CHAPTER - VI

The play : Maithilikalyanam

 CHAPTER - VI
The play: Maithilikalyanam
“Both the teller and listener are the treasure of wisdom, as Rama’s tale is
mysterious.” says - Ramacharita- mdnasa. Rama, the hero of Valmikf s Ramayana
became the hero of the whole India, mesmerising the nation by his divine qualities
such as trust-worthiness, loyalty, courteousness, kindness, obedience, brevity, reverence
etc., that are difficult to account for. In of the history of India, many authors and writers
have produced, and many patrons have supported the diversified and multifaceted
presentation of Ramayana. So Ramayana can not be confined to any period of time or
any age. It can not be attributed to be the production of a single poet. It has become a
multi-dimensional divergent denotation embedded in multiple versions and
verbalizations. Rama’s story reverberates in the creations of each and every poet of the
posterity as well as each and every Indian heart. He is worshipped as an example and
the embodiment of righteous action and social propriety, hence revered as maryada-
purusottama. The term suggests dignity and self-restraint. In revolving fashions of
creative activities, gradually Rama’s story became a dominant cult in India, especially
in northern India, probably in eighth and ninth centuries. This cult’s mythology and
theology have acquired a breadth and depth to such an extent that it has crossed the
boundaries of 'marydda and invaded the sphere of dila' or playfulness. Rama and
Sita’s meeting at the pleasure garden of Mithila, purvanuraga, "manay 'pranaya', their
wedding etc. have added a new charm, a new exaltation to Rama’s personality. Rama
may be an example of social decorum, but as the prince of Ayodhya he is the enjoyer of
the earth’s delights and bliss. He is sayami self-controlled and has taken the vow of
one wife- “eka palnivrata” but as a householder he is supposed to savour the joys of
love or *kama’.

Kama the pleasure principle of classical Indian thought constitutes an integral

part of Aryan life. So those who worshipped Rama as the tild-purusottama are called
as ‘rasika sampradaya' or connoisseur tradition. They view kama, not only the supreme
manifestation of divinity, but also as the ultimate embodiment of erotic sentiment.
Such devotees represent an important section within the Hindu devotional tradition
and they are called as ‘rasika’ sects, or vaisnavas. The Vaisnavas see their Lord as an
archetypal actor, repeatedly assuming roles in his universal play or So the
importance of drama is enhanced by this new interpretation. The term rasika means
who savours ‘rasa’ or aesthetic sentiment and the essence of all rasas is nothing but
trngara. The initiated devotees and the theatrical connoisseurs of classical times aspired
to cultivate the cosmic drama or ‘lila’ as a cultivated spectator and to relish the rasa, an
experience which would culminate to an aesthetic rapture leading into a highest state
of bliss.

The early phase of Rama’s life, his adolescence, the time before his marriage and
his newly married life are focussed. This phase of life of Rama have received elaborate
treatment in many versions of Ramayana .The rasikas are delighted in repeating and
elaborating this period of Rama’s life in many songs, and meditations . The pleasures
of this idyllic interlude of Rama’s life has received the unending attention of the
dramatists of classical time. The secret of this lila known only to certain fortunate
people in which the quality of ‘madhurya' predominates . In many dramatic creations,
this quality of ‘madhurya’ is manifested through the depiction of Rama’s youthful
age . The poets like Hasti Malla and others must have initiated this tradition of evolution
of maryada purusottama into lila purusottama.

During 12th and 13th century the dominance of dramaturgy was palpable in the
domain of literary creativity. Many poets and thinkers had devoted their thoughts,
talent and creativity to the exploration and elucidation of themes and ideas of
dramaturgy. This was also the period when •Srngara had dominated the philosophical
and psychological sphere . The Srhgara PrakdJa of Bhoja in 11th century gives
unbounded importance to Srhgara by his careful remodeling and remotivation of the
concept of rasa as Abhimana-Ahankara - frngara . Again in 13th century
Bhavaprakatona of Saradatanaya has celebrated Srhgara enunciating the multitude
moods of it. The great poet Jayadeva has produced the poetic and dramatic extravaganza
of Srhgdra in Gita Govinda. Thus the doctrine of love has been elegantly celebrated in
art and literature during that period.

186
 Hastimalla’s faith in the immortality and immutability of love and beauty led
him to produce this play MaithiliKalyanam, in which Smgara is asserted and nourished.

He adopts the form of performing art’ to reach at a larger audience. Among all the

rasa’s, Smgara is the most delightful sentiment giving maximum ananda or enjoyment
to the audience. Thus Hastimalla has selected the most popular medium of expression,

most delectable emotion and most popular and heart-touching tale of Rama as his

‘kathavastu’ or subject matter. Thus Maithili-Kalyanam is the 'Triveni Sahgama' of

Smgara, Rama Katha and drama, where the connoisseur must have his trance like
immersion to relish the bliss of Smgara.

It is hardly surprising that the influence of the creative and religious environment

of 13th, 14th century is prominently preserved in Hastimalla’s play. He had nurtured

the literary trend of his period and adopted the traditions of his immediate predecessors

and contemporaries. He has merely followed the pattern common to young writers of

his own age. To know his speciality and fluidity one must go through this unique creation,

Mailhili-kalyanam.

Maithilikalyanam of Hastimalla is pre-eminently a play of the sentiments of

Smgara. It is a triumph of dramatic lyricism based on the sublime love-story of Rama
and Slta. The play is the most persuasive elaboration of romantic love.

The work of a literary artist is judged and analysed from various angles and

aspects. We may study it biographically seeing it formed by and reflecting the events of

his own life or historically seeing it influenced and reflecting the events and thoughts

of his age or by trying to trace the development of his thought, vision, and philosophy

of life. There is another line of approach that we can study his craftsmanship, and by

watching his imagination at work on his materials. In the following chapter an attempt

is made to analyse the play Maithilikalyanam from the angles of dramaturgy and poet's

skill and craftsmanship in depicting fmgara. The poet is highly glorified by the

Sutradhara. Sutradhara extols the quality of the poetry composed by Hastimalla which
gives excellent entertainment to the ears. While listening to that “sukti-s” one can easily

discard the finest tuning of Vina and even the most beautiful damsel adorned with

mango-buds on her ears as ear-omaments. Sutradhara has attributed Hastimalla, as the

187
monarch in the world of poetry and has estimated his poetry more palatable than the
nectar.1

In the prologue, Sutradhara commences his benediction with an exaltation of the

poet and his poetry. Natl starts querying and Sutradhara, gives the hint about the keen
interest of the spectators to enjoy the play “Maithilikalyanam. Sutradhara introduces
the spectators as expert in Natya-Sastropanisat” vifesa vedinya
grhltanadyaiastropan isada and they have requested Sutradhara to enact the play
Maithilikalyanam. as he is adept and skilled in enactment of the play. Today, he says,
“at the spring festival, I have the highest honour to enact it completely fumlgM not
leaving or neglecting any part.”

Nall starts querying- again why the spectators have so earnestly desire to enjoy
this play only? In answering Natl, Sutradhara gives the introduction of the poet
Hastimalla. The great poet Hastimalla has “purified his intellect by going through almost
all scriptures. Therefore he is as sacred as one who has performed oblations in all the
sacred rivers. This implies that he has accquired proverbial verbosity in all Sastras. But
it might be so that somebody acquiring abysmal depth of knowledge, may not have
adequate power to express that knowledge through words. To clarify that point
Sutradhara characterises the quality of the poet’s power as madhyama lokadhisanasya.
He is the only intelligent one on this earth. Again some one with adequate knowledge
of scriptures and efficient capacity of expression may not be effective in serving public
welfare through his expressions. To clarify this point Sutradhara qualifies the poet as
n tfesan ipltadharmdmrtarasayanasya. Again having all these above three qualities one
may not be able to attract the attention of the spectators. Sutradhara says that the poet
has gained so much popularity and has attracted the attention of the public is proved by
the mementos he has received. Sutradhara further highlights that the quality and quantity
of those presentations have become so amazing that the Goddess of knowledge Sarawatl
herself has been taken aback sarafvativismayanlyopayanasya

To the query whether the poet belongs to a cultural family or not Sutradhara
gives the detailed data and introduces the poet as the son of Bhattaraka Govindaswami
and the younger brother of ‘Srikumara Satyavakya’ who is adorned with the authorship

188
of a number of wise sayings, and the elder brother of the poet Vardhaman
subhdsitaratnabhusananamanujana and the author and enactor of various rupakas
such as Anjandpabahjaya etc.

The above expressions have clarified the doubts of Natl that why the spectators
are keenly interested for the enactment of that particular play Maithilikalyanam and
Natl admits that the interest of the public is genuinely worth-while and appropriate.
(lena hi yujyate lata eva khalu asyapi tasmin vahumdnah) Sutradhara gives more
stress and significance on the fact by citing a verse composed by the elder brother of
the poet Srikumara Satyavakya who could not hold his tongue, though he himself was
a poet composing the kavyas like Srlmatikalyanam etc., but being overwhelmed by the
poetic compositions of Hasdmalla he had spontaneously extolled his younger brother
HastimaUa by the following verse- kim vlnagunaramkrtai... Hastimalla is a master of
words. His verses are so elegant and flowing that one can even avoid to listen the sweet
tune of Vina.

The dialogue between the sutradhara and Natl in the prologue even goes deeper
and Sutradhara has to define the qualities and specialities of a poet, that is agocarah or
unintelligible by ordinary people. A poet’s quality can only be realised by a poet.
Sutradhara delineates that the poet, barring all obstacles, endowed with apt concentration
and eqillibrium beholds the world in his heart (antakarana), He becomes a perceiver of
his own inner-self and by expressing that experience he begets bliss. Poets
duradhigamabhavah are difficult to be studied or understood.2

After defining the nature of poet sutradhara projects the (defa) or place, (kala)
time and (pdtra) characters of the play. The poet intensifies the provocation of Srhgara
by quoting the occasion the spring festival (vasantotsava) befitting for the promotion
and permeation of Rasa.

At the advent of spring season, the world is caught hold, with the sentiment of
Srhgdra. On this beautiful occasion the spectators Samajikajana want to enjoy the play
Maithilikalyanam, when the delicate moon-beams radiate the glory and grandure of
the cupid on earth, the shoothing spring-breeze blows, loosening the knots of patience
of the separated lovers. The black-bees buzz eulogizing the cupid and perishing the

189
feminine pride and amorous arrogance of the beloved. The mango-buds bloom afresh
in luxuriance filling to the tip of the cupid’s arrow. Thus the spring-season has been
pronounced to be an agent in increasing the amorousness of thousands of pairs in love.

The environment, both external and internal are lit up with longing, fully
synchronised for the splendourous flowering of the sentiment of love. Nati reverbarates
with an appraisal of spring days, “that is encircled with the springwind ensweetened
with the nectar like dew-drops and enshrined with the luminous moon.3

After delineating the time or kala, that is spring season with all its enchanting
luxuriances, Sutradhara depicts about the place that is the pleasure-garden, which is
attracting mind with the freshly-bloomed mango buds, playful chakravdka pairs, and
royal swan swiming in the sport-pond. Love and sweetness are the law of nature. At
this sweet and lovable environment, how can anybody, any creature on earth can neglect
the amorous dalliance of Anahgal Thus in the prologue Sutradhara refers to the occasion
time and place of production.

The drama, called as *Prayoga’ is a production enriched with music, dance and
abhinaya. Before the drama proper, there are several preliminaries like propitiations of
dieties, (Nandi), prologue or prastavana. Here in this play we have Pravartaka type of
prasthdvand where the stage director and Nall indicate about the main characters, Sri
Rama and Sita, in their conversation indicating the kala or time. Natl says- this pleasure
garden, drama is more beautiful and enchanting due to the setting of spring on the
well-ploughed land (Sitayd), Sahitya Darpana defines Pravartaka Prastavana in 6th
chapter as4—

kdlam prabrttamdiritya sutradrgyatra varnayet /

tadasrayaica pdtrasya praveSasthai pravartakam //— 37/6/Sahitya Darpana

Ardmah means delightful grove or garden but here it indicates to Rama, the nayaka
of this play and ‘sitayd’ the term indicates about Sita, the nayika of the play. Thus both
‘Rama’ and Sita, are introduced by the sutradhara through his conversation with nati.

1st Act
After prastavana, the play commences with a very optimistic and affirmative
note. At the royal palace of Mithila, Rama, the hero of the play, enters in a pleasant,

190
delightful mood with an expression of unquestioning rapture and a great affirmation of
love, and declares ‘Today, undoubtedly the unalterable desire of mind is going to be
fulfilled.”

adya khalu nirvikalpam sampurnakalpa nah samkalpah //

Indian culture always puts stress on inner-self or ‘antahkarana’. Human mind is
empowered with immutable invulnerability of truth. It indicates and presumes the
inadvertence pretty earlier. Rama also makes it clear why he is so optimistic about the
advent of his glorious fate. He says suddenly the seat of heart’s desire is fulfilled and
the unattainable is attained. By listening the good news of Sita’s arrival he gets immense
pleasure, both sensual and spiritual and this feeling makes him realise that his heart’s
desire is going to be fulfilled. This verse manifests Rama’s intuitive sense. His arduous
quest suddenly looks rosy, “pratyayat pratyaSa pradurabhut" “yrWLJirimii from
trust, springs the desire for fulfillment. Because trust transcends all earthly obstacles
on the way of desire.

Rama also stretches his imagination that “we shall get united on earth” He says if
any separated lovers yearn for union then one day the distance between them diminishes
and vanishes and their yearning takes the shape of reality. His speculation ascends to
higher plane and he says, as the different meaning or ideas of a word get united, soalso
the separated lovers.5

The young lover, in his passion lives in an imaginative world. He experiences the
blushing of love at every word uttered by anybody. Objects desired and lovable earlier,
at once turns distasteful. Looking at all these behaviour of a person the neighbours
naturally make a sense of humour toward him. The poet delineates the subtle
psychological conditions of a lover analysing the experiences very aptly.6

Again there is another paradox. The lover’s heart yearns for the ‘Kdnta , the
beloved, to pacify his unbearable agonies caused by her. She is the cause of all these
sorrows and she is desired as the pacifier of these anguish, extinguisher of all anxieties.
She is the Goddess of pain and pleasure, agony and enjoyment. Though all these
acquisitions are hurled at a passionate lover, Rama finds no assuagement of his anxiety.
He himself becomes a glaring example of a love-striken person. Rama says ‘as if he is

191
an object of fun ridiculed by the spectators. His condition is pitiful, yet at the same time
reprehensibile.

Among the million moods of love, ‘purvanuraga’ is experienced by the lover at

the early stage of love, when both of them have not any earlier acquaintance, Rama’s
mind is stirred by Sita’s thought, though she was not known or never seen by Rama, no
communication or intimacy in what ever form was there between them. She is residing
at Mithila and Rama at Ayodhyapuri. Only listening about Sita the heart of Rama is
ravished.

Purbanuraga or Incipient love can be called as the love at the beginning.

