Chapter 1.5 - The Hero and Heroine (and their Friends and Messengers)

The last and the fifth adhyaya of this adhikarana discusses the types of the hero and heroine and their friends as well as their messengers. Vatsyayana starts this adhyaya as- "When kama is practised by men of the four classes according to the rules of Sastra with virgins of their own caste, it then becomes a means of acquiring lawful progeny and good fame, which is not opposed to the 55 customs of the world. Vatsyayana prohibits coition with a woman of a higher caste and with those already enjoyed by others, even though they may be of the same caste. He allows the practice of kama with women of lower castes, with women driven out from their own caste, with public women and with women twice married for pleasure only. 56 54 • iyamasya kamatamtra - sacivasya nitih | jhala . pr . 100 55. kamascatursu varnesu savarnatah sastratasca ananyapurvayam 56. prayujyamanah putriyo yasasyo laukikasca bhavati | ka . su . 1.5.1. avaravarnasvaniravasitasu vesyasu punarbhusu ca na sista na pratisiddhah sukharthatvat | ka . su . 1.5.3.

Hence, any woman who is fit to be enjoyed without causing any sin, is called a Nayika. Such heroines are of three kinds- Maids, Females twice married and Public women. 57 Gonikaputra adds one more type of heroine, who is already 58 married but helpful on some occasions. Those occasions are described by him at length. Carayana includes one more type of heroine, who is kept by a minister; or a widow who fulfils the purposes of a man to whom she resorts. According to Suvarnanabha a widow ascetic is the sixth kind of Nayika. Ghotakamukha says that the daughter of a public-woman or a virgin female servant is 61 the seventh kind of heroine. Gonardiya states that any 59 60 woman after entering the youth and born of good family, is 62 1 the eighth kind of heroine. Vatsyayana concludes that there are only four kinds of Nayikas. 57. tatra nayika stistrah kanya punarbhuvesya ca | ka . su . 1. 5. 4. 58. anyakaranavasat paraparigrhitapi paksiki caturthiti gonikaputrah ka . : ka . su . 1.5.5. 59. etaireva karanairmahamatrasambaddha rajasambaddha va tatraikadesadharini kacidanya va karyasampadini vidhava pamcamiti carayanah @T.8.1.5.22. 60. saiva pravrajita sasthiti suvarnanabhah | ka . su . 1. 5.23. 61. ganikaya duhita paricarika vada nanyapurva saptamiti ghotakamukhah ka . su . 1.5.24. 62. utkrantabalabhava kulayuvatirupacaranyatvadastamiti gonardiyah | ka . su . 1.5.25. 55

56 There is an elaborate description and division of heroines in the Sanskrit literature. Visvanatha, in his Sahitya darpana, mentions three types of heroines Sviva. Parakiya and Ganika. Sviya or Svakiya is once again divided into three types viz., Mugdha, Madhya and Pragalbha or Praudha. Madhya and Pragalbha types of heroines are again divided into three types viz., Dhira, Adhira and Dhiradhira. Once again they are divided into two types viz., Jyestha and Kanistha. Thus there are thirteen types of Svakiya. Including Parakiya, Kanya and Samanya there are totally sixteen types of heroines. Some of the authors of dramaturgy as well as erotic writers describe 63 eight types of heroines. All these types of heroines are described in Sanskrit literature. We get many examples to illustrate all the types of heroines. ' Mugdha, who is the popular type of heroine is defined by Visvanatha as a girl who has sexual urge for the first time due to youth, but who is adverse to coition and who has a little pride and more bashfulness. 64 Mugdha is so 63. svadhinapatika - khandita vipralabdha - prositabhartrka - kalahantarita abhisarika vasaka sajja Faretra front pam . sa . 5. 32-39, anamga . 10.62-70, dasaru . 2.23-27. 64. prathamavatirna-yauvanamadanavikara ratau vama | kathita mrdusca mane samadhikalajjavati mugdha || sa .da. 3.83. '

