada's words, nor completely ignore them. When he meets Kalabhàsını in the temple of Mrgendravähana, he re- fers to her secret desire in his conversation more to allay his doubt than to taunt her for her infdelity.

Studies in Kalapumodayam

This explanation seems to be more plausible. Anyhow it is for the judicious readers to decide. There is perhaps nothing more to comment upon the character of Manikandhara than what has been said in other contexts.

KALABHASINI

The character of Kalabhasini is profoundly conceived and beautifully presented. It stands unique in Telugu literature and demands a high place among the characters presented by San- skrit drama. Vasantasena, the heroine of the Mrcchakatika, ap- pears to be ngid and affected when compared with Kalabhasını. Given the shortcomngs and infidelity of Kalabhâsını, no other poet could have produced in the readers so much sympathy and understanding. What is more astounding is that no other poet of those times, when chastity was considered as the highest virtue to womanhood, would have dared to accept her as the herome of his work and at the same time could have dreamt of making her 123 a success. How does Surana achieve this almost impossible task? The answer lies in the critical analysis of this character of Kalabhasını. She is a beautiful maiden belonging to the courtezan class and well accomplished in fine arts. As a regular visitor to the court of Krsna, she comes across Manikandhara, the disciple of Närada. His poetic faculty draws her affection and friendship. But she suppresses these tender feelings because of the gulf between their respective classes and her fear of Narada. One day it so happens that she perceives Nalakūbara and Rambha, and overhears their conversation with Narada The beauty of Nalakūbara and Nārada's curse on Rambha, stir her suppressed love to throb with a new life. She wants to get her desire fulfilled with the help of that great seer. She prostrates herself before him and offers her services as a disciple to carry his uinainto the harem of Krsna. Though she takes every care to conceal her real intention, Närada understands everything and accepts her as his disciple for his own ends. Four years of devoted service to Narada bestow on her a gift of unsurpassed music and at the same time G. V Knshna Rao

earn for her the goodwill of Narada and the deep friendship of Manıkandhara. Before his final departure the seer out of sympa- thy for her and determination to bring about the fulfilment of hıs curse, expressses his apparent desire to know the real opinion of the wives of Krsna regarding his proficiency in music. Grasping this opportunity, she tells him that she can find it out provided she has the power to assume the form of any woman she likes. Narada readily grants this power knowing full well the conse- quences. Kalabhäsinı performs what is exactly wanted of her with the result her guru gives her his blessing :-

After parting from her guru and Manikandhara, she sits at home with an aching heart for her lover. However hard she may 124 think, she finds no way to achieve her much-cherished goal. Thus more than a year.and a half passes in complete agony, where- upon Manistambha appears on the scene as if he were the sav- iour. With the supernatural powers of clairvoyance and claraudience, he gives a full account of Manikandhara, his piligrimage, penance and union with Rambha. In spite of her caution, tact and sagacity, she becomes a victim of Manıstambha. The evidence given by the parrot and the elaborate description of holy places of piligrimage suggesting Manıstambha's devotion to God and his religious bent of mind inflame her strong and secret passion. Throwing away her caution, she explains to him her love for Nalakübara and begs hm to take her on his hion to her lover. While she is on her way, her suspicions are roused by the information that the Rambha is not with Manikandhara at that juncture. Her heart sinks within her, but soon she realses that no amount of despair and lamentation will save her. With a throb- bing heart she proceeds only to be left in the temple of Mrgendravāhana where she comes to know the real intention of the Siddha from Sumukhasatti. She swoons, recovers, wails and Stuches in Kalapurnodayam

ultimately begs Sumukhäsatti to come to her rescue. When Manstambha raises his sword to cut off her head, Sumukhasatti forbids him to kill her in the name of the goddess. Unheeding the old woman's pleading, Manisatmbha proceeds in his evil design only to be thrown far away along with the herome on to a flowery bed in the neighbourhood of Manikandhara's hermitage. Even this supernatural intervention does not put an end to her trou- bles. Attracted by her unsurpassed beauty in her state of terrible fear, he tries to violate her chastity when she shneks aloud for rescue. No sooner does she wail for help than comes the assur- ance of help from Nalakübara. The Sıddha runs for his life pur- sued by Nalakubara. Utilisıng the boon bestowed on her by her guru, Kalabhāsıņi meets Māya Nalakubara in the form of Rambha and manages to release Siddha Now these are the most blissful moments never to be had once again in her present life. Soon the real Rambha appears on the scene with the result a quarrel ensues between them. It is of immense beauty, unique 125