Theoretically all human beings are predisposed to love, inclined beforehand to love.
So love is a predispositional and predominant element in a human personality. A person
finds him in a latent state of amorous expectations, latent and dormant, undeveloped,
but capable of development. The universality of this predisposition and expectation
incline us to believe that they are innate, inherent, natural to mind. It is particularly the
first experience of love, that has exceptional significance. It is very subtle and special
from the psychological point of view. The latent emotion can be developed into rasa by
different bhavas both internal and external, physical and mental.
Poet Hastimalla delineates Rama in a delicate romantic mood. He is pining at
heart for someone unknown, unseen, unacquainted. Only listening about Sita from
others Rama is eager to meet her. It is mind’s experience. It is the incipient love, that
sparks of the essence of soul. Rama is anxious to meet Sita, but it is more worsening
that she has become At this delicate moment the inconsiderate, imprudent
4 Vidiisaka’ (Jester) is also absent. He moves here and there at Mithila which is celebrating
spring-festival with lots of pomp and ceremony. Rama, in his sombre mood awaits
Vidiisaka to get some information about Sita, his beloved. Vidiisaka enters armoured
with many descriptions of Mithila that has now transformed into a sanctuary of
youthfulness and joy, awaiting to welcome spring.
Indian passion to unveil the mystery of Rasa and Bhdva, their inter-relation, rise
and fall, the relish, the experience, has a fountain named as Natya-Sastra. Natya-Sastra
defines rasa as the blending of all bhavas, into one mystical, ineffable super sensuous
harmony, a dissolution, which makes the spirit blissful. This doctrine of rasa is essentially
192
dependant on the environment, the external atmosphere called as ‘uddipana vibhdbas .
Human mind derives it’s strength from the environment. The surroundings play a specific
role in shaping the psychological and mental being of a person. So in India we give so
much importance to environment. We worship, we respect each and every aspect of our
surroundings. We show our gratitude through different celebrations. We celebrate
different season with different types of festival and through these festivals the poets
transmute life into Art.
Spring-festival was the most important festival of ancient India as reflected in
literature and Art. Many plays, many kavyas, many works of mythology give detail
descriptions of spring-festival. Almost all the plays having Smgara as the main sentiment,
have spring-festival as an indivisible part of them. Spring-season, the enchanting
environment, the abundance of flowers, the gay-mood, the spirit of celebration, the
flower bow having rope of buzzing bees, having five arrows hitting the heart of lovers,
melodious music and dance, the dazzling damsels, skilled courtesans, all these excite
the latent bhdvas of a person to get excited and exalted.
Love festivals- are celebrations related to love and enjoyment. They are observed
with lots of longing and belonging. As a part of love, a large number of festivals are
mentioned by Kama^astra. These festivals nourish and develop the emotion of Srrigara.
Vasanta-utsava, is the festival proper greeting the advent of spring and it is
celebrated at the commencement of the year in month of “Caitra”. This is also called
madanoisava. Madana or Kamadeva is worshipped during this celebration. Bhoja also
says- »K*w4i<«*iT (Sr. pr vol-iv p-853) Manmatha is worshipped on 13th
day of the bright fortnight of the month of Caitra. Plucking the fresh mango blossoms,
the young girls offer it to Cupid. Bedecking themselves with those blossoms, was a
famous practice of this celebration. In Ratnavali Act-1, Act-vi, we come across the
example of this. This festival is now identified with the Holi festival in which people
celebrate the colours. In ancient days, during this vernal festival plays were publicly
staged. That was reflected in many Sanskrit plays such as PriyadarSika of Sriharsa.
In Maithili Kalyanam we find the description of this most popular celebration
Vasantoutsava by the people of Mithila. The poet gives a very sensuous description of
the celebration of spring-festival at Mithila.
193
 Rama’s warm, languor of love, is sustained with artistic effort of the poet. It
remains intense to the last. The ‘shadowy queen’ of Rama’s heart does not ‘fade away’
Rama responds to vidusaka ’s news and his mind gets a little consolation that Sita is
coming to Kamadeva’s temple to offer her prayer. With Vidusaka, Rama starts his quest
for his beloved Sita. Both of them enter in the joyous, overflowing bounteousness of
spring season at Mithila.
The evening air, fragrant with the freshly-bloomed flowers, dense with the rich
cosmetics and perfumes used by the amorous women is causing the young youthful
lads of Mithila to arrive at the broad highways to stroll leisurely.7 (Sloka - 13, Act-1
MK). Alluring them again and again the harlots are hovering over the streets waving
elevated moods of love-sport gently, gracefully moving the charming arms, revealing
the perfectly beautiful teeth through their enchanting smile, with loving and caressing
words, boasting with the buds of breasts sprouting out of their dresses.® The poet’s
imagination rises high in depicting the dazzling dancing damsels, in their bewildering
moods, with their long lovely locks hanging down over their shoulders, shining fore­
head with beads of perspiration, passion-parted red lips, lazy-lingering gait with jingling
euphony of their anklet-bells, bewildered glances as they are deeply mesmerised by the
power of dance and music.9

All these lingering careful attention to significant details is the most typical feature
of Hastimalla’s poetic endeavour. The plays spring from the core of society. It gets its
strength from society. So it is indispensable to the plays to reflect society in it All these
preceding verses, the poet Hastimalla draws typical images of social movements. The
young lads, their roaming on the roads enjoying the beautiful evening hours, the dazzling
damsels, their graceful movements, the sensuousness of the harlots alluring the young
boys, all these artistically drawn in the play. The social functions like spring celebration
the swing festival, the worship of Kamadeva are depicted by the poet with minute
details. However these sequences act like a bridge between the subjective and objective
modes.
Mithila arises to give a warm reception to Spring. Spring is ascending with all its
luxuriance. The players of drums, ‘mardahgikas’ beating their drums dexterously. The
singing troupes are singing melodiously the “Dhruva songs”. The dancers are dancing
194
gracefully with the beats of drum and music. The connoisseur are gradually getting
excited to enjoy the bliss.

Here the poet invokes the emotional response of the spectators to a dramatic
performances. The poet enumerates all the essential features of an artistic and dramatic
performance. In Natya Sastra, Bharata says “A play is to be embellished with music.

These should not have any gap between the musical instrument dialogues. Dance and
action should flow in one unbroken sequence. As a drawing is not beautiful without
colours, so is a play not attractive without music. So

gite prayalnah prathamam tu karyah /

iajya hi nafyasya vadanti gitam //— NatyaSastra
It is the duty of the dramatist to put all his efforts to combine music with the play
as music is called as the ‘bed-rock’ of the play. Equally in the play the ‘drums’ play an
important role. Drum is treated as the very spirit of a play. So there is a saying
“amrdahgam na ndtakam”

Here in this Sloka (no-17) of 1st act of Maithili Kalydnam, the poet enumerates
all the essential elements, or ‘ahgas’ of a play such as- music, dance, musical instruments
and dialogues.10 The poet says-

mrdahga vadyantam madhuramihanidrdahgikajanai-

dhurvam geyam geyam Sarvanasubhagam gdtrbhirapi /
salilam nartakyo viracayata sanigitaracanam
krtaprekhyotsukyo bhavatu vitasamdjikajanah //—Sloka- 17, Act-1 MK.

The ‘Dhruva’ songs are to be sung on particular occasions in course of producing

a play. Natya Sastra says in chapter xxxiii —

yalha rasakrta yah syuh dhurvah prakarandirayah /

nakhyatraniva gaganam nafyamudyolayanti tah//11

“The dhruva songs based on rasa and the context, make the play dazzle as the
sky dazzles with the glittering stars.” In a play, a precise picture of a character, his
appearance, and emotional conditions are given in the dialogue of another person who
sees him or her. It is Bharata’s dictum that ‘no character, not described by the words of
someone-else can enter the stage. For example king enters on the stage : Using these

195
descriptions as their starting point, musicians compose appropriate songs, those are

called ‘dhruva songs’. They are to be diverse in metres, and bhavas, we get Dhruva

song’s both in Sanskrit and prakrt language in Sanskrit plays. There are five types of

Dhruva songs such as ‘pravefikC- one for the entry of a character, ‘naiskramikf- one
for the exit. In between there can be a song that re-inforces and develops mood that is

‘prasadikV, one that brings on a change in the situation or feeling *aksepiid’, and one is
called ‘aniara’, that has the function of filling a hiatus or gap in the performance caused

by extraneous circumstances. The songs are integrally connected with the theme,

character and mood. The poet focusses spectator’s attention on the play itself having

all the ingredients of a play in an evocative and organic manner. It is now the connoisseurs

to appreciate it.

Love renders the veils and love unveils the mysteries of mind. In this play love is

portrayed by the poet in a slow, smooth, hypnotic, evocative manner, step by step, shed

by shed. The poet unveils the infinite emotional subtleties of a lover’s mind. The poet

identifies himself with the lover and feels the impulses of emotion, the warmth, the

intensity.

Sita, the princess of Mithila is coming to offer her prayer to Kamadeva, the God

of love. She will celebrate the advent of spring rejoicing through the swing festival.

Rama gets this hint from vidusaka. The blissful moment of meeting with the beloved

Sita is approaching. Rama’s soul is stirred with intense yearning for Sita and he

experiences a psycho-cosmic syntheses of multiple emotions, subtle and sweet. The

poet Hastimalla renders a rapturous hymn to this supersensuous experience, achieved

in the moments before the lovers meet for the first time. The verse runs like this12 -

prarambhdbhimukhe payodasamaye yd cdtakasyolkata,

tftdmfau nisadhacalantitakagate harsaScakorasya yah /
aivaso madhupasya cutavitape niskasatkorake
sitada r^anasa n n ika rsajan ita iddrgmamasau dhrtih //
— Maithili Kalyanam, 1st chapter, Sloka-18

Rama says- “My heart beats with curiosity and anticipation as the time is

approaching nearer to meet Sita, Just like the eagerness of the skylark, ‘cdtaka’ awaiting

196
the outburst of clouds shrouding the horizon, Just like the ecstacy of the ‘cakora'
beholding the moon ascending the eastern horizon (nisadhacala) just like the delight
of the honey bee visualising the luxuriance of the mango-buds about to bloom. My
love-laden soul is soothing away, consoled with the approach of the most desired
moment. The emotional intensity of the hero is delineated through a series of images.
The calm grandeur and serenity of a ‘dhirodatta ndyaka’ is beautifully reflected writh
the natural phenomenas like the warm and intimate relationship of cloud and cataka,
moon and cakora, the mango-blossoms and the bees.

This symbiosis is on the level of body and soul, in between matter and spirit;
indeed, it is not truly dualistic at all. Rather, it reflects the interlocking relationship
between the two entities, together they create one whole. Rain is the life force for
cataka, moonbeam is vital for cakora, mangobuds for the honey-bee. This striking
similes depicting the dimensions of “purvanuraga”. When Rama and Sita first catch
sight of one another at Mithila, before they are married they become one breath of life
in two different bodies as if the lovers separated earlier. The vital force is unitary, even
as it flows in and out when two embodied beings feel love for one another, they
experience this underlying unity of the life-force. In the case of Rama and Sita there is
also this mystic, mythic dimension evident in this floka depicting Rama’s pining for
Sita.
Beholding the peerless beauty of Sita Rama contemplates with profound
admiration that13-
iyam vrida vndamanubhavati ramyam mrgadrid-
mudagramulkantham bhajati punarutkanthitamapi /
svayam Ilia lllamiaramupagatd madyali nmdo
vilasairvibhranlam bhavati rnadano jatamadanah //
— Maithili Kalyanam, 1st chapter, $loka-20

“Bashfulness itself is abashed, longing is anxious intensely, Intoxication itself is

intoxicated. Grace itself is lost in the loveliness of this lady, what more the Cupid
himself is struck with love, being enchanted by the grace and elegance of this doe-eyed
enchantress .

197
 These metaphorical expressions magnify the uncommon majesty of Sita. The
poet is genuinely generous, sensual and sentimental in depicting his heroine Sita. This
verse pulsates with super-sensuous charm of Sita at every image, at every word. The
qualities like ‘ Vrida’ feminine shame, Utkanta, anxiousness, Longing, lila, charm and
beauty, lmada' the quality of intense femine attraction, the vilasa, the the vibhrama,
the vichhitti, all are surpassed and supressed by Sita by her uncommon beauty. Even if
Madana, the creator and nourisher of love in this whole creation, is struck by her
beauty. This the culmination of poetic faccy of depicting the 4nayikd’.

Poetic imagery is to be defined broadly as analogy or comparison having the

peculiarly aesthetic and concentrative form of poetry. It is to be judged according to its
creative power, the connotative richness of it’s content, and the harmonious blending
of its elements. The essential element in imagery is a kind of creation by bringing-
together the diverse objects, states of mind, or concepts. By that new relationships are
discovered, new connections between subject and object become apparent So imagery
is the living principle of language by which speech is continually revivified by the
discovery and expression of fresh analogies. The function of all poetic imagery is to
order, relate and unify disparate modes of physical, mental and emotional experience.
When colours, sounds, scenes, emotions, ideas mingle with each other that is called as
synaesthetic image. It can be called as a literary artifice, effective when the poet wants
to stress on some point of description. Hastimalla has the particular style of creating
imageries with multiple modes of emotion and then the images meet and mingle giving
the ultimate result to poetic purpose. His images are sometimes physical, sometimes
metaphysical, sometimes subjective and sometimes objective.

Rama, rejoicing in the realm of Sita’s uncommon beauty speculates - “As if the
root of all my anxiety, the orbit of all my aspirations, the ecstacy of my heart has
personified in Sita.”14

ulkanthanam vijarn manorathanam paribhramastanam /

hrdayasya samucchvasitam tadidam mama sapadi sannihiiam //

— Maithili Kalyanam, 1st chapter, Sloka-21

198
 So powerful is the effect of these lines, that tends to become empathic through
delicate personification. Empathy represents a perfect fusion of subject and object being
a feeling within. Empathy is a process which enables one to know as much as is possible
about the object of one’s perceptions. The poet does indeed seem to be experiencing
the intensity of a lover’s heart and that enables to depict it so spontaneously.

The sustained repetitive concentration is more obvious in the next stanza. Seeing
Sita at the ‘dolagrha' Rama exclaims- 3Tit 3<T:, 'Wl^i cftctT,

tflEW i The untiring appreciation of a love-laden-heart of his beloved, “bewitching is her

beauty, befitting to her age, her grace, her grandeur go perfect with her age, her amorous
elegance match with her grace and the symmetry of her body befitting to her
amorousness.” Mesmerised by the majesty of Sita, Rama speculates “the essence of
beauty and bliss, having harmonised with Sita, as if experiencing fulfillment and
content.15

When Sita ascends the jewel-studded, well decorated swing, poet’s passion is
poured out in delineating her every movement at every swing. He writes “awake to the
motion of the swing, the bejeweled girdle at her waist sway with passionate euphony
her anklets tinkle sweetly, her sweet face is shimmering half-shadowed by the disheveled
curls of hair, her forehead gleaning with the beads of perspiration, her long braided
hair is loosened, as if the artist painting a picture.‘^n’ the Goddess of beauty herself is
enshrined on the swing to celebrate the spring season.16

Hastimalla has an unrivalled ability to focus his perception and imagination upon
a single thing and to extract from there the last drop of beauty and meaning. He lingers
over them, examines them from different aspects, repeats with gradually increasing
imagination in an effort to achieve the final word, the ultimate completeness of
expressions. This focussing intensity of contemplation is also responsible for his most
poignant outburst of emotions in his verses.

Sita sings a melodious song ascending the swing. The poet Hastimalla meticulously
analyses the poetic utterance and depicts the essential elements of music or poetic
expressions. He says the poetic language must be embellished with) appropriate

199
alamkaras. (salankaram) the words used must be agreeable and elegantly arranged
(anisthuraksarapadam) It must have well-expressed letter patterns (pravyakta-
varnakramd) wmmw i It must have completeness or well connectedness, and proper
rhythm, It must be well accorded to artistic techniques and well verbalised with the
tone. It should be relevant and appropriate, Lastly It must be pre-eminently lyrical
(prasada guna yukiam). When all these multiple qualities and measures are integrated
by a lyrical strain then only the music is complete and well-expressed.

In this grand celebration of beauty, grace, music, and bliss, something is lacking
somewhere. Vinita, the close friend of Sita say - "Everything is beautiful, the season,
the time, the place, the mood, the moment, the swing, the decorations, everything. But
only thing is lacking that the absence of the accomplisher of the swing sports who will
make Sita ascend the swing.

Sita shows her yearning for Rama by saying that- “That precious moment is
difficult to accomplish in which one gets the glimpses of someone dear to heart. Only
by listening about him residing at Ayodhya my desire is enkindled, that has attained so
much intensity that now it is irresistible, unbearable, hard to please.”17 Both Rama and
Sita are equally eager, equally attracted to each other, which is the substratum or adhara
of Srngdra. Sahitya Darpana says “ratirmanonukulearthe manasah pravanayitam."
A searching soul can recognise it’s answering spul. Then only love descends
from heaven Rama identified himself with Sita and feels as if he is participating in this
swinging movement with her. Vinita discloses the deepest desire of a woman’s heart
“she is really the crest-jewel of all youthful ladies, who ascends the swing by her lover,
and celebrates in the spring”18 This speech of Vinita makes Sita more anxious and she
descends from the swing to go to the abode of Kamadeva to offer her prayer.
Hastimalla, makes the temple of Kamadeva, the God of love as the meeting place
of the universal lovers Rama and Sita. Rama comes out from the secret place and
appears before Sita and her companions. Vinita exclaims “perhaps Ananga has got an
anga today” Perhaps Kamadeva himself has taken a human form” and she prays for
Sita- “Oh Kamadeva, she is Sita, my dearest friend. Be generous to her and bless her
with her befitting partner.” Rama reveals his identity and surrenders before his beloved.