57 innocent that she does not understand even the fact that she is entering youth. Sakuntala, having seen Dusyanta thinks - 165 "Why have I, having seen this person; become susceptible to an emotion opposed to a penance grove?" Here, Sakuntala is entering youth. As she has grown up in the hermitage, she is unable to understand the feelings of her heart, which are coming out after seeing Dusyanta. The second epithet of Mugdha is her non-cooperation in sex-sport. Kalidasa describes Parvati as a Mugdha where he states- "Although she did not reply when addressed to, desired to go away when held by her upper garment, and slept on the bed with her face turned aside,still she gave delight to Siva. "66 The same type of experience was faced by Jimutavahana who describes the behaviour of Malayavati at the time of the first union. He says- "On being seen, she casts down her looks, on being addressed, she does not give any reply, while in bed she turns away from me. If embraced forcibly, she shudders. When the attendents are going out of the bed-chamber, she too would go away with them. 65. kim nu khalvimam preksya tapovanavirodhino vikarasya gamaniyasmi samvrtta | abhi . pr . 19. Ed. A.B.Gajendragadkar, Popular book store, Surat, 1946. + 66. vyahrta prativaco na samdadhe gantumaicchadavalambitamka | sevate sma sayanam paranmukhi sa tathapi rataye pinakinah || kumara . 8.2. ar Ed.M.R.Kale, Motilal Banarasidasa, Delhi,1967. 1 www th

My newly wedded wife brings me great happiness because of her crossness itself."67 Here Jimutavahana takes pleasure in the adverseness of his beloved. Agnimitra goes one step further and says- "She, trembling all over, obstructs the hand, the fingers of which are active in seizing the girdle; she makes her hands serve as a covering for the breasts when being embraced by force; she turns away the face with the eyes having beautiful eyelashes, when being raised up in order to kiss. Even under the pretext she does bring to me the pleasure in the form of fulfilment of the longing."68 Yayati not only describes the adverseness of Sarmistha but also shows her little pride. Having seen Sarmistha he utters- "It appears that she has gone by disregarding my instruction. However, her attitude is not adverse to me. Or, rather the minds of women-folk are perplexed at the time of their first-union. 69 Bashfulness which is one of the 59 67. drsta drstimadho dadati kurute nalapamabhasita sayyayam parivrtya tisthati baladalimgita vepate | niryantisu sakhisu vasabhavanan nirgantumevaihate jata vamatayaiva maidya sutaram prityai navoda priya || naga . 3. 4. Ed.K.Krishnamoorthy, Maruti Book Depot, Bangalore, 1952. 68. hastam kampavati runaddhi rasanavyaparalolamgulim hastau svau nayati stanavaranatamalimgyamana balat | patum paksamalacaksurannamayatah sacikarotyananam vyajenapyabhilasa-purana - sukham nirvartayatyeva me || mala . 4. 15. 69. tadanadrtya gateti gamyate mayi tasyah vimukhi na samsthitih | athava navasamgame mano mahilanam bhajate vimudhatam || yayati . 2.7 Ed.C.R. Devadhara, B.O.R.I. Poona, 1965.

characteristics of Mugdha is seen in the literature ever and anon. Sarmistha, having seen Yayati diverts her 70 glance. Malayavati having looked at Jimutavahana feels 71 abashed and slightly turns away her face from hin. Malavika having heard the words of her lover gesticulates 72 bashfulness. Thus, every heroine of the Mugdha type shows her bashfulness at the first sight of her lover. 59 Madhya, whose characteristics are smiles and sideglances, is described variously in the literature. Kalidasa pictures Parvati as Madhya thus- "After a few days, Siva with great difficulty caused his beloved to incline to love-sport. Having known the taste of love, she gradually abandoned her perverseness towards enjoyment. Pressed to She did not turn away his bossom, she embraced her lover. her face when it was desired by him. She became slack in obstructing his hand as it keenly searched for her girdle- "73 zone. 70. amgulivyajamalambyamukham parivartayati | yayati . pr . 8. 71. salajjam tiryak pasyanti kimcitparavrttamukhi tisthate | naga . pr . 52. 72. malavika lajjam natayati | mala . pu . 68. 73. vasarani katicitkathamcana sthanuna padamakaryata priya | , jnatamanmatharasa sanaih sanaih sa mumoca ratiduhkhasilatam || sasvaje priyamuronipidita prarthitam mukhamanena naharat | mekhala pranaya lolatam gatam hastamasya sithilam rurodha sa || kumara . 8.13, 14.

