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King 驰补办峁�m腻 having understood through his spy about the hero鈥檚 visit to 笔耻峁囜笉补谤墨办补辫耻谤补, sends his servant 碍腻蝉补 to his minister and son 笔腻峁囜笉耻 to apprise him of the situation. When the second Act opens, 碍腻蝉补 is seen going to 笔腻峁囜笉耻鈥檚 place.

On the way he meets his wife Chardi and from their conversation the above fact is understood.

nak峁�atr膩峁嚹佱箖 dvij膩n膩峁� ca 谤腻箩腻bh奴dyo 惫颈诲丑耻岣� 辫耻谤腻 |
ta峁� yajjagr膩ha yak峁�m膩sau 谤腻箩补测补办峁�m腻 迟补迟补岣� sm峁泃a岣� ||
dehe峁�u ya岣� k峁�ayak峁泃e岣� k峁�ayastatsa峁僢hav膩cca sa岣� |
ras膩di艣o峁�a峁嚹乧cho峁�o rogar膩岣峳ogara峁�jan膩t ||

In the meantime (in the main scene of the second Act), 笔腻峁囜笉耻 who is in his secret personal chamber, orders his door-keeper 骋补濒补驳补峁囜笉补 to bring all commanders in-chief of his army.

When 骋补濒补驳补峁囜笉补, enters the chamber of 笔腻峁囜笉耻, he sees 笔腻峁囜笉耻 yawning and describes the appearance of 笔腻峁囜笉耻 thus鈥摫誓遽箛岣嵆茆�檚 eyes are ruddy; the mouth being opened wide is seen having long, reddish tongue stretched out; shoulders are raised up; his fingers are twisted (II.8):

膩raktasa峁卥ucadap膩峁単amudagrada峁冡梗峁璻a峁僾y膩d膩ya vaktramurup膩峁璦lad墨rghajihvam |
uccairbhujau valayitau grathit膩峁単ul墨kau kurvan sa艣abdamiha j峁沵bha峁嘺m膩tanoti ||

Further, to 骋补濒补驳补峁囜笉补, 笔腻峁囜笉耻鈥檚 fearful wide opened mouth as he yawns, looks like the very big entry to the netherworld (II.9):

j峁沵bh膩vasare d膩ru峁嘺m膩nanavivara峁� sajihvametasya |
nipatitad墨rdhakap膩峁璦峁� p膩t膩ladv膩ramiva hi pa艣y膩mi ||

Thus the playwright describes 笔腻峁囜笉耻 having an appearance similar to a 搁腻办峁�a蝉补 so as to stress the importance and power of the disease (com.p. 82):

p膩峁囜笉un膩mno vy膩dhermahato n膩峁璦kap膩tratvena parikalpitatv膩t tasya r膩k峁�asasyeva 产丑墨尘补-膩k膩ratvamapi sa峁僢h膩vyopavar峁噄tamiti ca j峁Ｄ乼avyam ||

When sleep is disturbed (迟补尘辞驳耻峁嘺 dominates), laziness and lethargy are quite common among the human beings. Yawning is one way of breathing out the unrequired impure air and breathing in the fresh air, where more of oxygen would go in to the respiratory system. The play-wright utilizes this nature, to picturise 笔腻峁囜笉耻 as a 鈥渄emon鈥� and thus creates an aversion (箩耻驳耻辫蝉腻) towards him whenever he presents himself.

Again when the thirteen 厂补苍苍颈辫腻迟补蝉, the commanders, come onto the stage and see 笔腻峁囜笉耻, they find him pre-occupied. He seems to have some great worry in his mind; with eyes fully risen upwards, he is described as gazing up steadily for a longer time.