200
This verse reflects a spontaneous surrender of a lover before his beloved. This is an
offering of heart by a lover before his beloved. The spell of love is deepest in this Sloka.
Rama says, “Only by listening about you for many a time I have been intensely
anguished, After beholding you, meeting you my heart aches with anxiety perishing all
the source of patience. Today, at this very moment in the very temple of delight and
love. I am bowing before you and pray for your love.”19

Vinita recognies Rama looking at his ring on which his name was engraved. This
is the eternal moment when two lovers meet, when two hearts mingle, when the lips
spell out the loved accent. Both of them experience at great length the impatient longings,
an inter play of silent speech and eloquent silence, on the external linguistic level, and
an unfolding tension in the inner self. Though the joy of moment is transitory as others
are approaching nearer, but it has became eternal in the pages of time.

Sita has to leave, Rama says— “PunardaSanaya ’’ again we will meet. She simply
says arya imdni bhagadheyani / “This is really bestowed by my destiny.” Looking at
Sita, disappearing gently, gracefully- Rama says to himself- “kathamekapada eva vayam
avasthantaramaropitdh sitayd /”

“Only by uttering few words, Sita has put me in a different world.” She has
expressed all her feelings for Rama, her acceptance of Rama’s offerings of love, her
deep-felt pleasure and faith, her long awaiting, and final acceptance, everything
expressed through these few words.

The separation of Sita from Rama creates one of the most hypnotic moments that
can hardly be described. The sentiment of Srhgara has an outburst with a deep sense of
pathos at the outset due to apprehension of separation. The erotic sentiment evolves in
multifarious facets and takes multitudinal dimensions. The poet has demonstrated his
dexterity in depicting the inner beauty of Srhgara in almost effervescent wordings.

Sita goes away awakening intense yearning in Rama’s heart. At her every gait,
the bejewelled ornaments waved, her love-laden body slightly bent at her waist, her
half-hidden forehead shows her glowing forehead “simanta lekha\ her sparkling eyes
lashed with love, her half slipped ear ornaments. She bids farewell gently closing her
hands at her bosom. Rama thinks as if she has enclosed his mind in her folded hands
201
and gone.20 This tloka is a dazzling example of ‘synaesthesia' with a blending of
emotion and motion, sweet sound and radiance, dynamics and stability, emotional excess
and imbalance.

2nd Act
At the commencement of the Act D, of the play we find Rama, in a lone, languid,
and sombre mood, soliciting a little bit of solace for his love-stricken soul. Rama awaits
anxiously for Vidusaka 's arrival with any news of Slta. In solitude, his longing heart
stretches with passion pondering over Slta’s meeting at Kamadeva Bhavana. Slta
appears before him as the living inscription of beauty and love, allures his heart, throbs
to unknown sweetness, then she departs with a humble salutation by joining her
quivering hands together in to a ‘afijali'. Silently Rama also salutes Slta. Silence,
separation and serenity of passion are the undercurrents surging through this act of
the play “Maithili Kalyalam”. Sita’s departure is not an end but a process unfinished.
Though intensely anxious, yet concealing carefully in her heart with bashfulness, she
departs gracefully, gently, coquettishly. Her salutation in silence is well-suited to the
moment. This single gesture exhibits her inner desire before the nayaka Rama. Note
the importance of silence and the sensed inadequacy of language in the moment of
strong emotion. In this single gesture, myriad of bhavas are condensed, multiple
bhdvas are also manifested simultaneously. Both the act of concealing and exhibiting
are woven together. It reveals the modesty and feminine charm of Slta. Her greatness,
high birth, right conduct are vividly exhibited through her silent departure. This process
is called anubhavana, indicating feelings and emotions through gestures or inklings,
which can only be understood by the ‘nay-aka' himself who must be skilled in
interpreting the gestures.
The poet draws a spontaneous and serene picture of ‘mugdhd’ nay ika. Her artless
glances, her puzzled deeds like seizing the upper garment of her body, her streams of
sweet-murmur in the ear of her dear friend, all these sensuous innocence of Slta invades
Rama’s heart. Wondering how this sufferings have been caused and how will it ever
vanish, Rama says to himself - "aho durdharo manmatha”- Love is irresistible, and
it is difficult to tolerate the pangs of love. To present an anguished Rama, absorbed

202
in deep, passionate longing, the poet adopts the technique of soliloquy. Rama says to
himself- “Ananga has struck me so deeply, that I feel as if his flower-anow has
penetrated into my body upto the feathered end. It is also more worsening that the
quest for Sita has become fruitless. After experiencing the pangs of Kamadeva, who
will believe now on the quality of floral delicacy and delightfulness of Madana ? In
this oscillation between anxious anticipation and deep despair, Rama appears down
to earth. This rugged and ragged earthly pangs of love, the sufferings, the awaiting,
make the characterisation of Rama closer to human heart.
So these cruelties of love can never be connected with the delicate flowers
agreeable to heart and body. For this reason Kamadeva is not favoured, adored and
appreciated by the noble people. “na khalvasau satam manah prinayati manasijasya
pravrtr Rama just like a lover, is praying and pleading before the cupid saying - ”Do
not hurt me more, Do not play mischief with such a person who has already surrender
before you.” Why you are torturing me by arousing this desire to get the unattainable
Sita. If so then now unite me with my beloved, I am suggesting two alternatives to
you. Are you not ashamed of accepting not any one of these ?,T2‘ The poet writes -
vighatila phalena namrah arambhah. The commencement is disturbed with the
unattainability of the goal. But that does not depress manasvinah the broad-minded
people. If the result is not upto the expectation they do not get depressed, they try
again with doubled power to make their destination easily attainable.
Here the senses of the hero are so serene, sublime and purified that he surpasses the
basic urge of a human being. Love is expressed in a beautiful manner. The ‘dhlrodaiia'
nayaka of Hastimalla is not apt to commit any mistake, but he opts the best solution
and option to Cupid. The unblemished nature of the nayaka is exhibited here.
The soliloquy now takes a new turn, Rama thinks - “avisayaprasakto 'yam
paramarthaa” perhaps all these suggestions to Cupid, and contemplations are not
necessary. How can cupid cause me so much of anguish when he does not have any
existence who has turned into ashes by Mahadeva. Then perhaps all these are
spontaneous or natural feelings of youth, thinks Rama in himself. Or Sita, herself has
forcefully entered into the deep craven of my soul and stirred it secretly. She is the
root cause of all my anxiety and anguish.

203
 By dramatic tradition actors present their deepest selves in soliloquies. These
soliloquies are more than conventional touch-stones for dramatic motive. They are
not only meant for heightened experiences designed to satisfy an audience, but also
to concentrate on the character itself by the actor. It has tremendous emotional
significance. The soliloquies work as a medium for expression of the character's own
confusion and solutions, his visions and revisions.

Rama, engrossed in his thought even can not notice Vidusaka’s entry, and
Vidusaka has to announce his arrival himself. Anxiously Rama asks - katham ca
kvedanim drakhyate Sita ? Dear friend tell me, where we will meet Sita ? Vidusaka
answers jestfully, “only in your mind, in meditation”, Rama reveals his soul’s surrender
by saying that she is in my consciousness, in my thoughts, in my desire, in my life.
She is encompassing my whole being. I have become identical with her, one with
her.22

tanmaya mama samkalpastanmayam mama cintitam /

tanmayani mamakhini tanmayam mama jivitam//

— Maithilikalyanam, 2nd Chapter, Sloka-7

“Tanmayata” absolute absorption is the mounting edge of love. It wings beyond

the boundaries of body and mind and pervades into the sphere of spirit At this stage
the ego disappears, both “I” and “you” melt away and only love remains in immensity.
A fathomless unvaried rhythm spreads in the life. Life becomes a single eestacy without
any break and barriers, a stream flows ever that never dries. Rama the “dhirodatta
nayaka" of Hastimalla experiences “tanmayata” with his lady love at the early stage
of love. Rama says to Vidusaka "samahita manasah smah” “my mind is highly
concentrated,” This is a state of mind in which feelings and emotions are balanced.
When love gets sublimation, mind culminates to the stage of samahita avastha The
spirit seems to stand high on an isolated pinnacle, Now, at this moment of complete
absorption with Sita, nothing remains unfulfilled, no desire, no anxiety, or anxiousness.
Rama says - “I am not anxious to enjoy the lingering joy of her warm embrace, I do

204
not crave now to listen the soft-sweet-caressing words of love from her. I do not even
want to rejoice looking at that celestial beauty of Sita. Nothing is awaited now, not
also expected.”23 The soul’s quest has calmed down. Love has winged beyond the
boundaries of body, vak, and mind. It has crossed the physical and mental boundaries
and landed at spiritual sphere. All sensual joys like bodily touch {sparSana) listening
her loving words (Sarvana) or adoring her uncommon beauty (darSana) have now
become unimportant. Mind rests in a tranquil absolutism. Here the focus on spirit is
so powerful that the mortal nature changes into divine.

There are some special moments when the poet seems to be experiencing
empathy. Empathy is a process which enables one to know deeply about the object of
one’s perceptions. It is the organic intensity of the object and emotion. This feeling
of disenchantment to the lady-love is the example of empathy with the poet Empathy
arises from prolonged and passionate contemplation of a beautiful object and is refined
into aesthetic emotion, which in turn is expanded and uplifted into more comprehensive
perception in culminating and sublimating the process.
Love is a psychological self-exploration and a vast reservoir of emotions. A
stream of thought and feelings come and go. Nature gives a solid substratum to this
fluid, ever-changing emotional state, recording and reflecting as carefully as possible.
Rama in a melancholy mood asks ViduSaka, “how to spend this moments of mental
agonies ?” Rama feels as if the time has stopped moving ahead.
Remembrance is a poignant process, so passionate and psychosomatic that man
is defenseless before it. ViduSaka suggests to go to Madhavi forest, into the Nature’s
primeval lap. It’s gentle tenderness can sooth the anguished soul of a melancholy lover.
The sylvan splendor of the Madhavivana, the enchantment of the spring season, the
interplay of love and beauty in nature, bring out Rama from his melancholic mood.
Now one can see a lover’s amorous emotion at every verse, at every image, at even,'
utterance.
The madhavi vana is magically magnificent with the advent of spring. Beholding
its beauty Rama exclaims - "aho madhavivanasya para madhavi laskmih Rama’s eyes
are enticed by a mango tree adorned with newly sprouted leaves, quivering quietly

205
with the soft-spring-breeze shedding honey drops and having fresh-flower buds in
abundance.
The mango-tree becomes the extended metaphor for a love-longing lover, his
emotional exuberance, his anxious heart, his enchantment and intensity, his joys and
thrills are exquisitely enlivened by the poet through this metaphor. The cutavrsya is
shivering with excitement and expectations shedding tears in the form of honey drops,
thrilling with intensity of desire.24

Love is rarely simple and only at the first blush it appears to be so stirring that
a person gets deeply preoccupied with it. Everywhere he gets the reflection of his
own psychological state. The poet Hastimalla poises his love-stricken nayaka in the
calm grandeur of nature, to get an effect of sense images with mental images. He
blends emotion with sensation and the aesthetics of poetry with the aesthetics of nature.
The poet has, at his command abundance of sensory images and he slips readily from
one to another. His imageries are an outward manifestation of his intuitive sense and
the intimate kinship of man and nature. The secret of many of his unique imageries
lies in his unrivalled ability to absorb, synthesize and humanise natural objects.

Spring is in all it’s ripeness and warmth. Everywhere in nature there is picture
of love and union. Everywhere there is celebration of frrigara. The intoxicated honey­
bees, drinking from the flower-vessel is buzzing joyously as if an impetuous young
lover relishing the rapturous lips of his lady-love. The sensuousness of the verse is
intimately invigorated by use of the word - ragopadati'Ja The bee besieges the flower
with bites laced with love.

The fatal aspect of the “sweet warrior” cupid is accentuated by the Vididaka in
describing the sahakara tree full of with freshly-bloomed-buds and honey-hankering
buzzing bees, as cupid’s arsenal. This may be called as an alarm to lovers, when
Madana is fully equipped for battle.

The images of romantic environment so important in accomplishment of love,

that it enchants Rama creating an enormous physical appeal. Rama delineates that
the delicate and freshly blossomed buds are provoking the yearning of the bees and
the bees are passionately and forcefully unfolding the flower buds. The spring-breeze

206
is showering the pollen of the flower’s all-over and the emotion love is getting
permeated overpowering each and everyone.25

utkahthati madhupan kalikasdruna-

munnidrayanti mukulani naiadidvarephah /

uttamsaymti pavanah sumanah paraga-

nuddipayamti madanam marutamviharah //— 2/12SMaithili Kalyanam

“The irony of love is that cupid, the charming God of love, though exclusively
uses the flower-bow, having the string of black-bees, arrows of five fragrant flowers,
aims at the entire universe, particularly pierces the heart of the lovers. How this cruel
act of cupid is approved by the intellectuals ? Rama exclaims. It is precisely his own
experience with cupid that Rama wants to express. In the next verse he depicts his
specific experience with cupid.

Cupid is striking so ruthlessly to a person deeply anguished with the anxious

desire of a union with his lady-love. Perhaps this type of torture is not seen anywhere
else.26 Vidusaka tries to make the heaviness of the sorrow a little lighter and says -
sarvepi khalu kamuka atanianameva samarthayate “All lovers say so about themselves.

Every human heart is attracted towards love, as the moth towards the ablazed
fire. It is the universal phenomenon. Every one wants to taste it’s sweetness and
saltiness, its fear and joy, its ecstacy and despair; its ambrosiax relish and poisonous
sting. Every human being kneels before the bodiless formless love God, cupid. So
also is the case of Rama, the dhirodatia nayaka of Hastimalla. In the natural primeval
vastness of ‘Madhavi forest’, Rama’s craving heart seeks some solace, but he finds
him helpless amidst the play of love and passion at every nook and comer of the forest,
that makes him more miserable. “Madhavf’ is a kind of flower, blooms in abundance
during spring season. Rama enters into the Madhavi forest where the ‘Madana’ is
reigning with all sovereignty and the place has turned into the paradise of love and
beauty. “Vasantanila” the spring breeze is active with indomitable force. It is opening
ruthlessly the half-bloomed buds swing them in strong gusts of joy. The forest is
reverberating with the humming of the delighted honeybees, The spring wind is tossing
the watery bed of the sports-pond to overflowing; it is also swinging the luxuriant
207
trees. Rama thinks one who has acquired so much of power, “what will be my fate
when I am at his disposal;”27 (sloka No-17 Act-2). This spring-breeze though sweet
and soothing by nature turns violent and sorrowful for love afflicted Rama.

The sweet soft-indistinctive melodious singing of the spring-bird cuckoo inviting

its mate deepens the love stricken souls’ craving. Rama calls vidtdaka and says - The
honey-voiced melody of this cuckoo-bird is landing me in a state of turmoil.28

Each aspect of charm and beauty, becomes paradoxically painful and unbearable
to Rama. His limbs are trembling due to the densitiy of his imotional state. His ears
are tortured, his eyes are turbid with the flower pollens. All sense organs have become
apathetic to their objects. The ears are not satisfied by the melodious song of cuckoo,
eyes are not enjoing the beauty, the skin not feeling the soft touch of the breeze, the
sweet smell is not enjoyable for the nose, (granedriya). Rama depicts the honey-
showering cuta the messenger of Madana, is blinding my eyes by the sprinkle of its
dust of pollen coming in abundance from the freshly-bloomed flowers. Shaking
manjaris are intoxicating Madana by the ripples of honey-drops.29 Rama captured in
this pitilessness of love makes the universe his prison and deeply thinks now to
overcome this grief. How to get liberation from these agonies ? ViduSaka advises -
dhairyavalam vanani you must have patience Rama replies “Oh friend ! My timid swift-
eyed lady has made me to disregard patience.30 At this moment I even forget the
meaning of the term patience. How can patience will be perceived ? Vidutoka
understands the psychological state of Rama and suggests jestfully kimkartavyata
dupyah titfha “Remain in this juxtapose of what to do and what not to do.”

This moment of purvanuraga is a puzzled and intense moment of kimkartavyata

. Rama wanders seeking for his destination on the uncertain path of love. Love creates
harmony when it is fulfilled and reduces all things into chaos when it is not. Rama
loses his mind’s tranquility and the poise of his senses, love’s first experience is so
sweet, so deep rooted, so rapturous, that all the senses ache at it. The extraordinary
sweetness of the environment mingles with the sweetness of love, melting the human
heart into terrible psychological and physical imbalances. Those stages are highly
seductive and enumerated in Indian aesthetics as “Kamadafas”.

208
 All romantic poets have delineated these “Kdmadafds” passionately and
poignantly. The internal emotional agonies are surfaced by love’s intensity on physical
sphere. Poet Hastimalla devotes many beautiful verses to depict the psychology, and
the behavior of a person experiencing the ten stages of “Kamadafa”. Those verses
point towards the emotional condition of a lover and reveals its complexities.
Rama pleads to VidufaJca- Oh Dear friend ! spread the flower bed that gives
soothing embrace to my burning body, breeze it with the fresh juicy plantain leaves,
cover my body with the soft lotus-stalks, loose the strings of pearl-necklace and
sprinkle it all over me. Some how lessen the deep anguish of my body, these torments
are unbearable.30!