60 The third type of heroine is Pragalbha or Praudha, who is well-versed in the art of sex-sport and who is bold. We come across plenty of illustrations of Praqalbha. Visvanatha describes her- "She makes her husband a servant by embracing when she is embraced, by kissing when she is 74 kissed, by biting when she is bitten. Magha shows the skill of Pragalbha who embraces her lover tightly, having not given a chance to glance at her breasts to her lover 75 who has dragged her upper garment. Her, though she disappoints her lover by not showing her breasts, gives immense pleasure to him by embracing tightly. Kalidasa describes Parvati, who attained boldness- "The skill proper for young ladies which she learnt, when she became the disciple in private, of Siva, who taught her enjoyment, that same (skill) she offered to him by way of teacher's 76 remuneration. The suggestion of the poet is that Parvati became bold and displayed her skill in amorous sports. 74. samaslista samaslesat cumbita cumbanairapi | dastasca dasanaih kantam dasikurvanti yositah || sa .da. 3. 122. 75. uttariya vinayat trapamana rundhati kila tadiksana margam | avaristha vikatena vivodurvaksasthaiva kucamandalamanya || sisu . 10.42. Ed. Durga Prasada, Nirnaya Sagara Press, Bombay, 1888. 76. sisyatam nidhuvanopadesinah samkarasya rahasi prapannaya | siksita yuvati naipunam taya yattadeva gurudaksinikrtam || kumara . 8. 17.

61 1 Generally, Pragalbha takes pleasure in being decorated by her lover. We see such a picture in the Gita-Govinda in which Radha as a Pragalbha, tells her lover, the Lord Krsna- "Put the leaves on the breasts, draw the pictures on the cheeks, tie the girdle to the waist, braid the hair which are dishevelled, put the bangles and anklets on the hands 77 and the legs." Lover Krsna does all that she says. Praghalbha is the only type of heroine who acts like a man in sex-sport, the description of which is discussed in the next chapter in detail. These three types of heroines were divided on the basig of their behaviour in the cohabition. But, later writers like Jyotirisa and Kalyanamalla as well as some authors of dramaturgy have shown eight divisions of heroines on the basis of their mental condition and their position in the society. Among those, the first one is Svadhinapatika or Svadhinapurvapatika. Jyotirisa explains- "Experts call that beautiful lady as Svadhinapurvapatika, whose husband 77. racaya kucayoh patram citram kurusva kapolayoh ghataya jaghane kamcimamca straja kabaribharam | kalaya valayasreni pani pade kuru nupura- viti nigaditah pritah pitambaro'pi tatha karot || gita . 12.9. Ed.M. R. Telanga and W.L. Panasikar, Nirnayasagar Press, Bombay,1899.

meets her being interested in talking about love-sport. He does not leave her on account of passion. She is the 178 treasure of the art of pleasure of all sorts. Kalyanamalla states similarly: "She whose husband does not leave her due to passion, though he does not know much about sexology, who gets pleasure by coition only, is called #79 Svadhinapurvapatika by learned people. Visvanatha's 80 definition agrees with this. Radha is depicted as all types of heroine in the Gita-Govinda, which is an immortal work of Jayadeva. / The maiden, who decks all her limbs with various flowers, who is lovely, who is interested in sex, who has love towards her lover, who has fickle eyes, who waits 78. yasyah patirmilati kelikathanuraktah paparvah na mumcati manobhavavegayuktah | syatsundari sakalasaukhyakala nidhana svadhinapurvapatiketi vadanti tajnah || pam .sa . 5.32. 79. vairagyavan sakalakelikalakala su kanti jahati na sakasamanamgalaulyat | yasyah striyah surata saukhya vicarcita sa svadhinapurvapatiketi budhaih pradista || anamga . 10.68. 80. kanto ratigunakrsto na jahati yadantikam | vicitra - vibhramasakta sa syatsvadhinabhartrka || sa .da. 3.99. 62

