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Dramatis Personae.

痴颈诲奴峁�a办补鈥�King 闯墨惫补's friend and court jester.
痴颈箩帽腻苍补 艢补谤尘腻鈥揗颈苍颈蝉迟别谤
闯墨惫补鈥揔ing
顿补耻惫腻谤颈办补鈥揇辞辞谤-办别别辫别谤
厂尘峁泃颈鈥�(搁别肠辞濒濒别肠迟颈辞苍) Bhakti's friend.
艢颈惫补产丑补办迟颈 /Bhakti鈥揇evotion towards lord 艢颈惫补.
艢谤补诲诲丑腻鈥�(religious faith.) Bhakti's friend.
Buddhi鈥�Queen
Padmamukh墨 and Candramukh墨鈥揊emale attendants in the harem.
痴补颈迟腻濒颈办补 I & II鈥揃ards (behind the curtain).

Scene I: Royal Kitchen: Late noon

The fourth Act, opens with the entry of 痴颈诲奴峁�a办补, the court jester and the hero's friend. His soliloquy reveals the continuation of the main story that the king is consulting with his minister in his personal chamber, having come to understand through his spies that the enemy king 驰补办峁�m腻, has charted out a scheme to attack king 闯墨惫补 with his (驰补办峁�m腻's) full force. The enemy king is also aware of the fact that the hero has obtained Rasa and Gandhaka from lord 艢颈惫补 and goddess 笔腻谤惫补迟墨.

痴颈诲奴峁�a办补 is now hungry and hence is very much in need of food. Hence instead of going to the royal chamber, he enters the kitchen. On trying to taste each of the prepared food he is directed by the chef to go and ask the king for food.

Disappointed 痴颈诲奴峁�a办补 goes to the king's chamber. Annoyed to see the minister with the king, he waits outside the chamber.

Scene II: King鈥檚 Chamber: Mid-Day

The king and the minister are deeply involved in a serious discussion and hence do not realise the time. It is mid-day. The minister advises the king to bathe and observe the day-time duties. At this juncture 痴颈诲奴峁�a办补 enters and greets both the king and the minister and expresses his hunger.

In the meantime, the door-keeper 笔谤腻峁嘺 enters and informs the king about the arrival of the kings of the nearby countries with their offerings.

Leaving 痴颈诲奴峁�a办补 inside the king鈥檚 personal chamber, both the king and the minister come to the third chamber where the visitors stay.

The playwright very cleverly adopts a technique here for avoiding the presence of these kings on the stage. Through the words of the minister, each king is introduced and also the object being offered by them is described. Accepting these offerings, the king directs the minister to duly and suitably reward these kings. In between this, 痴颈诲奴峁�a办补 expresses his unbearable hunger and the king requests the minister to take 痴颈诲奴峁�a办补 to the harem where he may be served food by his queen.

When they leave, king 闯墨惫补 also has his bath and moves to the prayer-hall to offer his dedicated worship to lord 艢颈惫补 and his consort 笔腻谤惫补迟墨.

He recollects goddess 艢颈惫补产丑补办迟颈, who helped him to have the 诲补谤艣补苍补 of the universal parents and through their grace receiving the Rasa and Gandhaka, with which he can ward off all adverse impacts. He feels extremely sorry for his forgetfulness and starts thinking about the great Bliss he experienced during his penance. 厂尘峁泃颈, friend to 艢颈惫补产丑补办迟颈 who enters the place at that time understands the king's mind and quickly brings in 艢颈惫补产丑补办迟颈 and 艢谤补诲诲丑腻 from 笔耻峁囜笉补谤墨办补辫耻谤补.

Though 艢颈惫补产丑补办迟颈 is angry at first on hearing from 厂尘峁泃颈 about the hero's forgetfulness, being pacified by 艢谤补诲诲丑腻, she decides to meet the king. She comes to the hero's personal chamber with 艢谤补诲诲丑腻. 艢谤补诲诲丑腻 tells 艢颈惫补产丑补办迟颈 that the king had fallen a victim to the powerful influence of 惭腻测腻诲别惫墨 (illusion). Since 艢颈惫补产丑补办迟颈 has a special liking for the hero, who is an abode of truth and knowledge, she decides to help him in getting his desire fulfilled and in making him free from worries and diseases by guiding him in the right path.

When 艢谤补诲诲丑腻 and 艢颈惫补产丑补办迟颈 meet the king, 艢颈惫补产丑补办迟颈 advises him to follow properly the guidelines given by the minister in completely driving away all his inimical diseases. 艢颈惫补产丑补办迟颈 promises to return when he wins over his enemies and would show the way to obtain eternal Bliss. Entrusting this responsibility to 厂尘峁泃颈, 艢颈惫补产丑补办迟颈 takes leave of him and goes away with 艢谤补诲诲丑腻. 厂尘峁泃颈 is requested by the king to be with him always.

At this juncture, 痴颈箩帽腻苍补 艢补谤尘腻, returns with 痴颈诲奴峁�a办补, who has had a satisfying lunch. On seeing them, the king requests them to wait for him and goes with the door keeper to complete his afternoon rituals.

It is heard from behind the curtain that the king with his queen is going to the garden. Along with 痴颈诲奴峁�a办补, the minister also hurries to the royal garden.

Scene III: Royal Garden: Twilight

The pleasant evening breeze gently blows in that garden and the royal couple enjoy the beauty of mother Nature. 痴颈箩帽腻苍补 艢补谤尘腻 with 痴颈诲奴峁�a办补 joins them. 痴颈箩帽腻苍补 艢补谤尘腻 is astonished to notice that all the six seasonal beauty is present there. He discusses this feature with the king. The dramatist utilizes this opportunity to portray the six seasons, their special natural splendour and also the impact of the climatic changes on human health.

The minister further explains that generally it is known that the night time consists of evening twilight, midnight and dawn and the day time consists of fore-noon, noon and after-noon. Though this everyday schedule is divided thus, all these six seasons have their respective impact on these six parts of the day. In these hours, the onset, increase and decrease of the three鈥�Pitta, Kapha and 痴腻迟补 can also be seen.

After this interesting discussion, the king wants to enjoy the sport of swinging with his queen. On the orders of the minister, the door-keeper brings Padmamukh墨 and Candramukh墨; they sing very melodiously suiting the occasion.

Two Bards from behind the curtain, announce the onset of the evening twilight. The minister and the king with their retinue retire to observe the evening rituals.

Note: There are forty five verses in this fourth Act. Of these, four verses are in 笔谤补办峁泃. Three are rendered from behind the curtain.