All these are traditionally treated as “cold-treatment” or “sitala upacdras" meant

for extremely indisposed persons on account of high fever or sunstroke. But can you
treat your spirit with all these upacdra which is burning in the flame of longing ?

Love is the basic nature of human being, the most beautiful human experience.
It’s experience is so great, so beautiful, so delicate, so subtle that it is difficult to
delineate the nuances of it. From the dawn of civilization till now poets, thinkers, artists
have toiled endlessly to reveal its enigma but still it remains unexplained Hastimalla
accepts the challenge and catches its every hue and colour, every shed and comer.
The burning of two bodies in one flame, the rushing of two spirits to be united, the
spirit’s unappeased awaiting, unwilling ever to end, all these are the passionate luxury,
of love’s lingering bliss.

Under the sylvan solitudes of Madhavi forest amidst the enchantments of spring-
season Rama is awaiting for Sita, burning with the fire of his bosom. Vidufaka arranges
all types of upacdras for Rama The flower-bed causes more discomfort instead of
comforting him. The gentle cool breezing by the plantain leaves makes him more
impatient, more unsteady, the strings of the pearl-necklace itself get loose by the
scorching heat of the body. The soft fresh lotus-stalks boil with his body having deep
and excessive heat, as if all the ‘Sitaldkriyas’ have turned ‘sitala’ itself. Vidufaka gets
astonished as the extingusishers are turned enhancer of heat, the comforters are now
turned creators of discomfort in Rama. This is the enigma of love that makes it always

209
mysterious and magnificent. ViduJaka exclaims- sarvekrtam Sidirakarma yadyai maya
jnayate kimidanlm karisye what to do I have applied all types of “&i$ira upacaras"
to Rama what I have known. But Rama remains even unaware of it. He pleads for
more “Sifira kriya" as his anguish is getting more tense realing under this melancholic
mood Rama reaches at the stage of “Unmada” insanity. It is said that citta sammoha
unmadah kama&okabhayadibhih Rama’s mind, inflamed by intense passion has lost
it’s reasoning power. All his senses are now blind-folded with deep feeling of kdma
The poet Hastimalla continues to follow the Kalidasian tradition of using the term
lkwa' (®) depicting the great incongruity between two objects. Rama gets engrossed
into the moment’s sense-pleasures and sense-pangs, drifts towards unmadaia, a stage
of love Kamadasa. He speaks out his own pitiable condition in the verse such as
“where is the calm, composed balanced mind having the faculty of reasoning,
perception and perseverance, and where is a love-afflicted person confused with the
pangs of remembrances and bewilderment”.32 With all the endeavour of the viduSaka
ending in vain, and Rama requesting for ‘ftfira upacara’ Vidufaka says - vayaseyisa
idanlm pratyagataikd te antahkaranapravrtim janatiti kalhayaml My dear friend only
SiSira-upacara, that will normalise you that is the reappearance of your inner
consciousness. That is the real SiSira-upacara' required now for you. Listening to this
Rama answers33 —

yald mama tanmayatd mantahkaranapravrttirapi dure /

pratyagamisyati tu sa pratyagacchetpriyd yadi sa//(27-2nd act)

“My innerself has deserted me with the departure of my lady love and that will
only return with her reappearance. Sita symbolizes the soul, the spirit, the inner
consciousness of Rama. Rama transcendents all the boundaries of duality between
Sita and himself. He crosses the limitations of I 'aham ’ and ‘you’ ‘tvam ’ and between
them only ‘Love’ exists. The extinction of aham and complete absorption with the
lover or beloved is the stage of tanmayatd. Then only ‘self’ gets identified with other’s
self. The poet Hastimalla has sometimes used hyperbolic language in his play while
depicting Srhgdra. But here at this moment of soul’s surrender the poet uses

unmetaphoric and simple realistic style. The earth becomes smaller before love’s

210
enormity. This simple direct declaration of love’s sublimity touches innermost core
of a human heart.

Soul answers to soul’s quest, as the sun answers to ‘suryamukhPs ardent call.
No wonder that Sita is also sizzling under the joyous anguish of love. Sita the mugdha-
nayika of Hastimalla becomes astonished at this unknown, alien feeling agitating her
heart. She asks herself kimesah me 'samtdpah what sort of torture is this ? Like an
altar burning, the shrine of her heart bums day and night. Ko va tasyahetuh what is
the cause of this santapah ? Vinita Sita’s close friend discloses the cause yastvoya
vadhanjayabhyarthitah " to whom you have welcomed with your folded hands. With
immense sweetness and simplicity Sita answers “ko vatamanah
santapahelumabhyarthayate" who welcomes really his own sorrows. Vinita gives a
brilliant answer illuminating the enigmatic aspect of love, "saukhyaheturiti khalu
parthiiah samtapaheturjatah. In love we invite sufferings and miseries in the disguise
of delight.” So realistic and timeless is Vinita’s statement. The passionate moments
are few, fickle and short-lived in love. But it gives abysmal agonies and anguishes to
a human heart. Our puranas, epics and history are replete with many examples. Each
and every lover’s heart experiences the sufferings. If one goes through the life story
of Sita, he can get the justification of this interpretation. In our life, to beget happiness
and love we invite utter unhappiness and ceaseless sufferings.

The sorrows and bliss both have a very subtle difference in the domain of love.
The moments of intense yearing, the union, the close-clinging hands, the cherished
eyes are the unique experiences. Love reigns over the mysterious peak of spirit
transfiguring earthly moments to immortality. Still the poignant pangs of separation
is unbearable.

Sita approaches to Vinita how to unburden this intolerant ache. Vinita offers the
remedial measures adrstah khalu samtapahetuh drstah punah saukhydya mahya iva
pravrtsamayah ‘Due to his absence you are suffering and his reappearance will be
just like the shower of rain on the parching earth.’ Just like a young innocent girl
ashamed of admitting her initiation to love, Sita tries to conceal her secret desire from
Vinita and says - “tathdpi tvayaiva khalu sa tadabhyarthitah na punarmayd. I have

211
saluted him at your instance Vinita. Knowing Sita’s hesitation to disclose her inner
most desire due to feminine bashfulness, she says- “vahirahgaparadha ca sd me
vacamatrena prathana tvaya punarantarahga atmartha ca prathana Icrta.". Oh yes,
my dear, it is true that externally you have saluted to Rama as directed by me. But
what you have prayed secretly in your inner-self’ ? She again tries- "sakhi kamadeva
iti khalu mayahjalirvadha prathana ca krta. “Thinking him as Kamadeva, incarnate,
I have prayed with folded hands.” The discussion among the two friends takes a new
turn. Vinita attempts to confirm by saying that - may Kamadeva be your excuse, but
can you deny the trembling of your legs while departing from Rama.”

Vinita has already invaded the secrecy of her guarded soul and Sita opens up
gradually like a bud in to a flower slowly, beautifully and bashfully. She discloses
her desire to get a glimpse of Rama. “Kim so ’purvajanadarSanasadhvaso na bhavei.
It is not possible to see that rare and precious person ? She enquires then Vinita says -
sadhukalpitotra vak “you have now told the real thing.”

Mind can be blind-folded, speech can conceal, but eyes are the soul’s mirror.
So Vinita expresses- "anurakatvijijhitayorlocanayoh kim pratipadyate what your
passon-parted eyes were expressing at that time of your first meeting” ? Bashfully
Sita tries to avoid- “My eyes were half-closed due to fatigue of the act of ascending
the swing.” But why are you suffering now without any cause asks Vinita. Now Sita
has no answer and she has to admit.
Both the friends enter at Madhavi forest to unburden the brooding hearts. Vinita
says - enamaramam gacchamah. “Let us go to the garden.” Unconsiously Sita asks,
mistaking the word drdmah as Rama where is he ? So spontaneous is her expression
of love.
These moments are most precious. Rama’s awaiting at Madhavi forest and
attracting Sita to dial place manifests the yearning of both for each other. So it is rightly
declared in Gatha $apta$ati- yo yasya hrdayadayito duhkham dadatapi sa sukham
dadati — (1.100)
Vidusaka enquires - “how long it will take to pacify your sufferings”. Rama
discloses his determination vayasya’esa me nirnayah —

212
 ftlamiuvadanam sltam sprsteiva spariafltalam /
apaslatapamahgam me HitibhdvamapSyati — sloka 28-2nd act.

“My burning body will definitely gain immaculate coolness by touching the body
of my sweet heart Sita, who is always cool to touch having resemblance of her face
with moon.” The poet gives the justification of Sita’s composed calmness, and coolness
by using the attributive adjective titamfuvadanah. Her inherent quality of coolness is
highlighted by the poet Hastimalla.

Suddenly Vinita listens the sound of some conversation and then delightfully
intimates to Sita esate hrdayavallabhah. Here is your sweet heart This utterance has
enormous power. Holding her breath with intense love and Joy, Sita says to herself.
Krtdrtham khalviddnim n te jatima “My life has become successful.” Only the news
of the loved one gives so much fulfillment that she thinks all my desires, longings,
sorrows end here. Life has reached at its destination . The search is over for the soul.

In response to Vinita, when she brings her the news of Rama’s presence at the
Madhavi forest Sita undergoes beautiful experience of rising of strong involuntary
feelings . She exclaims to herself” — kim nu idanmetam pafyantyah, kimapi vepaie
me hrdayamurujugalam ca, sphurati vamdkhi adharatca, Sithili bhavati nivigranthih
dhairye ca, klamyati manah Hariram ca //

“Oh my God! My heart is thrilling with increased heart- beats, my thighs are
throbbing, my left eye’ is flickering heavily, my lips are trembling, the tight knot of
lower garments is getting loosed, my patience is unstable, both my mind and body
are unnerved, tired and enfeeled with fatigue.” The experience of aesthetic joy results
in the rapture of the whole body. The dress, the ornaments become loosened and the
spirit free from their own external bondages. The aesthetic bliss makes the man free
from all physical and adornments like a slough from the snake.

Can good fortune give rise to lunacy ? Why Sita experiences such type of strong
emotional upheavals ? Indian aesthetics has the answer to this. It explains, it as
“Sattvika bhavasemotions that are closely associated with iSattva\ All human
beings, irrespective of time and space, are capable of feeling certain basic emotions.
These permanent or basic emotions (sthayibhavas) lie as dormant unit. They are

213
aroused by a suitable stimulus. In real life most events are capable of arousing them
indiscriminately leading to chaotic and painful experiences. But in a play it is carefully
predetermined, which of these basic emotions are to be aroused, when are to be
aroused, and how they are to be aroused in order to ensure the evocation of joyful
consciousness (rasa) amongst the audience. In the process, a format basic emotion of
hero or heroine is brought to the conscious level in an encounter with a suitable
stimulus which is the basic cause of arousing the permanent emotion is called
'alambanavibhava'. In a romantic play the heroine is the arousing stimulus, because
it is only after meeting her the hero feels the impact of his erotic emotion, which until
then have remained dormant. The process of bringing a dormant emotion to conscious
level, is just like striking on a single string of an instrument to get a certain note, but
inevitably it gets certain accompanying waves of resonance. It comes in waves and
goes away stirring the mind more and more. Those waves spring from the ‘Sattvaguna'
and are called as Sdttvika bhavas. These are mainly eight in number. Such as stdmbha,
sveda, vepathu etc. The saltvika bhavas reflect the interwoven relationship between
two the body and the souls, that together can create a unity of perceived experience.
First of all, it is a unity based on flux, resistant to static and stable definition. The
fluid quality that pervades from *sattva' to body is termed as Sattika bhavas. It is like
water flowing down from high altitude, violently jumping downward, and at last
jumbling together on a distinct place.

Visualising Rama, Sita’s heart is beating rapidly, due to excessive emotional flow.
Her thighs are throbbing. She is experiencing vepathu and stambha Bhava Prakasana
says - in chapter II.35

stambhe vepathuromahcasvedogadgadabhasanam /

vdspaSca yanti fobhante samamekaikabhotapi va // — 2nd chapter

frtnr means when the senses are benumbed, all your mobility is arrested. The
person experiences trembling horripilation, perspiration, tears and stammering of
speech, as its accompanying reactions. Romdhca vepathu sveda, these three stages are
accompaning reactions. Sita experiences the rise of emotion both in her physical sphere
such as thighs, eyes, lips, tremble and in her super-conscious sphere such as her heart,

214
mind, patience, and perseverance are enfeebled. So it is said vdk,kdya,manasdm we
experience these bhavas, in our physical form, sensual sphere and at our superconsious
level. The unity of body and life-force is the cause of experiencing these bhavas at
both the spheres simultaneously.

Visualising the sisiraupacdras scattered around Rama, Vinita says - “princess !

he is also suffering with intense yearning for you.” Sita asks - “How can you know
this ?” Vinita suggests her to listen the conversation of Vidusaka and Rama to know
the truth behind this. At that time Vidusaka says- “Dear friend it is really a great
calamity, that after accumulating so much objects for sitala-upacdras, you need only
one object to pacify your anguish that is Sita vayasya etadatyahitam tvamapi
ndmdphaslitasarvafitavastukah satdmpapanodarthamekam sltam manyase iti// Rama
remains silent. Sita feels it intolerable that she is counted among the objects required
in Stiala upacara, without understanding the deep-thought, behind the statement of
Vidusaka Sita becomes angry with Rama. Her self-respect is wounded at the silence
of Rama, while she is considered as an object by Vidusaka. Vidusaka again asks Rama
why you are silent, you were talking, prattling endlessly about Sita, now why you
are not answering ? Rama in a melancholic mood answers unmindfully “kim laya",
“what to say about her.” That means what more to say about Sita, when she is my
life-breath, my soul, my everything. What more I can say about her as such profound
feeling are concealed behind these two words- kim tayd. But Sita, is awaiting with
beating hearts to listen something heart-touching from Rama, Her desire remains un­
accomplished and she feels, a kind of lack of feeling, devoid of intensity in the
expression of Rama. Being shaken, shattered by the indifference of Rama, she says-
“Why his heart has been changed” and she wants to leave that place.Vmita prevents
her- by saying “you sillygirl ! atah varopi fruyate. It is not the whole thing, listen,
now they are talking something, as desired by you.” But Sita, feeling depressed and
dejected is going away from that place. Vinita tries to pacify the dejected, sorrowful
Sita and both of them are spotted by Vidusaka and Rama. Seeing Sita in such a
despondent mood, Rama, desirous of pacifing her, solicits her to calmdown and
gradually Sita gets control over her emotions.

215
 Rama beholds this heavenly picture of Sita reviving to her composure gradually.
The poet immortalies this flitting moment of managraha, consoling and pacifmg the
manlnl nayika in his verses such as36 —

unmilya netre madanena sdrdhamapwgafdrikrtakarnapure /

samaSvasityananamayatyafkhyah samuchhasatpahkajakoSakanli //

— 29 fZ MK 2nd act

“Sita is unfolding her eyes like Madan opening up his bow, stretching it up to
the broad comer of her eyes, till it reaches the ear-ornament and is gradually being
consoled from her mental distress with her charming face blooms like the freshly
bloomed lotus-bud .”
Rama’s insatiable eyes are not satisfied beholding and adoring his sweet heart
and his heart’s desire is not contended in depicting her, extoling her again and again.
Rama says- “Her bright eyes, surrounded by dazzling whiteness, is shining splendidly,
and that appears to me as if the sharpened arrow of Madanalm

In this simple, natural expressions of Rama his emotions, his longings for his
beloved Sita is articulated in an eloquent manner. With that the sensuous appeal of
Sita is exalted. The eyes are brilliantly eloquent of her inner desire that stirs Rama’s
heart The eyes express the inexpressible depths of feeling in Sita for Rama and Rama
tries to fathom that by his innerself. The sweet tyranny of Sita’s love-anger lmdnd’ is
magnificently depicted by Hastimalla.