83 81 for her lover for a long time is called Utkanthita. She having adorned herself thinks about the reasons of nonarrival of her lover. She becomes anxious to know the reasons. Jyotirisa as well as Visvanatha give the same annotations about Utkanthita or Virahotkanthita type of Jayadeva describes Radha who was waiting for Krsna at the appointed place at night. When Krsna did not come, she went on imagining the reasons for his nonheroine. arrival. There she utters- "Has he followed another beloved? Has he been stopped by his sport-mates? way in the forest due to darkness?"82 Has he lost his That lady is known as Vasakasajja, whose limbs are beautified by garlands, sandals and ornaments, whose eyes are fixed on the path of lover's arrival and who is reclining on the bed in her beautiful house. 83 Kalyanamalla gives the same idea thus- "She is called Vasakasajjika, 81. vividha -kusuma - kala bhusitamgi manojna suratarasavilola sanuraga svakante | nivasati catulaksi vasagehe ciram ya vara - kavibhirihokta sa kilotkanthiteti || anamga . 10.69. 82. yatkim kamapi kaminimabhitah kim va kalakelibhih | baddho bandhubhirandhakarini vanopante kimudmamyati || gita . 7.3. 83. strakcandanambaravibhusana bhusitamgi ya vallabhagamanamarga- virudha-drstih | talpamgata ruciravasa grhe'vasete sa kirtita jagati vasakasajjiteti || pam . sa . 5.34.

by learned people, who adorning herself, sits on the soft bed at night and awaits the arrival of her husband. 84 Jayadeva describes the activities of Radha when she was waiting for Krsna at night. "She puts on her ornaments to attract you. She suspects your arrival even when leaves are shaking. She stretches the bed. She thinks about you for a long time. She tries to spend the time by doing hundreds of things but she cannot pass the night "85 without you. The poet has described the various activities of Radha, which she did to kill time. is depicted as Vasakasajja. Here Radha Her characterThe fourth heroine is Kalahantarita. istics are as follows- "She goes away from her lover who 'bows down to her. She discards him with harsh words. After his departure she suffers due to separation. 1,86 6 / 84. vanita subhavasavesmani mrdusayyamadhivasini nisi | patimarga - cirarpitaksana kathita vasakasajjika budhaih || anamga . 10.63. 85. amgesvabharanam karoti bahusah patre'pi samcarini praptam tvam parisamkate vitanute prayyam ciram dhyayati | ityakalpa vikalpatalparacana samkalpalila - sata- vyasaktapi vina tvaya varatanurnaisa nisam nesyati 11 777.6.3. 86. krodhatprayati carane patito'pi kantah prayah pracandavacanaccaranairnirastah | pascattadiya virahaksaradanatamgi sa kirtitaha kalahantarita kavindraih || pam . sa . 5.35.

2 "She The Sahitya-darpana also explains in a similar wayis Kalahantarita, who neglects her lover in anger, but afterwords repents for her act. "87 Magha describes her 65 skill as follows- "She sneezes artificially when her lover goes out, being discarded by her. Her lover, though he 88 " Here, is in anger, stops there only due to ill omen. the heroine first disregards her lover, but when she comes to know that he is leaving that place, she having repented in mind, sneezes artificially to stop him with an ill omen. Bharavi gives a beautiful picture of this heroine- "Her eyes are at the door; hands are or the cheeks, life is after you. Why have you quarrelled with her? Such repeated words (of her maid servant) brought freshness to love."89 Here the heroine has sent away her } lover with harsh words. But now having regretted she is , waiting for him. Hence, her eyes are at the docr. She is thinking whether he will return or not! Therefore, 87. catukaramapi prananatha - rosadapasya ya | gralcatukatcalfa gaetakat a aT || FT.G.3.107. 88. apayati sarosaya niraste krtakam kamini cuksuve mrgaksya | kalayannapi sa vyathovatasthe sakunena svatih kiletaro'pi || sisu . 9.83. 89. dvaricaksuradhipani kapolom jivitam tvathi kutah kanaho'syah | arf¤arfufa da: gagadi glat zanzarafauty || forta.9.43. Ed. Pandita Durgaprasada and K.P.Parab, Nirnayasagar Press, Bombay, 1922. ma