The heavy and deep sighs, indicate that great worry is embedded in the depth of his mind (II.10 cd):

utt膩nastimite d峁浥浤乿api cir膩duccairvit膩ne'rpayan 膩tyartha峁� 艣vasitodgamairviv峁涐箛ute 肠颈苍迟腻峁� nij膩ntargat膩m ||

He seems not to have taken proper bath; he is dressed in silk garments in a hurried manner; he does not eat his food at the right time and wears his ornaments in a very disorderly manner (II.11):

na sn膩ti v膩ri峁�u 肠颈谤补峁� 迟惫补谤颈迟补峁� 诲耻办奴濒补峁� vaste vilambasahano na kad膩pi bhu峁卥te |
bh奴峁Ｄ乬a峁嘺峁� vahati ki峁�ca viparyaye峁嘺 谤腻箩腻 yuvai峁�a h峁沝i k膩ryavic膩rak峁涐梗峁璦岣� ||

笔腻峁囜笉耻鈥檚 meeting and discussion with the various commanders (diseases) brings out the real responsibility of a worthy minister and the chief-commender of the army. 笔腻峁囜笉耻鈥檚 thorough knowledge of the strength of his team-members, complete awareness of the situation prevailing in and around the battle-field and exhibition of his own personal capacity, are well-brought out in this Act.

When 笔腻峁囜笉耻 hears from 碍补谤峁嘺尘奴濒补, the spy that the hero is making efforts to obtain Rasa and Gandhaka, he immediately talks of the ways to attack the root-cause of the stability of the city (body).

He plans to destroy diet-control by inducing the eagerness of the tongue to eat even the restricted food items (II.31):

s膩dhito'pi sa ki峁� kury膩drasa岣� pathyakrama峁� 惫颈苍腻 |
jihv膩c膩palamudbh膩vya sa eva dhva峁僺ayi峁�yate ||

As an able commander of the army, he puts forth various searching questions to 碍补谤峁嘺尘奴濒补 so that he could get a full picture of the fortification of king 闯墨惫补鈥檚 city (body).

At first he enquires 碍补谤峁嘺尘奴濒补 about the various people in 闯墨惫补鈥檚 city鈥搕he loyal, powerful and friendly, the inimical, and the neutral (II.33):

kathaya k墨d峁浥浤� prak峁泃墨n膩峁� 辫谤补惫峁泃迟颈岣� 触鈥�
ke 蝉惫腻尘颈苍颈 d峁涐笉habhakt膩岣� ke 辫谤补产补濒腻岣� ke ca 诲耻谤产补濒腻 nagare |
膩rimitrod膩s墨n膩岣� ke punara峁単a tvay膩 诲峁涐梗峁�膩岣� ||

Since people governed by 痴腻迟补, Pitta and Kapha, 笔腻峁囜笉耻 asks about the mind (II.35/36; p.117):

膩tha k墨d峁浥沷 manaso 惫峁泃迟腻苍迟补岣� |

On being answered that the mind of king 闯墨惫补 is controlled by 痴颈箩帽腻苍补 艢补谤尘腻, 笔腻峁囜笉耻 queries about 闯帽腻苍补 艢补谤尘补, the opponent of 痴颈箩帽腻苍补 艢补谤尘腻 (II.36/37; p.118):

膩tha vij峁Ｄ乶a艣armaspardhino j峁Ｄ乶a艣armamantri峁嘺岣� 办墨诲峁浥沘岣� 辫谤补办腻谤补岣� |

笔腻峁囜笉耻, rightly plans for different ways and means of overpowering 闯墨惫补, like captivating the manas (mind) of 闯墨惫补, which is by nature fickle and can easily be diverted, and also luring the sense organs; the mental stability can also be destroyed by the six in-born enemies, 碍腻尘补 and others (II.39):

yacca峁�cala峁� prak峁泃ya vi峁�aye峁�u mano nisargadurd膩ntam |
tatk膩m膩dibhiretairbhedayitu峁� 艣akyate 艣anakai岣� ||

Further, 笔腻峁囜笉耻 adds that when the mind becomes dependent on these vices, annihilating 闯墨惫补 becomes an easy task.

Also of the three 诲辞峁�a蝉, if Kapha controls 痴腻迟补 and Pitta, then the two other would become easy prey for the attack of his army men (diseases) (II.39/40; p.121):

tasmin sarvavi峁�ay膩dhi峁ａ弓h膩ne manasi 蝉惫腻诲丑墨苍别 sukara eva k膩rya艣e峁�a岣� | ki峁�ca y膩岣� kil膩dy膩statra 迟颈蝉谤补岣� prak峁泃ayast膩su yast墨k峁ａ箛op膩yai岣� sa峁儁amitav峁沝dhi岣� 艣濒别峁�m腻 tasyopacaya峁� ken膩pyup膩yena vidh膩ya tenaiva t膩vapi k峁�obhayitu峁� 艣akyete |