Mana constitutes one of the important and beautiful dimensions of love. Rama
and Sita first catch sight of one another in Mithila during ‘Vasantoisavd’ They became
one breath in two defferent bodies at the first sight When the two lovers find each
other they experience, impatient longings. But they proceed to lose each other due
to Sita’s love-pride. Poet Hastimalla illumines an exquisite picture of manlnl nayika
A

in his play (sa eva mana-manoratha nirodhanam.) Sita’s self-respect is wounded with
the silence of Rama at Vidusaka’s comparing her with an object used for ‘Sitala
Upacara’. Though Vidusaka has spoken it with high dignity and respect, Sita
misunderstands him. She feels dejected and neglected by Rama. Her intense desire
turns into intense anger. Seeing Rama she just turns away her beautiful face from

216
him. This dynamic picture of mana, the hesitations, the mingling of love with anger,
are a range of beautiful aspects of love. At this moment Rama requests his angry
beloved after closely observing her.38

idam daraspuradadharosta pallavam

bhfbau samunnamayadanarghya vibhraman /

mukham rusa kalusvijihyalocanam

kutastvaya tumukhi paranmukhikrtam// 31/3/Maithili Kalyanam

“These slightly throbbing lips, these knitting eyebrows raised high with
expression of anger, this sorrow afflicted face, the supressed anguished looks, oh
Sumukhi, most charming Sita, why have you turned away your face from me ?” Still
Sita desires to go without reconciliation. Rama sieges her with close-clasping intimate
locks of his hand and says- “what wrong have I committed ? This parson engulfed by
the fire of your longing, is no way different from your dasa servant Oh red-liped
Sita if you are desireous of departing from me, then be cool and comfortable first”

Again Rama tries to propitiate her by unfolding his heart’s loving emotions
before her. He addresses her - lOh mugdhe', My silly girl, you are my breath ! my
life though in a different body, you are my everything, you may not speak to me, but
how can you depart leaving me bewildered and lifeless T39

managraha propitiation of the pride and anger of the lady-love is one of the
changing landscapes of love. Indian literature is replete with multiple example of
managraha. Lord Krsna experiences this incomparable bhava in Gita-Govinda- He
says - dehi padapallavamudaram self-pride is one of the most fundamental experience
at the metaphysical level. In the domain of love ‘mana’ has a major role to play as it
is treated as the measuring rod of love. Mana is an interplay of love and pride, speech
and silence. Abhimana is just like the unsteady, wavy wild outer surface of mind, but
the inner-core is calm, composed with unfathomable love. Mana descends like the
rushing water of rain, followed by myriads anubhavas, flows down transforming the
wilderness into comforting calmness. So Rama says40 —

pranayadapi maninya managraha eva rocate mahyam /

217
 irsyayitamadhuranam yenadhigamah kataskhyanam // 34 Act-2

‘To conciliate the sweet-heart is sweeter than love itself, as the envious-impatient
glances are delightfull to enjoy.”

At such a moment of dense-emotional exuberances, descends the evening. The

returning birds unite with their mate. Time has approached for the separation of this
‘milhuna’ (pair) Rama, and Sita. But Sita’s body departs from Rama, reposing her
soul at Rama’s bosom, Her physical form can be separated form Rama, but not the
spiritual form as both of them are one spirit, one soul, and one breath.

Love is ever-craving, insatiable, unending. Though Rama meets charming Sita,

touches her body that enraptures mind with peace, still soul’s craving remains ablazed.
Rama’s desires suffer sweetly with some intimate aching. Spontaneously the verse
runs life thus41 —

drstaiva slid nanu darianlya sprstaiva sd sparfasuSttaldngl/

tathdpyamlsdm nu manorathanam na Santiresdpi param mamaiva//

—36- 2nd act

Vidusaka, equally hurt by Rama’s sorrows, feels the reflections on nature. He

says - As if the sun God “covering the day with his elevated passions ‘raga\ it is
being separated from his beloved beauty and is gradually disappearing in to the
darkness of despair.”

Vidusaka’s brooding mood is reversed by Rama with a brilliant picture of nature.

At this enchanting hour of evening with passionate emotions in heart, Rama enjoys
the cool, soft, comporting breeze of spring. He describes - “This evening breeze,
perfumed with the sweet smelling jasmine’s inner-essence, cool with the dew drops
of evening, agreeable to the body to the extent of clasping and embracing closely,
delightful to drink to heart’s content, is blowing bewitchingly that can be called as
the life-breath of spring.”42

Thus Rama sweetens the moments of separation from Sita, with his
contemplative and empathic power by striking a harmonious balance of human feelings
with that of the delicate romance of nature.

218
3rd Act
Smgara, sprouting from ‘ratC foliating in ‘mam’ budding in ‘pranaya’ blossoming
in sneha reaps in ‘raga’ and is relished in ‘Anuraga’. Indian aesthetic treats ‘love’ as an
organic and living phenomena. Love is not a casual passing phase, nor a moment’s
mood, nor like the rushing of water from high altitude, or like a sudden shower of rain
Smgara is the splendor of soul, the sparkle of the spirit, the treasure of heart, that is
accumulated in the form of4Samskaras’ from many previous births.

In the domain of Indian Art and Aesthetics, Smgara is enshrined at the pinnacle
as rasanam rasah, essence of all emotions. It is also the quitessence of ancient Indian
psychological studies. The ten “kama-dates” of Smgara is the psychoanalysis of
different physical and mental conditions of a person in love. The ancient acaryas have
analysised and enunciated the stages in ascending pattern of human psychology very
scientifically daJdvasthdtvamacaryai prayogakrtyatu darSilam Those are - abhilasa
or iccha (desire) utkantha or cinta the anxiety, then samkalpa or determination. Desire
gives birth to determination. The forth stage is smrti or remembrance. This is the stage
of concentration and contemplation remembering the beloved one. The fifth stage is
udvega, the stirring of mind, and next stages are pralapa or prattle and unmada. After

that vyadhi the psychotic stage or suffering from severe mental imbalance and then the
stage ofjadata or stupor, comes. The person becomes apathetic to sorrows and happiness,
all nerves become benumbed stupefied and apathy rules over mind.

Hastimalla, the romantic poet of Maithilikalyanam lingers longingly over the

stages of Kama. His poetic spontaneity overpowers his prosaic extravaganza
{
triumphantly during the description of KamadaSas.

The unfolding of love is at once so simple and so complex. It is simple at it’s core
and complex at it’s accomplishment The poet epitomises his conception of love by
making his hero and heroine pass through the stages of love. In the 2nd act of the play.
Rama under goes the stage of love-sickness, while in 3rd act of the play we meet Sita in
a love-striken state.

At the commencement of the Act 3, Hastimalla presents a new character termed

as sandhah an ennueh, who is neither male nor female ardhanari Natya $astra speaks

219
about this types of characters such as - ardhanarigatih kdryd stripumsasyam vimita.
They are combination of male and female. They perform the duty of antahpura rakhyaka
and so they play the role of (messenger) between nayaka and ndyika. BhavaprakaSana
specifies the situations in which the love messengers are required -
navdnurdgemdnddivirahe vd samdgame (chapter-4 sloka-133 page; 132)
In the situations like early-love, or mdna, love-anger, or separation viraha the
messenger has to bridge the gap between the separated lover and beloved. Saradatanaya
also enunciates certain special qualities essential in a love-messenger. Such as —

1) defakalajnyata - knowledge of suitable place and time.

2) bhasamadhuryam - sweet and agreeable language

3) vidagdhata - cleverness

4) protsdhana - encouraging

5) samvrtamantrand - conspiratorial

6) yalhoktakathana - Just and right perception and appropriate action.

In the 3rd act of Maithilikalyanam, sandhah or Kalavati (her name) the

antahpurarakkyaka of Videhaswara daughter Sita, the princess of Videha, pronounces
the piteous condition of Sita elaborating her acute love sickness. He says - hanta bho !
videhefvaraduhituh param kotinmdhirohati madanonmadah /Really her lovesickness
attains its peak. He then justifies his assumption by the minute observation of her. Such
as -

Though she has stretched out her eyes to the largest extent to different directions,
but unable to behold anything. Her looks are vacant and lone-some. Trying to remain
steady, unmoved, she is over ridden by trembling. She .is neither in a sleeping nor
awake. She is indeed in a trancelike state. She is unable even to remember anything,
but smara, the love God is reminding her deeply”43 “Sita’s inexplicable withdrawal
from normalcy is coupled with the psychological imbalance due to acute lovesickness.
The poet focusses on this state of Sita. Kalavati speaks about now her every effort
has gone in vain to cool and comfort Sita. “Moon beams are treated as the enhancer and
exciter of amorous desire in a human being. But why to be anxious to prevent the moon
beams falling on her body ? What more will be achieved by sprinkling the sandalwood

220
water on her or to remove the perfumed unguents from her body ? What is that in
fanning her with the fresh plantain leaves. What will be achived by concentrating the
rays of moon-stone on her body. Now it is immaterial whether to propiciate or disregand
Madana. Because Madam, the Lord of love has engulfed her to such an extent that no
effort will be ever-effeetive to assuage her agonies and anguishes.”44 Her lovesickness
is gradually getting intense day by day.
When the soul’s quest is forbidden, when mind is encircled with enormous barriers,
body becomes a medium of manifestation of all the suppressed sorrows. All those
cooling materials meant for comforting physical self, can not cool down the burning
soul. Sita has been shifted to the dharagrha that situated inside the pleasure garden.
Undo- the compulsive currents of love every effort is swallowed up, washed up, Sita
now looks at Kalavati who is so closely caring guarding ha- from childhood. Her eyes
, half -closed , significant with meaning, pathetic with deep-felt anguish have raised
hopefully. Her eyes expressing her inner -most thought, is articulated in a glance.45

ithyam ca pratiskhyanamupayurpari bardhamanayamvadhirilapratividhanayam

manasijarujaydmadya tu punah pramadavanamadhyavartini dharagrhe vartamdna
sandracandanaskhodacarcitapallavastaranissahavidhrtaSarlra bhatrdarika sita
vihastayamtiva sakhijanopapaditam fifiropacaraniyamtrandm dirghamusnam ca
nUvasya nivedayamtiva samtapam prakaiayamtlvamtargatam bhavam
kimapyupdlambhamdneva parthayamaneva ca mam kimcidivonnamayanti
bhrlatargabhdgam paskhydrgagrathitavaspajalalavamulitam kdiarakataramakekarata-
rakam sakutaam manmukha eva drstim patitavatl //

Such brilliant and poignant flashes of description of love stricken Sita are revealed
to the reader. 4? or Kalavati decides to be a messengers between Sita and Rama. Kalavati
shows his cleverness and swiftness by selecting the Madhavivana to trace out Rama
db -----

yatra khalu prathamam dattah aknoh utsavah priyajanem /

utkamthitam janampunah so’pipradeio vinodayati//sloka-9, Act-3

The anxious love-lom lover reposes at that spot where he has celebrated the
occasion of the first exchange of eyes with his beloved. The lover seeks to be in that

221
moment’s bliss, when love is planted as a tender sapling in the heart of each other by
the exchange of glances. Knowing this deep secret of love Kalavati goes in to madhavi
vana in search of Rama as Rama’s first meeting with Sita was happened at Madhavi
Vana.

Following the literary creed of classical age, the Hastimalla’s verse also lavishly
reverberate with the description of Srngara. At the height of impassioned imagination

poet pronounces Sita pitiable yet passionate picture. “She is simmering under the
splendorous blaze of love, day and night. It is very hard for her to continue in this state
any longer. The poet’s imagination passes to sensuality when ever he gets a slighest
opportunity. He writes47 —

kd varta stanabharamadhyapatUe mugdhe mmdldmkure /

harastatkhyanameva vakhyasi yadd nilotpalaScamaldm y/14/3rdact

“What to speak about the soft lotus-stalks squeezed in between her heaving breasts,
while the pearl neaklece itself is breaking up under her heat and getting the hue of the
blue lotus.”

Poet’s heart remains always insatiable in describing his lovelorn heroine. His
imagination soars high and he depicts her condition again and again. “Reposing her
tormented body on the spread-over petal-bed, Sita is almost burning in the blaze of
love; Looking at her withered self it appears as if her ornaments are so much heated
that there is every possibility of getting blisters on her body. All these great antidotes
do not alleviate the heat of her body.”

Love makes us rejoice, Love makes us moan. Love makes us die. Love brings us
to life. Love can make up bewildered, Love has no rigid doctrine. Whichever direction
the lover takes it goes towards his beloved. Lover and beloved, remembered and
remembered, are ever in each other’s company, always together, in their reality and in
their imagination, in their sleep, in their dreams. The poet Hastimalla epitomizes this
secret moments of pure delight in his sloka-16 ofAct-3 Kalavati the messenger of Sita,
ruminates over cupid-strock Sita’s activities. He says- “By the constant effort and
continuous cooling treatments of friends, Sita gets a little bit of comfort and reclines

222
on the soft-young foliages spread out there for her. But suddenly awakening from it she
embraces the void sky smiling bashfully, as if she is embracing her dearest one, as if
she is experiencing great joy and happiness in the proximity of hear desered person.’1*8

Madhavivana is exquisite with the beauty of spring. Poet’s fancy becomes generous
in magnifying the magnitudes of Madhavivana- Rama, his hero says * oho ramaniyakam
madhavivasya. “The magnificence of Madhavivana” The poet portrays the beautiful
rendezvous arderently exposing all it’s subtle shades and hues. Hastimalla’s poetic
interpretation of natural phenomena has been immensely influenced by the great poet
Kalidasa. Hastimalla’s Nature like Kalidasa’s is vibrant with life, bright and beautiful
fresh and fragrant, sympathetic and sensitive. While Kalavati leaves to meet Rama to
communicate him Sita’s feelings, whole Nature as if welcomes him in to her comforting
lap. The soft southward wind, soothing and fragrant with the freshly-bloomed flowers,
is blowing gently as if touching tenderly, kissing lovingly, embracing intimately,
expanding the amorousness abundantly in the atmosphere.”49

“The freshly-bloomed ‘Sahakara’ the pleasant and gentle spring breeze, as if

help in performing my duty of messenger says” Kalavati. Hie messenger of love-stricken
Sita meets to Rama, who himself is in a very deeply contemplative mood. Lovers
converse with people only as much as they need to. For the most part they remain
alone. They yearn for intimate communion with the beloved. They are constantly in a
meditative stage always remembering the beloved and ruminating her qualities and her
beauty, Hastimalla bespeaks the most befitting metaphor for Sita’s exquisite beauty. In
a passionate mood Rama describes her as the most beautiful and delicate lady as50 —

Slaghya vibhramalaskhya Smgararasadhidevata saskhydt/

sahcarini padabhyam murtimati katfUa vrttih//

—Maithili Kalyanam,20/3rd

“Venerable, graceful she is the presiding Goddess of Srngara, she is KaiSiki vrtti,
incarnate as if manifested before me.” No tongue on earth has exalted and glorified the
beauty of his beloved with such a magnificent metaphor, in such a pleasing and delightful
manner. It is indeed a splendid compliment of a lover to his beloved. Kaisiki is the

223
finest medium of manifesting *rasa’ and bhdva. In the 12th chapter of Natya-Sastra
Bharata describes the origination of Kaifiki Vrtti from Samaveda and defines it as —
Slaksnanepatthya, vUesacitra, vahuvrtyagita and kamopabhogaprabhavopacara.
Katfiki Vrtti is the most delicate charming and polished style adopted by the poets, It
springs from love and passion, sensuous with dance and music, spper-sensuous with
emotions and sentiments : So also Sita, her feminine charm is the finest essence of all
worldly beauty and grace, uncompairable, and unconquerable.

Rama recognises from experiencing the limitless mysteries of the human heart
Oh ! This painful process of psychological perceptions so irresistible, impulsive,
unbearable bespeaks Rama, aho ! durvara manasl pravrttih. Hastimalla creates a
melancholic mood in Rama resulting in exaltation of mind in Sita’s memory. Every

act, every gesture of Sita is enlivened before him. Language overlaps with emotion
when Rama memorises about their first meeting. Sita’s angelic appearance over­
shadowed with the false anger, her feigned innocence, her thrilled trembling body, her
eyes expressing desire and anticipation, her baseful smile surpassing the budding beauty
of lotus, her majesty, her perfection, torment Rama deeply. Every remembrance adds
more anguish, at every bit of moment intensity grows, and every where Rama beholds
his beloved Sits’s reflections.

The sloka runs like this51 —

yatra yatra maya drsta drstiramya mrgeskhyana /

vinodayeyamatmanam lam tamuddeiamuddi&an /<23/3rd

Remembrance binds one another in the sphere of consciousness enabling them to

be united spiritually. Sometimes a single gesture or an unforgettable event gets engraved
on the mind’s plate and pierces the heart of the lover many a time by remembrance. The
time of departure from each other becomes eternally alive in mind. Again and again
that moment illumines before the mind’s eyes making the separation unbearable. Rama
remembers the pitiful moment when his sweet heart gets annoyed and tries to go away.
But Rama holds back her distressed, love-lorn, frail body. But she removes herself
from Rama and leaves that place giving a melancholic look over-whelmed with grief
and anger. The grief of Rama becomes afresh again and again when ever this memory
224
comes into his mind. The pathetic condition of the hero is depicted in a beautiful verse
by Hastimalla-such as52 —

citram nah spuratidam hrdayamanenapi virahadahanena /

kusumaSarasydpi Sard nirmagna naiva dahyante //25, Act - 3

“How this heart is beating bearing such intense sufferings. Even the flower arrows
of cupid is not burning me into ashes.”