out him. her hands are on the cheeks. She is unable to live withJayadeva beautifully sketches Radha as Kalahantarita through her friend, who convinces her thus- "You became harsh when he showed affection. You were stiff when he bowed down. You exhibited hatred when he was well disposed towards you. You turned your face when he 190 looked at you.' This is how Radha disregarded her lover Krsna. The poet continues- "Afterwards, in the evening Krsna with smile, spoke to Radha whose anger had come down and who was sighing continuously. (91 two adjectives of Radha express her repentence. Here, the The fifth type of heroine is Vipralabdha, whose lover having given appointment, does not come in time. She takes pleasure in the nectar-like words relating to her lover. er. 92 Visvanatha mentions the same opinion about this heroine. Radha in the Gita-Govinda laments- "Oh Krsna 93 68 10 . snigdhe yatparusasi yatpranamati stabdhati yadragini desasthasi yadunmukhe vimukhatam yatasi tasminpriye || gita . 9.2. 91. atrantare manasesavasamapara nisvamsanih sahamukhim samupetya radham | savridam .. dinante harirityuvaca | gita . 10. 1. 92. samketakam priyatamah svayamevadatva naivagatah samucite samaye ca yasyah | hrsta vacomrtarasaih sakalamgayastih sa varnita kavivarairiha vipralabdha || 4.HT.5.36. 93. priyah krtvapi samketam yasya nayati sannidhim | vipralabdha tu sa jneya nitantamavamanita || sa .da. 3.108.

has not come to this garden at the said time. 67 Now my youth, Being which has spotless beauty is rendered useless. deceived by the words of my friends, to whom should I pray to protect?" 94 lover has broken the appointment. Radha expresses her sorrow, as her She is eager to see him, to hear the words of her lover. disappointed by Krsna. But, now she is That woman, whose husband's eyes are red and lazy due to having no sleep and whose limbs are marked by all the signs of sexual sport due to the co-wife and who having arrived in the morning speaks sweet words with fear, is 95 called Khandita. This type of heroine is described in most of the kavyas. Kalidasa, the famous poet of Sanskrit literature, having imagined the lotus as Khandita and the sun is the lover, advises the cloud to leave the path to 94. kathitasamaye'pi harirahaha na yayau vanam mama viphalamidamamalarupamapi yauvanam | yami hai kamiha paranam sakhijanavamcita | 95. nikhila - surata - cinheramkitamkah sapatnya arunakalusanetri nidraya jivitesah | samayamadhuravakyah pratarabhyeti yasyah gita . 8. 1 kathayatti bharatastam khanditakhyam purandhrim || anamga . 10.62.

the sun, early in the morning, who is eager to wipe off the tears (dew) by his hands (rays).96 The poet Venkatesa refers to Khandita when he describes the morning. He writes- "There were Khanditas who were decorated by harsh words which were coming out on account of anger, at the sight of their lovers, who were embraced by other women... 97 etc. The eighth canto of the Gite-Govinda of Jayadeva contains the description of Khandita. Radha proves that Krsna has enjoyed another girl, by describing his every limb. The seventh type of heroine is Abhisarika. "Wise men call her as Abhisarika, who having decorated herself goes to the fixed place for love-sport with passion as well as 98 without shame. Jyotirisa describes in detail as follows- 96. tasminkale nayanasalilam yositam yanditanam santim neyam pranayibhirato vartma bhano styajatu | praleyatam kamalavadanatso'pi hutu nalinyah pratyavrttastvayi kararudhi syadanalpabhyasuyah || meya 697. anyamgana limgana-cinhadarsana ko pasamjata-katuvacana- manditasu khanditasu .... | srinivasa . pu . 124 Ed. Durgaprasada & K.P. Parab, Nirnaya Sagara Press, Bombay,1933. 98. madanakulita tinistrapa krtabhasa nisi gudhacarini | 39° surataya paralaye vrajet kavayastamabhisarikam jaguh || anamga 10.65. 69