in Telugu literature and unsurpassed by any other thing in San- sknt. True to life, it presents a comedy of immense beauty. The charges and counter-charges, denunciations and condemnations, and proofs and counter-proofs that are exchanged between Rambha and the impostress astound the readers. This episode 1s really a testimony to Kalabhāsini's intelligence, courage, pres- ence of mind and tact. In spite of all these qualities, her fraud is detected, and the curse that she will fall by a sword is pronounced on her. Her short-lived romance thus ending in tragedy, Kalabhäshini with a stout heart reconciles herself to her fate and returns to the temple to die peacefully before the altar so that the siddha may have his wish fulfilled. How many people can do what she does? What amount of calmness and determination is needed to do it! Another characteristic trait of hers is revealed by another event. The siddha who has been a spectator to this as- tounding comedy narrates the whole episode, and then asks for her story subsequent to his flight. There is no necessity for her to G. V. Knshna Rao

tell him the truth for it will only betray the looseness of her char- acter. Nor is there anybody who has seen it or can guess it. Narada is the only person to know it definitely and he cannot be expected to reveal it. As regards Manikandhara, he is still in doubt as explained already. Nevertheless she comes out with the truth that she was the Maya Rambha. Why does she reveal it to those who do not know it and thus condemn herself to shame? She does so either because she is too good to hide the truth, or because some sole aim of her life should have been so much thwarted that she loses her balance and bursts into grief. The first cannot be the reason for her self-exposure, for she has not revealed her real intention even to Närada her guru, or to the siddha at the outset. So the latter must be the cause of her despair. Now what is that aim which she values so much? She has loved Nalakubara and has undergone all this trouble only to get united with somebody whom 126 she does not know This wounds her feelings beyond description. Life for her seems not worth living: The determination to sacnfice herself to the goddess so that the siddha may acquire a great empre takes possession of her. Hence she reveals herself to be the impostress and expresses her great gnef over her union with an unknown person This purty ofheart and sincerity of her love are at once reciprocated by Manikandhara s admission that he is the person who has violated her chastity. This intormation taken together with the recollection of the parting woras ot the great seer, enables her to psycho-analyse her whole love affar before her auditors, Manıstambha, sumukhasattı and Manıkandra When she came across the latter, she fell head -long in love with hım. But her fear of Narada that he might take senous objection to it, has played havoc with her love and has caused the whole tragedy. This unconscious fear shows her the partial sımilanty in the names of Manikandhara and Mangriva, brings for her into limelight the temble curse infucted by Narada on the latter and his brother, and thus checks the natural course open to her love She sees in Nalakübara some faint resemblance to Manikandhara and naturally comes to think that the latter is the real object of Studies in Eatapuroaayam

her love. Thus her deep and sincere love ends in a tragedy of sublimation, simple and pure. She knows quite well that her expla- nation will not easily convince others, and she says in de profundis :-

. சஜ்ணுயை அடைகலைலயல்

127

Sıncere and true, this explanation moves Manikandhara to tears. He assures her of the truth and relieves her gnef by pointing to the parting words of Narada and substantiating her explanation by the illustration of the story of Sugatr and Salina. One interesting point in this context is that this psychic process is not generally appreciated. Mr. Mallādi Sūryanārāyana Sāstr does not believe it to be true and comments that kalabhasin speaks cleverly rather than the truth itself 167 Dr. C. R. Reddy, 168 on the other hand. thinks that Kalabhāsini has loved equally both Manikandhara and Nalakubara, and raises the question whether it is possible for one to love two persons at one and the same time. He says that is is possible and cites an example. But both these views appear unconvincing. From the beginning to the end Kalabhasin has loved only one person and that is Manıkandhara. This sincere love suppressed by the fear of Nārada and misdirected by the faint resemblance in form between Manıkandara and Nalakubara has sublimated her craving for the G V Knsnmna Pao

latter. To deny this is to deny the laws of association enunciated long ago169 by Vatsyayana, the great commentator of the Nyaya Sutras, and established beyond doubt by Freud and his school. Not only that. To misunderstand this is to misunderstand the characters of Manikandhara, Manıstambha and Sumukhasattı. Especially a great and firm character like Sumukhasattı cannot be expected to agree to have Kalabhasinı as her daughter-in-law if the latter is as loose in her morals as these critics suppose her to be. Nor is Mankandhara a social reformer of the modern age to accept her as his wife in his next birth. Above all, this tragic event loses all its point and intensity if Kalabhasini's account is not taken to be true. Hence it is apparently difficult to accept the explanation offered by Mr. Sastn and Dr. Reddy. Now to resume, Kalabhäsini s greatness reveals itself in fac- ing death coolly and calmly at the hands of Manikandhara. In her next birth she is born as Madhuralalasa in a royal family. 128 From her very childhood she develops a deep and devoted love for her would-be-husband. There is nothing more to say than that she has achieved the ideal of Indian womanhood by being faith- ful to her husband Kalapurna both in thought and action.