Hastimalla presents us the inner-analytical picture of a lover’s heart, slowly-

painfully like the experience itself. Rama searches forVidusaka at this pitious moment
and Vidusaka appears with the messenger of Sita saying rightly- esa khalu lava
SiSirocdrah. My friend ! here is your cooling treatment Eagerly Rama awaits to listen
about Sita from Kalavati the messenger.

All messengers are sweet, and sympathetic. Kalavati, the close associate of Sita
goes to meet Rama concealing in her heart the love and longings, the agonies and
anguishes, of Sita and pours out before Rama, all her fathomless sufferings in the cruel
clutches of cupid. Kalavati says- “well listen to me Sir, she is proving the poetic
imaginations of love in separation true to its fullest sense. Now she has been the single
target of cupid’s arrow. In the flame of love that you have kindled in her heart she is
burning day and night Kalavati says- na kevalam ndmamatrena tasydSceto viparydsah.
Her absolute desire has no alterations, no transformation and no change.”53

Again says Kalavati “Oh Rama ! you have hurt her, deceived her, disappointed
her many times by coming in her deep meditation. Suddenly she rises to fold her hands
in salutation as if you have arrived.54 Rama’s heart listens to this torture of Sita having
in her bosom a single desire to get Rama’s love. He exclaims at this aho samkalpandm
drdhima the absoluteness of desires, the oneness of feeling and destination.

Samkalpa or deep concentrated absolute desire is the comer stone and foundation
of each and every act. So Indian aesthetics has recognised samkalpa or determination
as the first step towards the sublimation of human activities and emotions. Kalavati
continues- “not only in her awakened state, you are also reigning over her sleeps her
dreams and delirium.”

225
 The concentration is focused on the love-lorn Sita’s sufferings. The poet presents
a delicate and innocent picture of a ‘mugdha ’nayika through depiction of Sita. Kalavati
describes love stricken Sita as55 —

kisalayalila tarala visavalayavilasakomalacchaya /

sa kusumavdnavand sarena soda samavidha // Sloka,- 30, Act - 3
She appears like soft, fresh and quivering young tender shoot Her delicate body
bears the beauty of the lovely lotus stalk. But that is targeted by the ruthless,
unsympathetic arrow of the cupid, to be pierced with enormous cruelty.
Such sweetness, freshness, softness, seductiveness, and sensuousness that showers
exquisite delicacy, innocence and agreeableness are the qualities of a mugdha nayika.
The theme of youth and its transience is borne out by these two imageries, the tender,
freshly-bloomed shoot and the soft, sweet lotus-stalk. The sense of fragility and
transience, sweetness and natural purity come through these two images. These two
are clustered in strong contrast to the ruthlessness, rudeness, and ruggedness of cupid’s
arrow. The sense of delicacy brings the idea of “withering away easily. So this is an
indication that immediate care should be taken by Rama.
ViduSaka enquires- eta drfi daiamanubhavailm tatrabhavati 1dm ftfiropacarena
pratyavasthapayati sakhijanah. In this condition had revered Sita is consoled by her
friends ? Kalavati elaborates .“though her friends have assembled all types of cooling
objects and applied it on her, still Sita in a perplexed mood pleads for ftfira upacdras
without feeling its impact. She requests quickly to do something to prevent these
abundant pespirations, she says this place though studded with moon stones is irritating
and unpleasant, apply some camphor powder that may reduce my heat or fan me my
dear! with cool breeze.’ The instability of Sita’s mind can be read from this revelations,
Rama thinks this as the manifestation of Sita’s inflamed mind.
“Abhirupa ’yamupalambhah " ViduSaka immediately answers dear friend ! you deserve
also some admonition as you are over looking and neglecting her in such a pitiable
condition. Kalavati pleads to Rama to relieve Sita from this excruciating pangs of love.

Kalavati stretches the situation a litde and depicts about Sita’s praldpa stage how
she prattles in bewilderment. Sita searches the real cause behind her torments and finds

226
Nature as the main culprit The natural objects like moon, spring breeze etc are nurturing
her riant more and more. She pleads to her Mends to shower or sprinkle water over the
moon, fan the breeze with cool plantain leaves, spray cool sandal wood water over the
moonbeams as these objects are burning her down.56 Traditionally “itfira upacaras”
are applied to the body of the anguished person, but the poet Haspmalla goes a step
ahead adding newness to his play treating the causes causing this torture.
Rama says - “really this cooling treatment is extra-ordinary”. Kalavati continues
in describing love-lom Sita. At this praldpa stage- Sita dares to admonish the moon.
She says - Oh moon ! your reflection on the emerald-blue sky is curved which means
your presence is torturous, and you are mischievous in creating this samtdpa to me.
The moon-beams are similar in hue with that of the glow of the comer of my eyes.
Which means the moon-beams are glistening the tears ridding down from the comer of
my eyes. The long sighs are spreading the heat, not the spring-breeze.”57 Oh my dear
Mends ! these tortures inflicted on your Mend, who is now on the verge of exhaustation.

Rama says - “the life of a love- sMcken person is really controlled by her Mends”.
Poet’s imagination touches the height of pathos when Sita requests to her Mends -
“why you are indifferent towards me. Every cooling object is going vain, close all the
freshly-bloomed lotuses banish all the honey-bees, place this moon in pdtdla, conceal
the moon-beams inside the deep sea, seize this gentle spring breeze and shackle it to a
pillar.”58
In these stanzas, emotion is chanalised in a complex way. The poet enters into the
intellectual prescient of a love-afflicted person and experiences the burning, the yearning,
the torturing and the parching of the spirit. The poet tries to emphasis its significance
and intensity in the organic sensations around by the lingering repetitions of the
lovesickness. He enters into the feelings of the lover and invokes a new complex of
emotions known as ‘empathy’. This careful attention to significant details of
psychological motion is the most notable factor in Hastimalla. The focussing process
continues, like a kaleidoscope adjusted to bring sharp shapes and shades. Poet Mes to
reflect both self-projection and self-restraint in the characters of Rama and Sita. There
is a subtlety of shading and an imaginative extravaganza in Hastimalla’s poetry. The
fusion of natural phenomena and intimate sensations of the body are skillfully depicted.
227
 Sita says to remove all beautiful natural objects from her. But her friends are
undone. Because she herself is nature incarnate and nature is the spirit in her. How can
the breath of life be separated from the body How can the fragrance be separated from
the flower ? The friends of Sita are now put in to a dilemma. They say - “On your
delicate body the delightfulness of moon is reflected the moon-beams are reduplicated
on your bright pearl white teeth, by your breaths the spring breeze is perfumed. Then
how can we separate these objects from you which are inseparably attached l59

Kalavati gives a final touch to her lingering speech by these words. “What more
to express about her condition in love ? She aspires for your compassion ardently. Her
body has emaciated to such an extent that her waist has become a narrow strip but her
breasts have become heavy. The bracelets used at the wrist have now turned as her
armlet”60 Then finally Kalavati hands over a love-letter to Rama written by Sita on the
soft tender Ketaki flower with the letters of sandel wood powder.

Love-lorn Sita is consoled lovingly by Rama in his mind addressing her as

‘Janakaputri’ Rama says with assurance, “no more pain now, no agony and anguish, no
more tears, or lamentation. I am also almost dying with desire to meet you, to be united
with you. If this craving will be accomplished with the grace of the cupid, then only my
life will have it’s significance, it’s real meaning.”61

The intensity of a lover’s desire is so dense that he can dedicate his life to be
united with his beloved. This yearning to be with her becomes the single mission of
life, the only destination. Vidusaka makes Rama a bit haste. He must move to Sita as
early as possible not to cause her more torture. But Rama holds his anxiety in his heart
and waits for Kalavati’s indication. Making the situation more pathetic Kalavati says
Rama. “If you will go to meet Sita, it may not be possible with her to celebrate and
rejoice at your cherished arrival. Because the love-afflicted body of Sita has become so
indisposed that she may not be able to feel even the quivering of left eye as a sign of
goodness.”62

The insatiability of Kalavati’s heart to depict Sita never meets an end. Again he
says “what more to say you are the only saviour of Sita my poor friend. Do not delay
now. Hurry up an intimate celebration of amorous union with your beloved is awaiting

228
you. Rama asks Kalavati the ways means of meeting Sita. ^ gives the detail descriptions
of the secret meeting place. Rama must reach at “Candrakanta-dhara grha” at the
early evening hour, that is covered with the ‘tamala trees’ which is situated at the sport-
garden of the Videha princesses, that garden is at the southern comer of Madhavi Vana.

, Now all the dark clouds of distress has gone. The messenger has accomplished
his job. So also is the environment. The sun is shinning brilliantly on the sky dispeling
the dark clouds.

- While leaving, a delightful Rama beholds the beautiful pictures of love-plays in

the nature. The whole creation is rejoicing, celebrating the celebration of love. The
bee-couple, are concealing themselves quickly under the lotus-leaves to prevent them
from the scorching heat of the Sun. The peacocks are reposing under the deep, dense
Tamala tree, and the thirsty deers are resting near the “dharagrha”.63

4th Act
At the commencement of forth Act of the play the poet portrays the passion tranced
moments of rendezvous of Rama, his hero, and Sita, his heroine, in highly evocative
manner. The poet inscapes the sentiment of Srngara with a mesmerizing metaphor of
twilight. The rich suggestiveness the semantic potentiality and the internal rhymes of
each and every word the poet uses, seem to have been carefully weighed.
‘Kaumudika’ the maid of princess Sita depicts the enchanting vernal evening at
Videha. In this pleasant, gentle, intimate embrace of the soothing spring-breeze with
impetus exhaltaion of cupid and with the beautiful evening descending under the
variegated sky having the deep-dark hue of fragrant black ‘agar’, the eastern horizon
like an ‘abhisarika’ is awaiting the arrival of her lover moon, adorned with the safron
rays of the ascending moon covering her dense black locks of darkness with the veil of
her blue sky apparel, her million star studded necklace is half-seen and half-covered.
Through the depiction of land, the season, the time the atmosphere and the
evocative environment in a play, the poet’s vividness of perception becomes alive. The
poet weavs a pattern of movement or change of shapes and recurrences. This significant
pattern is called as ‘scape’. “Inscape” may also connote a relationship of parts to the
whole object and the unifying arrangement of natural phenomena in proper relation to

229
one another. Another term, ‘Instress’ comes very close to this analysis. ‘Instress’ is
very often used in the sense of a pressure of energy arising from within, which brings
a natural phenomenon in to being. It is used in Art and literature as a technique to
indicate the beauty and charm of a natural phenomenon and mood or emotion created
by the interaction of nature and observer. The mystery and magnificence of nature is
‘stressed in’ or put in to the mind. Unknowingly poet Hastimalla has made use of these
two beautiful techniques ‘Inscape’ and ‘Instress’ in his play many times while
juxtaposing nature with emotion. As for example his description runs like this at the
out set of 4th act64 — •
aho ammusya sukhasevita mandavata SUalapradosanilakrtapariramsya punarulka
vivrdda puspayudha samrambhasya pradosarambhasyedanlm khalu sayantana
dhumayamanakalagurudhupakrsna krsna kajjvaladhivasite iva karvuremvare
udayaraga katmlraskhoda sammanita pratipalayati rohinlpatim
timiracchatdcchanilakauSeydvagunthitena nati parisputalaskhya taraganamuktahara
purvadik // 4th act- page 60

We can see the similarity of this line with the tAlakavarfyaf}d> of Kalidasa in
‘Meghaduttam’. The prose-style has given more scope, more liberty to Hastimalla to
embellish his expression more elegantly. The hues and harmony of the twilight is
illumined with luxuriance of feeling and perception by Hastimalla. The metaphor evokes
the sensuous serenity of awaiting of union, with the lover. The moment’s intensity is
revealed with lots of passion and warmth.

Kaumudika, (moonlight), the name of the ceti suggests spreading, permeation

and elucidation. Kaumudika throws light oh the moment’s fancy. She elucidates the
early evening hour the rising-moon and setting sun more lucidly with longing in the
next line.

In this enchanting vernal evening moon, the enemy of lotus, while rising appears
as if the revealed breast of the young bride of jostsna besmeared with thick mass of
saffron paste or like a bright conch shell tossing with the waves of sea having the
reflections of the red corals on it, or it is a lovely lotus leaf used as the cooling agent of
love-lorn lady of the sky tormented with the separation of sun, or a mark of sandal

230
wood paste on the forehead of the elephant of “Nisedha mountain”, or the ball played
by the lady of the ‘night’ during pleasure-sports, or the drum of the Lord of love Madan
beaten before his invasion of the world, or the golden lotus bloomed in the naval pond
of Visnu, or it is the wheel of the chariot of Kama, or it is the saffron-smeared frontal
globe on the forehead of ‘Airavata’ the elephant of Indra, or “the Jeweled Jar of the
limitless sweetness and beauty.”
These are the streams of metaphors of moon-rise. The slow leisurely movement
of. poet’s imagination with an impact of intensification puts the psyche and cupid in
each other’s arms. The fabric of Hastimalla’s lines moves lingeringly like a ‘abhisarika’
awaiting her lover with a dream-like pace having three themes in her heart, i.e. Love,
Beauty and Sensuousness.

Today in this beautiful vernal evening, having the charming moon on the nuctural
sky with all it’s elegance and enchantment, Sita is awaiting at ‘Chandrakanta Dharagrha ’
for her union with Rama, her Lord. The poignancy of emotion is heightened and vivified
by the psychological bewilderment of Sita. Her impatience, her anticipation, her burning
in desire, have found an outward manifestation when she says to her close friend
‘Vinita’ - Dear Friend ! unbearably turturing these moon-rays, we must prevent it by
going under the shadwy ‘Vakula tree’. The soft, soothing radiance of moon, always
agreeable to body and mind, is paradoxically torturing and scorching to Sita. But under
the sweet-smelling Vakula tree Sita experiences the same uneasiness, same
unpleasantness as if the trickling flowers piercing her body with sharp arrows as Vakula
is treated as one of the flowers of the arrow of cupid.

Our conscious relationship with the external world is predominantly on the mental
plane and not the physical. So when mind is stirred with sufferings, inflamed with the
fire of love our experience changes with the external objects. We attribute our inner-
self to the object we observe. At this time not only our present state of mind influence
our perception, but also the memory of our past experience contribute. So the mental
plane plays the key role in all our outward manifestations and reactions.

Sita’s mind is turbid with the torments of love. She is stirred with the uncertainly
of the meeting with her dear Lord. Each and every object appear to her insufferable,
intolerable, and painful. The ‘Sakhis’ her companions try to comfort her by all sorts of
231
‘ti&ra-upacdras'. The cool, comfortable Dharagrha, the spreading of soft-bed of tender
Tamala leaves, the sprinkling of sandal wood-water, the fanning with fresh plantain
leaves, all go in vain. Every effort to console her, acts as the enhancer and intensifier of
her anguish. When Vinita applies the camphor powder on Sita’s body, she says - “sakhV
this camphor powder is pounding my heart into pieces.” The oozing moonstones make
her heart melt into impatience. The smearing of juice of soft sandalwood leaves
compresses her soul. She says- “sakhi’ this white lotus leaves appears to me very
distressing.” The lotus leaves spread over her body becomes parched up and Vinita
puts some cluster of blue lotus stems. But that appears to Sita as the shaft of an arrow.
When the ‘bisakandas’ the lotus stalks are put on her, she says - “these 'bisakandas'
apears to me as real bisakandani, poisonous in nature.” All the attending friends are
puzzled and perplexed how to bring respite to their friend’s sufferings. After all types
of cooling objects have turned ineffective, Vinita suggests - ‘Oh princess ! behold this
beautiful heavenly stream of moon-light that adorns the noctural sky.’ Sita answers

with condensed pathos and culminating anxiety- “Oh Vinita, my dear friend, amidist

this vast sea of moon-light my heart is sinking and I am unable to hold my breath.”
hala! asminnpare candrikasamudre majjantamlavdhocchvasamdtmanam dhartum na
parayami / She looses her breath, her existence, her whole self in the vastness of the
environment. Her senses are stupefied, benumbed by the exahilarating vastness of moon­
light. She says these moonrays are making me loose my consciousness. The stage of
‘rhurchha’ one among the Kamadasas is experienced by her now.

