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The sentiment of the play [the kamalini-rajahamsa] is Srigara. The hero is Rajahansa, the king of birds and the heroine is Kamalini. In the first act, the two fall in love with each other. undergo pangs of love. This type of Vipralamba Srngara is They known as Purva Raga. It has ten stages. All of them are not clearly described in the drama. Rajahansa, reaches the stage of Jadata as can be gathered from the following verse. nihsaho na dharayati nih saho navamrnalagauram vapuh kriyasamabhiharato luthati puspatalpodhare ! nimilayati murcchaya maruti vati site drsa prakirnasumanorajah prakarapata bhitekhi || 55 55. Ibid., Act I, V. 22, p. 9.

3988 Kamalini also comes to the stage of Jadata as is evident from the statement made by Kumudini. bhavati janitotkampa pampanilena taniyasa vahati halisanam drstra duhkhena kandakini tanum nayati nikhilam ratri patrikrta ca savisucam muhurudayata mugdha murcchabalena nimilita || 56 The SthayI bhava is rati (Love). The alambhana vibhava is either the hero or the heroine. The uddipana vibhavas are the moon, sandalwood, the bees, the song of the cuckoo etc. The anubhavas are movement of eye brows, eye lids etc. The vyabhicari bhavas are jadata (stupor), alasya (indolent) maranam (death) etc. In the first instance, the alambana vibhava is Rajahamsa while the uddipana vibhavas are the Malaya breeze and the moon. The vyabhicaribhavas are recollection (smrti) and senselessness (mirchha). In the second instance, Kamalini 1s the alambana vibhava. The uddipana vibhavas are the moon and the Pampa breeze. The anubhavas are movement of eye lids. The vyabhicaribhavas are recollection and swooning. In the second act, the two lovers are united. honeymoon scene is replete vith sambhoga 'synigara. Rajahamsa tries hard to remove the bachfullness of his consort Kamalini The 56. Ibid., V.29, p.ll

57 389 399 and make her talk to him. Ultimately he succeeds with the help of Kalahamsa and Kumudini. Here the lambena vibhava is Rajahamsa and the anubhavas are his attempts to please his beloved. The uddipana vibhava is the beauty of Kamalini, At the end of the second act we witness the switch over to Vipralambha srngara (pravasa type) caused by the departure of Rajahamsa to Brahmaloka on the orders of Pavenavega. In the third set, the vipralambha srngara is well delineated. Rajahamsa is unable to bear the pangs of separation from his beloved end he is anxious to know whether she is alive at all. Rajahamsa at first recollects his beloved (smrti) and he is immensely filled with grief. He says ya katasalahari taba priye pran 鈥�mudam mayi dadau sudhamayi ! hanta hanta ! maya saiva sampratam halahalavapusa vivartate || 158 57. asvadya vanimamrtam aranti mavistrsa karnaputachuyena ! ananda majjopagatamavastha- matistate sampratamantaratma || " 58. Ibid., Act III, V.12, p.45. Ibid., Act II, V.10, p.28.

41010 Here the alambana vibhava is Rajahamsa while the uddipena vibhavas are the bewitching eye glances of Kamalini. The enubhavas are the movement of eye lids, sighing etc. of the hero while his recollection of beloved form the vyabhicari bhavas. He then thinks of her and her lovely form (cinta). He describes a past episode when he was enjoying the company of his beloved. He says that avirbhute malinavapuvi chaditasavakase vrnde mandam krtaravikarolananam dhananam ! aste sauravyanmama sucamasau naiva vettiti buddhaya kale nunam kalusitadhiya kantaya cintito'smi He soon reaches the unmada stage; occasionally the vision of his beloved dams on his mind. He is rejoiced at that vision and veinly tries to locate her in the trees etc., saying mithya kim parihasavibhramadhiya vrksantare liyase ! distya drstipatham gatasi dayite ! dunasya dinasya me Later on Rajahamsa is seen in the yyadhi stage wandering hither and thither. His mind is wavering and he 61 speaks incoherently. He addresses the bee the cuckoo, 62 59 " bo 59. Ibid., V.13, p.45. 60. Ibid., V.15, p.45. 61. Ibid., V.16, p.46 62. Ibid., V.18, p.46

48 401 63 64 the elephan $ the parrot 66 65 the Kalpaka tree and the lotus lako and asks them whether they had soon his beloved and if so inform him about her condition. Finally he reaches the stage of Jadata and he falls into a swoon. Here the lambana vibhava is njehems, The sentiment of pathos forms the accessory to the main sentiment. He is soon brought back to consciousness by Kalahoman who puts courage in his heart and makes himgo and fight his enemies and redeem his beloved. Here the sentiment of vira is developed as an auxiliary to the main sentiment of Srigare. The lambana vibhava is Rajahamsa while the uddinona vibhave is his enemy Kalamoghn who has imprisoned his beloved. The snubhavas are the preparetions made by Rajahemaa to go and fight his enemy. In the interlude to the fourth set is described the condition of Kamalini undergoing the pangs of separa tion from Rajahamsa as well as theinsults heaped on her by his onomies. She is fast sinking and she seeks from her friend/Saivalavalike information regarding her lord. Here the lambana vibhava is Kamalini while the subhaves as are her shedding tears etc. In the fifth act, the couple is reunited through the grace of sage (Sarat. Rajahamsa ombrasses Kamelini and speaks 63. Ibid., V.20, p.47. 64. Ibid., v.25, p.48. 65. Ibid., V.37, p.50. 66. Ibid., V.42, p.51.

endearingly to her as follows:- ne 3412-411 & 1221 HINDUS. 145.012 durikrto vidhivasadavitrsna eva 311219 1215212112121: padambujam priyatame ! tava rajahamsah || 67 The alambana vibhava is Rajahamsa and the anubhavas are his kissing Kamalini etc. Nadljanga arrive and bless the couple. with a happy note. manner. 402 482 Sages Sarat and Thus the play ends From the above analysis it can be seen that the poet has developed the sentiment in a consistent and regular Other sentiments like Hasya, Karuna and Vira have also been portrayed efficiently and they aid the development of the main sentiment.