SUGATRI

If the character of kalabhäsini is the result of profound con- ception, the character of Sugatr is the culmination of delicate handlıng. What Kalıdāsa has achieved in his Parvati in the realm of romantic idealısm, Pıngalı Sürana has achieved in Sugatrı in the realm of naked realism. Had this character been handled by any other poet than Surana, it would have been not only insipid but also vulgar beyound description. How the poet has achieved this marvellous beauty is to be examined. Though Sugätri is the only daughter of her parents, she has never become the victim of indolence. Intelligent, sensitive and cultured that she has become, she is marned to a bashful youth called Salina who is required to stay for ever in his mother- in-law's house. And there is no other man to look after the affais of that family. By temperament Sugatri's mother is self-assertive Studtes in Kalapurnodayam

and proud of her riches. Her only ambition still unrealised is to have a grandson and dote over him. But this is for all practical purposes upset due to strange circumstances. On the first night of their prescribed union, Sugatri is sent to her husband gor- geously decorated and fully ornamented but he retires within him- self without having even a glance at her. This odd behaviour, on the next morning, becomes the general talk among Sugatri's mates. The mother-in-law reproaches them for indulging in such silly talk and sends her daugther to her husband next night also only to be treated as on the previous night. This state of affairs continuing without any end in view, she gets completely disap- pomnted and disgusted with her son-in-law. Sugätri, who should have been really more aggreved than her mother, reacts altogether in a different manner. Instead of feeling insulted or repulsed, she becomes all the more attached to her husband as it is the way of a Hindu wife. Her devotion to her husband whose likes and dislikes, whims and fancies, tem- 129 perament and character she does not know, clearly shows be- yond doubt that she has acquired some yogic tendencies of her father. Otherwise she could not have concentrated her complete love on her husband and made him the guiding star of her life. This great power of concentration makes her reconcile herself to the situation. Nevertheless she has to face another problem equally acute if not more. Her mother, who has developed a disregard and even antipathy to Salina whom she considers to be quite impotent as well as useless, begins to find fault with him indı- rectly in the earlier stages and later on censures him directly. This antipathy of hers finally leads her to treat him as no better than a household servant and a gardener. This is really a crucial test of Sugatri's affection for her mother, love for her husband and consideration for the family prestige. Torn between these three loyalties. she does not despair, lose her balance and self- possession. She reacts promptly, correctly and vigorously. She faces her mother boldly when her husband is absent, and firmly admonishes her for her attitude towards her son-in-law in such a manner that neither the neighbours nor her husband come to G. V. Knshna Rao

know of it. In spite of this remonstrance, she is not able to prevent her mother from sending her husband off to the garden. She should have gone over to her husband and have lived with him there; but her shyness - the shyness of a recently marned girl restrains her. Crushed thus between shyness and love, her mental agony knows no bounds. Some time or other she must get out of it if she is to survive. How she overcomes her shyness is the secret of an astounding poetic genius. One day a terrble cyclone sweeps over the country blowing away roofs and tiles, and pulling down huge trees and buildings. The thunder roars unceasingly; and the rain pours down in tor- rents. Sugätri's anxiety for her husband practically living in the garden becomes unbearable. She prays to her family deity, Sarasvatı, with her heart and soul to protect her husband. This does not leave her in peace and so goes to the garden all alone without the knowledge of her mother; not even her husband per- 130 ceives her arnval. To her great surprise and relief, she finds not even a single creeper damaged. Thankng the goddess for the miraculous escape ofher husband, she returns home before any- body knows about her secret visit. This unpremeditated event leads to other events as a consequence; emboldened by this visit, she gets nd of her shyness and goes to the garden in open defi- ance of her mother She works with her husband helping him to water the plants in the garden. Her natural charm shining in its prstine beauty unhindered by omnaments and decorations, her devotion and sympathy manifesting itself in the gentle rse and fall of her breasts in physical exhaustion awake in Salina a spon- taneous but profound love for her. He takes her in his arms in the esctasy of that passion. Her heart throbbing with joy, she goes home only to get her happiness detected by her mother and friends. That night again she is sent to her husband in her heavy make-up with the result that he does not care even to look at her. This attitude of her husband perplexes her innocent heart. She, in her tender love, appeals to him in one of the most delicate and fine passages in the world's literature sayıng :- Stuces in Kalapurnodayam