The instability, insatiability, impatience, emotional imbalance, the puzzling,

perplexing, delusion of mind, all these are a series of psychological dynamics
experienced during acute mental stirring. When an intense desire is forbidden or not
fulfilled mind undergoes this type of turbid state, and the person behaves in such a
, perturbed manner. Sita, in her acute love-sickness, is almost like a deer struck by the
cruel poisonous arrow of a hunter.

These 'Kama dasas’ have been treated by the poets of Indian classical literature,
as the main-stay of high romance. The complex modes of experiencing love, the mingled
implications of sensuousness and restraint, the subtle inkling of sexuality, all are the

232
unlimited source of poet’s imaginative exuberance. It is not known how much the heart
aches, how a drowsy numbemess stupefies, how deeply the heart craves and how the
senses seek. But the poets have celebrated these nostalgic nuances of love shade to
shade, and step by step.

On the golden thread of aesthetic imagination Hastimalla weaves the fabric of his
imageries while depicting the paradox in love. This paradox is created consciously by
imagination of the poets from the diverse materials seized from the world and juxtaposing
it with mysterious emotional experiences.

The mysteries of love lie beyond the power of reason and logic. Many riddles
remain insoluble and many times logic is thrown in to utter confusion. Rama the hero
of Hastimalla’s play also gets astonished at the paradox of environment. He enquires
how this magical moonlit night is so tormenting and torturous, ‘citram jato
dvigunitaguno hanta santapa evah’ Rama becomes sympathetic towards the love
afflicted persons ‘hantam Socanoyah khalu virahinah’ Those who are separted from
their loved ones are really going to face a distressing situation. Rama exhibits his inner
thoughts saying that - “The moon rays are spreading rapidly as if the invasion of Madana
has already commenced. The flower pillions are shrouding the sky as if the abudance
of dust rising out of Madana’s victory march. The valuer and vengeance of Madana is
vivified by his fore runners like the moon, the malaya breeze, the flowers and others.65
(ffloka-2)

Art is invoked to alter the natural laws. We watch again and again the natural
consequences do not happen in love. Love in separation is the siege of sighs and
sufferings. It is hard to hide the sparks of sorrow that engulfs the soul at every instance
of rejoice and gaiety. Rama requests the ‘ cakoras’ to drink out the myriad moon beams
falling down in thousand streams as it’s sweetness is unbearable to him without his
sweetheart. Rama even goes to the extent of pleading the demon Rahu to devour the
moon completely. The soothing spring-breeze burns the fire of love more fiercely. So
Rama earnestly wants that the deadly snakes to inhale the malaya-breeze entirely. The
honey-bees are also requested by Rama to suck up honey and all the sweetness from
the freshly bloomed flowers to protect him from the cruel attack of the flower arrow of

233
the cupid.66 Rama orders the natural entities to consume the Nature notas the creator.
Himself, but as a love-striken mortal on earth. Otherwise the creation would have
destroyed at an instance.

This is the culmination of love- melancholy, when the lover does not spare even
the Nature to nurture the creation with all naturality. He can not bear the blowing
breeze, see the shower of moon light, feel the fragrance of the fresh flowers in separation.
Rama leaving to meet his beloved Sita stops for a moment over the nature’s perfection.
At the western door of the pleasure garden Rama visualises the fascinating ‘Tamalavithf
with, the perfumed resting perch where the peacocks are reposing quietly. Though the
dark-blue hue of the dense leaves trickles the radiant moonrays and the harmonious
blend of both white moonlight and deep dark Tamala leaves makes the environment
more hypnotic.
The entrance of the Dharagrha is adorned with beautiful plantain trees as these
trees are treated as auspicious plants. Under the veil of magical moonrays, those tender
trees create the image of shinning sensuous voluptuous thighs of his beloved revealed
through the fine silk garment of moonlight as if Sita is waiting at the gateway for Rama
to welcome him. This delusion even in Rama’s heart arouses the passionate desire, to
embrace the trees thinking them as real Sita. Vidusaka says jestfully - “Dear friend ! do
not get excited looking at the Upamana, you will soon get the Upameya the real Sita
now”.
And ultimately the most cherished moment arises and Rama beholds his sweetheart
Sita, awaiting anxiously for this moment’s arrival. Looking at the living picture of
love, Rama speaks Oh ! here is she, the piniacle of all my desires, exotic with so much
torments of love, my heart sinks with acute grief looking at her condition. Still Rama
holds his breath, his patience, his grief under the limits of his calmness and listens the
conversation of Sita and Vinita keeping himself away from their eyes.

Sita is melancholic, and is therefore ill, her illness is sympathetic, corresponds to

and stems from the sickness of her mind, it springs from inward anguish. After hours of
patience awaiting, she asks Vinita- “how long to wait and why ? Vinita comforts her
saying that - “Do not be impatient, surely Rama will come to console you the way he
has done at Madhavivana Sita answers - “What left now to console ? The density of
234
sorrow is revealed by at this speech. Vinita tries to divert her mind by performing as
Rama before her.

Now the concentration is focused on the play-withing the play, reflecting a real-
life situation. Vinita imitating Rama as afflicted by love says - “Oh ! This shower of
flowers from the flower-arrow set by the cupid.”

Listening to Vinita Vidusaka exclaims how this ‘kumbhadasV, Vinita, has rightly
imitated Rama’s voice, his magnanimity, and his innate qualities. Rama admires saying
that the women of royal dynasty are expert in all types of art like music, dance, acting
etc. Visualising Vinita imitating Rama, S.ita’s agitation is enhanced. She says ‘sakhi !
when he is unknown about my feeling ? why my heart is so anxious for him ? ’’Without
paying attention to Sita’s speech Vinita continues to act. She say’s as if Rama is talking
with Vidusaka- oh friends, what you are saying ? How long to wait- till the agonies of
the revered Sita is comforted ? or you have really told such spoilt things ? Can the royal
swan eagerly await I do not have the patience also to draw myself away from her”. At
that moment of intense dramatic expression, Sita sees the real Rama present there and
tries to silent her friend Vinita. But at the height of the moment Vinita goes on role-
playing of Rama and out of intense anxiety Sita becomes unconscious.

Vinita understands the gravity of the situation and stops her acting to comfort
Sita. Suddenly Rama enters uttering those ambrosia conforming words- Priye !
HamaSvasihi samaSvasihi My darling ! be comfortable ! be cool, be consoled” Sita
disbelives her eyes when she comes out of her swoon. When she knows that really her
Lord has arrived, delightfully and bashfully, she just wants to leave. Rama say
affectionately addressing her as mugdhe, “Oh charming Site ! you have hurt me with
your curved eye brows, contracted glances aS the indication of anger at me causing
distress at a false incident. Today pirece me with the unretumable arrow of cupid.”67
Both Vidusaka and Vinita leave the eternal lovers alone. Sita asks “how my dear
friend leaves me” ? Rama answers - “not at all, my dear ! you are not alone. I am
present here to serve you a special servant to you.” The Lord of universe, the prince of
Ayodhya, speaks the language of love, the language of uneontional surrender at the
feet of his beloved. Sita, wants to leave that place due to excessive emotional exhilaration.

235
Rama holds her back saying - Oh Red liped Site, after such a long separation we have
met. I am anxious for being united with you. Your separation, restraints are fascinatingly.
But today give me your close embrace, give me that supreme state of sweetness and joy
for a while.” Surrendering before the impetuosity of Rama’s yearing, Sita acts
accordingly as if hypnotised by the magical power of love. She becomes speechless,
silently the deepest anguish of heart and body turns in to ecstacy. In the close clinging
clasp of her intimate embrace all the joy of earth enraptures Rama’s heart, all heaven’s
beatitude and bliss enthral. As if rising from dreams Rama says”- uncommonly blissful
is the embrace of the young bride.” 3Wmiwh>414 ^ |

A lover when relishes the sweet-essence of his beloved’s embrace for the first
time, that moment becomes eternal for him. Rama depicts that eternal moment of love
saying that “Obstructing her way, when I hold her closely, caressing her lovingly. She
just has turned her face towards me looking at me with her tender, compassionate eyes,
when I have kissed her rapturous red lips, her eyes became filled with tears, her face
reddened, her tongue tingled.68

The young, innocent mugdha nayika, her emotional exaltation, her delicate
movements, everything come alive in this verse of Hastimalla. This single moment
passes beyond time into eternity crossing all the boundaries of time and space.

But every blissful moment has a sudden end just like the state of dream, and the
ceti puts an end to this moment’s bliss. Sita has been called for by the Queen herself
and she has to leave that place. Sita with Vinita and Kaumudika, goes to meet the
queen.

Just like a shadow of a floating cloud, happiness comes and goes away leaving
behind the same scorching sorrows and suffering of separation. Rama says- “aho
dussahata priyavirahasya, Oh. this unbearable separation of my beloved makes me
feel as if the a shower of sharp arrows of cupid are falling on me continuously,
uninterrupteally.” Vidusaka indicates that the moon-lit night is going to be over now.

Reflecting his inner feeling, and controlling his emotions under the his calm
grandour. Rama reveals the splendors of a serene dawn. The dawn is descending,
gradually parting the leaves and separating the lovers, slowly the morning breeze is
236
blowing opening up the lotus-buds, the counsoler of the Koka-couples those who are
awaiting eagerly for the day-break.69

B oth Vidusaka and Rama leave that place, where few moments before, a passionate
play of love has been enacted. Now the impassioned darkness of night has dispelled. In
a very serene mood, the Dhirodatta nayaka of Hastimalla utters the auspicious blessings
for all loved creatures. “Let all the lovers get liberation from the sorrows of separation
like the ‘cakravakas’. Be united with your befitting partner and enjoy with her the
eternal play of love amidst the freshly bloomed lotuses in abundance.”70

5th Act
Love and sweetness are the law of life. Love is the rhythm of human heart-beats.
Simultaneously it is a sheer spiritual ecstasy and an exquisitely vehement tyranny.
Immersed in the tyranny and ecstasy, Rama returns from the secret meeting place
treasuring the sweetness, bliss of that moment in his heart. The rapture of the rendezvous
is visible every where, at every instances. It flows in the wind’s breath, quivers in the
young shoots of the tree, it’s magnificence blooms in leaves and flowers.

Rama’s heart is over-powered with a deep desire to possess and be possessed, to

enjoy and be enjoyed, to feel and to be felt. This brief closeness has entirely changed
Rama’s life. Enchanted by the moment’s intensity, Rama says to himself - oh ! really
the beloved is the enchantment incarnate, It hypnotise the human heart and reals up the
soul.”

The soliloquy or “talking to himself’ is a dexterous dramatic device which works

as a medium for depiticing character’s psychological state. The audience get the clear
picture of the protagonist’s mind and share his thoughts and imaginations, his confessions
and solutions, his strength and weaknesses. Rama the dirodatta nayaka of Hastimalla,
endowed with all noble qualities and characteristics, also feels just like a normal ordinary
human being. The inarticulate sensibilities of the hero are expressed with the unfolding
of his inner self. The passionate feelings of Rama flows in to a verse. Such as - my lips
are thirsty to drink again and again her lips, my limbs crave to seize her delicate body
into a close embrace, my ears are eager to listen to her sweet words, my sense of smell

237
seeks to inhale her fragrance only. Cupid has rightly set the five arrows for the allurement
of the five sense organs.71

The stage is set for Sita’s ‘svayamvara’ . Kancuki indicates about the marriage
celebration of Sita. Sita is ‘patimbara’ now- about to choose her husband. The stage is
exquisitely decorated with fine veils raised up, sprinkled with perfume studded with
radiant jewels awaiting for the arrival of many famous princes. Rama moves towards
the meeting place with Laxmana discussing about Sita. Adoring and extolling Sita’s
uncommon and angelic beauty, Rama speaks “she is priceless, invaluable. But her value
is measured by a mere bending of the Siva’s bow and putting the string on it. It appears
to me that as if the most precious ‘Kaustabha’ jewel of Visnu is being transacted at the
price of dust.”72

Love’s adoration is infinite and divinely generous. In earth’s alphabets the Lover
finds inefficiency and insufficiency to depict his beloved. Rama in his mind becomes
thankful to Janaka, the revered father of Janaki. Showing his gratefulness to king of
Videha Rama says - “leave aside her divine limbs which is priceless, each and every
word coming from her lips are most precious jewels to be preserved carefully. Where
this acute anxiety in me to get her, and where she is who surpasses the value of the
three-worlds. Beholding her I waited long engrossed with a thought how to fulfill it,
how to get her. But king Janaka is so kind, so generous, that suddenly he showed me
the way to accomplish my desire. I have got the medium, to reach at my cherished-
destination by this “dhanuraropana”.73

Amazed with the joy of getting Sita, Rama feels as if Sita has been already attained
by him. I feel as if she is in my hand now. Rama says - “atafca panaukrtameva manye
videharajatmajam

For love’s sake the sky has been raised up, the earth has been spread out, Love
makes us cross the deserts, over turn the obstacles, Love makes us reach the goal.
Revealing his inner uphavels, Rama says - “My spirit has been benumbed, my yearnings
subdued, my carvings enfeebled as she is unattainable. But now my desire has been
stirred, excited, allured as the time to accomplish her getting nearer. My mind is now in
a state of disarray, just like a loosened chariot.74

238
 The tranquility of mind has been disturbed. All the senses are grandionised. A
flaming rhapsody of desire sweeps Rama’s calm grandeur. A burning urge has streamed
his limbs. Casting aside all his restraints, the lover in Rama opens up spontaneously
and he voices passionately the heartfelt desires of a passionate lover. He says to himself
“clasping her closely in my arms, enthroning her on my lap forcefully, holding her
delicate hands tightly, looking deep into her eyes, inhaling her fragrance from her bosom,
drinking the nectar of her red lips, I want to fulfill my desires in hundreds and hundreds
of manner.”75

India is the land of Kamasutra. Kama is treated as one of the ‘purusarthas’. Kama
makes a person complete. ‘Purasottama’ Rama has to experience the flaming finality
of Kama to be a ‘purna-purusha’ or a complete man. This verse bears the stamp of
erotic despotism of the male eye. Princess of Videha, with her friends, enters the place
of ‘swamvara’ having Rama enshrined in her heart and her heart instructs her tongue to
, utter this name only. She asks to Vinita - “Oh Dear friend Vinita S It is true that aryaputra
has already arrived ?” Beholding Sita, as beauty and sweetness incarnate, her luminous
eyes lit by a single untrembling ray of love, Rama again goes deep into his inner self
and thinks in himself - “The jingling sweet bejeweled anklet bells at her every step,
every swing of Sita’s body having a swan’s gait, enhance my anxiety as if it is the low
murmuring sound of the cupid’s arrow.76 Overwhelmed by her uncommon beaut
bliss, Rama imagines as if these anklets are declaring her pinnacles of beauty, jy
, i&J
rr **** '***

At last the cherished moment arrives. Rama holds the bow of Siva in his ®aif^.
Impassioned with the ravishing enigma of Sita’s eyes, Rama bows down the bow mth%.
myriad thoughts in his mind.. “At this moment cupid is setting the flower bow at me”
Sita has curved the densely lashed eyebrows, and both these incidents coincide with
Rama’s bending the bow of Siva. He says these two bowing of bows are successful as
I myself bowed the bow”77

When Rama bends down the bow, Sita exclaims with delight fitjpif if -My
desire is fulfilled. Sita utters her inmost feeling, with unfashionable delight. Her
emotional exuberances is surfaced on these three words. Rama’s heroic statement is
also expressed in the spectator’s appraisal. Almost the entire creation has stopped to

239
behold this uncommon moment of union. As if the whole world is visualising Rama’s
bowing the 'Siva dhanu' without a blink. So Laxmana request - arya sthlyatam
muhurtamanenaiva vibhramena. Arya ! Oh! revered one ! stay for moment in that
sublime pose. Let all the spectators behold and experience this uncommon image of
arya to their heart content and obtain the absolute repose in that image of you.78

Janaka, visualises this vibrant and victorious image of Rama with delight. The
glory of this moment is carried further with the image of moon. Janaka describes,
“Holding the bow in his powerful hands, pulling it up to his ear, giving it a form of
circle. Rama appears as fullmoon with his ‘pravamandala', delighting the world with
his joyous radiation of power and loveliness.79

The inevitable has happened. The bow is broken. Sita praises Rama, giving
importance to his power as the king of KoSala. Hypnotized by the moment’s majestic
manifestation of power, both masculine and romantic, the heavenly deities have
consecrated Rama with the shower of heavenly flowers.