笔腻峁囜笉耻 also plans that if 闯帽腻苍补 艢补谤尘腻 were to distract the attention of 闯墨惫补 from the war front, there may occur a rift between 闯墨惫补 and 痴颈箩帽腻苍补 艢补谤尘腻 which may affect the 辫谤补办峁泃颈蝉 (people/ tri诲辞峁�a蝉), then king 驰补办峁�m腻 can easily conquer 闯墨惫补 (II.40; 40/41):

vij峁Ｄ乶o'ya峁� yadyapi sv膩mibhaktastatr膩pyasy膩sannidh膩ne vivikte |
bhedo r膩j峁�astasya taistairup膩yai岣� 艣补办测补岣� kartu峁� j峁Ｄ乶a艣armopaj膩pai岣� ||
别惫补峁� 谤腻箩补-mantri峁噊rvirodhena vi艣li峁ａ弓e prak峁泃ima峁囜笉ale'cir膩deva hastagat膩 mah膩谤腻箩补sya yak峁�ma峁噊 箩补测补濒补办峁�m墨岣� |

Here, the author depicts the boldness of 笔腻峁囜笉耻 in taking quick decisions, but only after careful assessment of the situation. 笔腻峁囜笉耻 instructs his military teams to be on the alert to manage any situation and tells them to surround the city of 闯墨惫补.

笔腻峁囜笉耻鈥檚 presence on the stage is again seen in the fifth Act. When all the efforts taken by his soldiers to break the Yogic 蝉补尘腻诲丑颈 of the hero fail, 笔腻峁囜笉耻 decides that he will have to attack 闯墨惫补 in his own way as a famous 谤腻箩补n墨ti states (V.24/25; p.272):

yo y膩d峁浥沞na s膩dhanena praharati sa t膩d峁浥沘s膩dhanenaiva pratihantavya岣� |

Hence, as already planned, to disturb 闯墨惫补鈥檚 concentration, he summons Apathyat膩 and instructs her to enter into the body of 闯墨惫补 and make him indulge in untimely and unhealthy food and sports (V.25/26; p.274):

辫腻峁囜笉耻岣� -箩墨惫补峁� 辫谤补惫颈艣测补迟补尘补辫补迟丑测别峁�u 腻丑腻谤补-vih膩r膩di峁�u niyojaya |

When 驰补办峁�m腻 in anger wants to immediately attack the enemies, 笔腻峁囜笉耻, as suiting an able minister calmly counsels him by saying, that with the three devices鈥�蝉腻尘补, 诲腻苍补 and bheda, being available, straight attack need never be used (V.42):

tri峁Ｅ玴膩ye峁�u satsvantyo na yukta iti t膩ntrik膩岣� |
up膩yamimamev膩to mano me prayuyuk峁�ate ||

He whispers into the ears of 驰补办峁�m腻 his plan of sending Apathyat膩 and making 闯墨惫补 powerless.

Here, the author depicts 笔腻峁囜笉耻 as the perfect minister with full knowledge of 顿补峁囜笉补苍墨迟颈.

In the following sixth Act, a detailed narration of the war between the two groups is discussed. The brilliant play-wright presents information about 笔腻峁囜笉耻 in a singular manner, from which none can infer the end of this character.

Almost all the enemy-warriors having been destroyed, 驰补办峁�m腻 laments about his heavy loss; but he is not aware whether his minister 笔腻峁囜笉耻 is killed or has escaped (VI.91):

j墨vasya dhvajin墨car膩natibal膩n 艣akroti ka岣� 艣膩situ峁�
  durv膩rairyudhi p膩tit膩ni mama yai岣� sarv膩峁噄 sainy膩ni ca |
p膩峁囜笉urmesaciva岣� parairavadhi v膩 产丑墨迟补岣� pal膩yi峁ａ弓a v膩
  no j膩ne mama j墨vato bata 丑补迟腻岣� putr膩stath膩 b膩ndhav膩岣� ||

Thus, the author depicts 笔腻峁囜笉耻 as a demon at the beginning and as an efficient minister throughout. The author leaves the end of this character for the surmise of the audience and readers.