Love invites war. So at this celebration of Sita’s Svamvara, the sequence of war
comes automatically when the other kings ego is hurt by Rama’s breaking of the Siva’s
dhanu. Hastimalla confutes his hero’s heroic qualities with very powerful implications.
The land scape of love and celebration suddenly changes into a battle field. Here we
observes the delicate and calculated artistry of Hastimalla depicting his hero’s unbounded
power and influence. The poet depicts it through Laxmana. He says - “If Rama lowers
his bow the world trembles with fear, what to talk about bow. If he only casts his angry
looks then instantly the principal mountains (kulagirayah) the three world, the seven
seas, all tremble with his force of anger. So please be propitiated.80

Rama full of with the wildness of a young man, falling in love, the pre-marital
passion, the secret meetings, and moments of union, now appears as the most powerful,
dreadful Hero. Rama’s image, now attains it’s culmination. The poet reveals his mystic,
and divine identity through “akasabhasiiam”, a popularly used dramatic technique in
Sanskrit plays. A Single verse introduces him as 'Avatara' of Visnu. A voice from heaven
says about Rama - “He is the most exalted source of power, after defeating the enemies.
He now adheres to patience. He is the eight mountain to hold the world steady on it’s

240
place. All rsis are visualising his real cosmic identity by their vision. Those, who are
desirous of liberation from this worldly bandage must know him as Brahman. It is the
revelation with it’s dramatic epistomes consequences fbr the hero, that breaks through
the anxieties and paves the way for his union with Sita.81

Listening to this all kings come with folded hands to salute, to propitiate Rama.
King Janaka offers his beloved daughter Sita to Rama with the benediction “Oh Rama!
you must reign this vast, sea-girdled earth and this Sita my daughter is offered to you
by me.”82 Rama says to himself - sampurna me manorathah. Today my “monoratha”
has fulfilled and Sita says to herself krtartha me janma. My life has become successful.

> Love is not merely a matter of unfettered emotion. Subsequent passages spell out
some of the responsibilities of marriage for the man and wife. The horizontal axsis of
family life is manifested primarily in mutual love between them.'The bond of marriage
is regarded as divinely ordained. The deep relationship of wife and husband is depicted
by AtharvaVeda —

“I am He you are she, I am song, you are the verse, I am heaven, you are earth we
two shall here together dwell becoming parents of children.”83 So representing heaven
and earth both man and woman get united. The subject of love and the object of beauty
become one, thus establishing the center of goodness. The levels of physical and
metaphysical are interwovened the passionate love into transcendental consciousness.
Love has blssomed in and ravished by passionate longing. All the paradox of love
come to an end.

Rama plays the dramatic hero nayaka of Maithilikalyanam and the embodiment
of Kama and Sita the heroine is identified with 'KaiSiki vrttV or Srngara incarnate she
is passion personified, ‘Rati’ the consort of Kama, appropriate to share Rama’s divine
love.

241
 Reference

ffsiKoH ^*K«taiRrai«hU|fqciCI<Pl I

^TFcRf if^^TTTOtTRtTT: W$ *JjW: rii tfeft ^pih, vmm\

‘dlffWlfeddHdt {d^fodl^QwlMWl

flcMIcflWJMilq^lfiw ^ci
^dictfwta MWfci 3p(t cR%5T 3T siWc} 11311

#^f-
3RHo=i g^rr wrier ^r: wr ?it-
fftasr: qwttafcr ^ qrcfew: i
TOTS v^RWfcT^fcT:
Mg |#w?ra f| wf: \m\
H<;iPlS<l'»c9l(<<c1l M ^Tf^RPTM: Ihll
=TTTcT y^TlHlt^T wTc^ I
cfSBm TOFT IRvsIl <S$v\
|<F#df%p ^<>*11

fW: q*te-

fffFTT qfofT wrfcf ^ cWIM-SPR^ I

i^cfi^r ^i^xKj; c^fir tfl fwt
W qT#T5t ? 1?# 5R: ^I^HH. \\%/ SFWtSfdl

VS. 34!*HI<^dl {IdflHCMi

WMwM:
<-c4l4fcl WfcH'itRlff: ||?VS*WtS»ll
yrzfjfl f|«IH fcTT^f^tf^-
 ^4Site 4^4% II?8/jnmtS*:||

wii#oifiri«h=im\uk^m ant^fai^ror
4fal f?q#T ^'Mft'dT WW«i$4cf II?V SPWte*||

?o.
^44444 %rcnrp?4 digpRft1
y^ci d#W) Rtt^d WfldMdi

a m Wfcn w. *g: pr: sfotw: l

d$wrofta jfr Hi«J4g«?lcwRl era ll hi'csriw, 3^wt - 3311
n:.- ;*n=

3TTWTt pfe4 4t
^dK^rWtafodl d^wfl tjfcT:\W/ iT*WtSf:|l
a l4 4tei sfl'siH^H'tfci ^RTF pn-
J|3Jng?fc5F -Hvdfd p$c4&dMft I
FPT efteTT cfldiddJMddl JMlicT v^f
fcdlMWTcT ^rfcf Hetft ^Id^Kd: I\Ro/ g*nfts®ll
?«. 'br4)6Wi 'fl'd M'lU’Ml'li I
f^iTFT d^fdd df^ JWmfc, dfafedH. IR?/SWlte

FPT #s4fl4t*W« M |
mm awrdi<uc*wiFi «raft p \m/ sra4te$ii
.?<• g|d^ic#4kw
toward«wRQi^M«hciu?^ I

R«/ snrotssn
g^*T: ^ h wt #|M m\ #n4 m^frfd mu wiWiHl.s4tenpqf df^^d
ftuKpp^fdd <??f4 ^4 ii swftsi;, pr - ?3li
m snfnfd ?M p#ii m 41N^dHi ii jnwte®, pT - ?3II
K. <m -q^fd q^4f 4t wV-bifcdui
S*5T pt d T^rief *f: m I
[Wt
H: IRo/ gsmtSfdl
243
Ro. fi^RjcinPi^K

^m^Ri ^ q^wjMfcra irc/ snwts»n

Rl ^^^^yrMi^nPr: <m4I3><? % m
Milfoil cRTT|
FP# ^ ?f e!®Rt
f^ferwrartpr T^fcT lit?/ ffcMs*:||
RR. d'+WI *PT ticb<rMK'd*+tii PP PdRldH^!

d’-H<4iPl ppt$#t ?fp4 pp sftfpap; i h/ fefrqts®n

R\.

rs rs 4 a r-s
PT3 W HHIw W<H«HIM ffPT
f%ftp pp ffrR% %szpteR*qcr pt lie/ ffcfofts»n
Rt?.

R^tfrl P'gfp;tp3'«IPI
|RR/ feMsfill

RS. 3c4k1(c[ PgPTP>l>-bWIW(-

gf%s4tcr p^hiPi ddif^Hi: I

'iritwfd Mddl: §R*T: Mild I-

^Mdfcl H^d H'MiRgKl: II MxrMPH, fs4)dlS'=:illd, Wldi- ^R

srswr|h<4 # iWK^c§% i
PcmTs^TP sngf^n^ii

Rv». I Idtjjc} Mliilddil P«ift-

il^d-P^MiddipfidMidl TOd ifdd: I

#5itrwwFriH =p iMicript^:

RC. f&PRM P RJ^lfcl cP (4>4dlR

wuigprflte Jf W ft§f| |

P^RcRwl^ ll?C/ 6<foite®||

244
=K. *fig5RfcT R«M ^fgRts4 Wit

*t jwhn: |
fcK^icl R-qoicfl

l^rfct W*T %^rf: II ft/ feMsf:||

3°. 3T?f^tftcT0^IlH'lkl^ fJcR^PIT I

^Kl^qtft § (MWM<ii«l-H IK ? / ftcMsSil

mffl: ^fT MsHflfM

^TW?^fiWTcni^t¥T#jR I

w*r agf? I ml ftMswi

g>

Wl gwwfi^d-Jld*) IR^/ HfMsSII

n. WT m cHWdl H'd^uiy^lrKft eg |
y<-4Hlf^(d 3 W yrtHteMritol ^ W |Rv9/ fScMsf:!

3s. 1% 3 r^itcf qWZTT: mft %T?t it ^^icf ^ <3^ WT% 3TVRSJ, fofacft *R#

$3 =5, ddl^Rl m: ?M =5 II fMl4tSf-||

3H.
dl^W #*TRt *Wi&«h4l<lfl 3TII *lMJl«hl$M/ HMsamll

qwRnftfrRpf^: i

Ng^drM'M'hUl'hiid: |RV fM4tSf:||

3*. •Wd^lfadHOT
ta4d Met 5FraT^TT: I

|Ro/ M4tSf:||

15
g^t ^gMH>4 <<*1^414 hhh. I

jpi ^n ^'■tfi&siciWi

^icH-r=i^i ggfe mr^g^dH, IR ? / M%ir.||

245
 dfeNd'PWH^WW l^r^nr ft^fd^ld, 1133/ Qkfl<<lb$:||

V°. HUWttft lfift*n JTFBJ? ^ 1

|o#tcf^<Mi ^#FTR: 32TSPTTH. Il3v/ f^^MSS'll

n.

cWitqifmj 2 H'ikMHj

d SijRftmft <TC J#f im/ fsMsf-ll

Vi ^dddHlWddldrtlkwiddlfadl:

O^iyiuiyt: g#r fttKrnifSPFftof g$-

$3dldl difri M^d^HI dldl qtidfsPT: |l3o/ QkfWl^SlI

V3. UdddfisMI: q^RU: q f%=9R q-jqfft

^^ ^ m ^ ^ IJtdJHTd
FftfcT JT 3>f: Rifdti ^ Wr<ilMI ||v»/ gcMsg:||

VV. % TKIdWRuilc^lkWI f% ^«K#*3dl

^wfai+ww f% $nf^Knft®i**&ufai i
i% t*W<w4i'jM f% *PW

m, <$ p# fspnaftf^greici u/ fcMsf-ii

vs. & ^ mmm aroqpjift q^Fipnwri)Rdii(t>I^H<i *Htfn«mi*wgg;fc spr i

r> a ... . , ■% , ____* rv

v^. 3T«#: 3oFR: fiq^d

drbfed *FT 5^: tftft U^flt II (%J ^cMsf'll

Vo.
■ ■ ■ rs .» . - n .
W lUW'RT 9lcl^d cTR: *w ^pnm I
^T ^TdT fJlTdif*
: ||?V/gcMsg:||

v<:.
d<bdJlfikl<biddftfa^fl ifcnflft 3*

dl *)WI 1 mwf

246
 Il?5/#^11

vs. cllft^ jrf&Mddl ft'hiswlcl |

^TTH R HUTd J^d'-WIrl rddH^H'fTT l|^/gcfp^55-|l

M°. OT faOTeTPlT ^TRWlf^rTT RTT^TTc^ |

^■qiRoft ^Hcfl «I>R)4>I ffrT: |Ro/ <^cfl4li>fi':||

M?. m w set dk*^i i

RdM^ic^H ct dgjfeigifeH IR V rpMss-ll
MR. »T: I

M3.
4t PWJIjscI q-qiRi f4d> 3MT th4hiHfn I
f%4T tiuft ««|<K i|cHr4*«icA
RFSfRRRR *^4) *ii*ta 'lining IRvs/ qcfl4l;>g:||

MV. WMpR:
Dnfshid £<^hR| ^ di^l n4>^ift |
f4sr4ts4 *wr dwiR<i4i-
Wid>4 NRdd<ftc4=f %FRlft IR$/ rjcMst:||

MM. ft^rtiRrsn tocratoe^icfsgsM i

?TT ^ddU'WI0!! tlRui H5I dH(14&l 113 o/ ^cft4tS§:||

M$. Hl^q ?T% fifi JT: ^*1<R S|Sf: ijpn^fl^:

wi FPR ■d'^hidUfidaigiTO =#T-

M^. 3sf> ^ Mlcl(4P4d HC-mR'1<4kj\ 413T3fl

4dl^(4$l<NJlft<fl|(M =T ^5RW: I
fedWI: M«i(d ciihR'JHI 4W *T H<y(«kti:

m. f% sricr safer fi)4sR<< m femi *miwj& irm/fMsi:|

HC. f% sfer gsT M^c«lkdi

sst gsR4i<diPi i^qi^uR R&m i
Hldlcl ?iRm (44(e>'Jld4f ^IrMI
4*W h<uPRh^ 113^/ gciWl^sdl

MS.
^<-^4 cR <d$4tJ$d^e$WlRrci{ifedI

247
 fi*tl$W«l dfi£dl dldfadil TOW:

^^ ^ ii v/ <pfratss:ii

$0. 3T=n5F
*tw4|U||fllWRm $dft<j Wf $$li«4l: ^ |
• -A rs«s «a. 4 r\ • tmm_mm
flfdT ^SK-icw fcHfO <blctfHi4l8 ^JJ:
RSfcWftild:

3JcPM MRdlMMR#-
4ddPWW*l Wb I

zrft'j^wficriw^d^iiv?/ fcfWtsi?ii

WJWIT #w# Im/ ^rMsSfII

dHIddWI^dRfe'k^ ^#r:
farapq#id ymtft m^ liv'i/ gcMs^ii

3# ^ftdl Hfrtidl ^ddSKlmPld^dMtUqFTil<lMKHf4<l4l

m, Hl4ddv^WHITOdl^qyi fi^FMdlRHlfact & dWH>l^<Mk«Hliddl
UlcHllcWlcRlfjMtolcI (cir^{T3sW1o^(id«hl^l^W^(6<\*i d I (ohRt^xicn^ldRMUUJjh^KJ ||
^ifsS:, ?5I - ^oll

yMdfc^i tjf^r l%d &ift M*4ft %d: |

fopi ihh) HddPtft^idra q^nd.
Wfti iH^hR^^piRTO: IR/ ^Sfdl

^ ^ _____ rv r\ ■ r\ rr .
t W <^kWifc ddwWN m rf g^RJjdlw^ I
mdWI^HRd^^H^^IMVdiiK
*p$d ^T f^RI ^PldJJ-d: II«/ ^fsf'll

5*. iff^eizn %
*rf4 c^fT 'ftlMuil^HlRd: |
R^ftd^fMd^rWJi

*4. 'h*Wpl 4PJ# ’ERPicft $

M !(£*>$ JRW I

248
 awlci
RR'fHFf: 11?^/ =5^ffs^ll
vso. wr w^ftf^ras^sr

TRcf Bg sn^Pi: fHti4l'Wl*4l<

|| ?vs/ =ggqfsg:||

3 mk d<I^MU[
NN ‘ rs *v \\ N N .
91r cUS*H4gdl *WHd 33 (KMwH I

'fcMHKMM WH f|5!tf: 3^fl ^Tf3I: II? ?/3^53:1

t}^U|l{|quiHN^MR. I

f^igwi ^^11^/ <ra4*Sf:||

*3.
f * A ?\ „ ,; _ __ __ ,

i# fowl: jiuwy<Htaw$Mfll

fqif: snrfr^t mfe. qgrctaoroor: n\c\ w^sf-n

&i. RlRni ftftdiRimrH^wi
jurorawrar H«iU*ii: HF^ i
3Pfff3ftg5ra «pi-
Xfgcl^f ^ferr ^*U II Wl WTtS3'll

PPf dri<M ^3 &4 ijfl: |

3HSm f^lc^ Mcl^ui Htm RRM
TO: HhtfKWfcHM: IR®/ WltS^II

«faftRfl3raftg »nir%a m ir V w*ftsg:ii

249
V*S.

cl^wrft f^SIT ?OTTW^cT-

Wlfcl Ufa 3>PT 5

'SC.
M^rRF^Pfaj jta+lftig fofcTT: ||^/q^S®ll

V*. 31^1 ^dKHlR^i^MtsQld^ |

dgirl H&taroiPti <W'T3I sfldiyftq 33: II3S/

Co. 333ft 33§ftcT 33-

yn^ft 3ft i{3i3 ?3 w R^fi^xi: 1

3 fSfaft 3 ^33 33P«J33: $MT-

||«o/ h«hI5S:||

<1 ^ 3 "3 $ft ^33^533 ft^rl 33T

^ 3
3> f3PpT ft 3^ <l*lul 33*: ^3T
3«3I^3 ft3c§ $3 =3 ^333 333333; mR/ «T5j4tSS:||

a.
33 5133^ 33T {fidl^ll 33& 33T IH?^/ H^h)^s:||

c%. ^/R/s\

G) (D (&
CTfc mm mm
mm

250