69 "She, who lost her character at early age, who has lost control over her mind, who goes to other's house secretly for sex-sport, is called Abhisarika. 199 The Amarakosa also # - < defines Abhisarika in the same manner. 100 Such Abhisarika is referred to by many poets. Kalidasa describes the Abhisarikas who were going to their lover's house at night. Therefore, he requests the cloud to show the road by lightning only, because they may fear having heard his 101 thundering sound, Amaruka asks this heroine- "O beautiful one, where are you going in this thick darkness?" She answers- "To the place where my lover, who is the lord of my life, is dwelling." "O girl you are alone, do you not feel any fear?" "No, the cupid who possesses five arrows is with me for help. "102 This dialogue gives the 11 . arambhabhagnacarita vikala ca nari ya nirmita hi madanena madena yati | guptabhisararasika paravesma gantum sa kirtita kavivarairabhitariketi || pam . sa . 5.38. 100. kantarthini tu ya yati samketa sabhisarika | amara . 101. gacchantinam ramanavasatim yositam tatra naktam rudraloke narapatipathe sucibhedyaistamobhih | saudamanya kanaka nikasa- snigdhya darsayorvi toyotsarga stanita - mukharo ma sma bhurviklavastah || megha 102. kva prasthitasi, karabhoru ghane nisithe pranadhipo vasati yatra priyo jano me | ekakini vada katham na bibhesi bale nanvasti pumkhitasaro madanah sahayah || amaru . 68. --- 39.

description of Abhisarika. She has no fear at all. Hence, it is said- "There is no fear and shame for those who are .103 interested in sex. " 70 The last type of heroine is Viyogini or Prositabhartrka who is defined as follows- "She is Viyogin, whose husband is out of station and whose body suffers even due to the moon, the lotus and sandal etc. "104 The Pancasayaki and the Sahityadarpana give the same description of this heroine. Kalidasa's Yaksini, whose husband is far from her on account of the curse, is the best example for Prosicabhartrka. If the previous sixteen types of heroines come under the above mentioned conditions, we get one hundred and twenty Eight types of heroines. These heroines are once again divided as Uttama, Madhyama and Adhama. In toto we see three hundred and eighty four types of heroines! there may arise a confusion. But we should understand that the idea of their divisions is from Kamasutra. No doubt, According to Vatsyayana, the hero is of only one type 103. kamaturanam na bhayam na lajja | 104. dayite paradesa- samsthite prasisamke raha candanadibhih | paritapyata eva yadvapuh kathita sa kavibhirviyogino || anamga . 10.67.

J 105 who is fit to enjoy all the heroines. If he loves in 71 secret for special advantages, he is called a hidden hero, 106 hence he is the second type of hero. Both of these are called Uttama, Madhyama and Adhama according to their 107 qualities. The Kamasutra describes the special features of a hero as follows: Men of high birth, learned, who have attained general knowledge, poets, well-versed in story telling, eloquent speakers, energetic men, skilled in various arts, far seeing into the future, possessed of great minds, full of perseverance, of firm devotion, free from hatred, liberal, friendly, liking social gatherings, healthy, possessed of a perfect body, strong, not addicted to drinks, powerful in sexual enjoyment, sociable, showing love towards women and attracting them but not entirely devoted to them, having independent employment, free from 108 harshness and hatred. All the heroes, in the Sanskrit 105. eka eva tu sarvalaukiko nayakah | ka . su . 1. 5.28. 106. pracchannastu dvitiyah visesalabhat | ka . su . 1.5.29. 107. uttamamadhyamadhamatam tu gunagunato vidyat | ka . 1. 5.30. 108. mahakulinah, vidvana, sarvasamayajnah kavih, akhyanakusalah vagmi, pragalbhah, vividha - silpajnah, vrddhadarsi, sthulalaksah, mahotsahah, drdhabhaktih, anasuyakah, tyagi, mitravatsalah ghata-gosthi - preksanaka-samaja-samasya kridanasilah, nitujah, avyamgasarirah, pranavan, amadyapah, vrsah, maitrah, strinam- praneta lalayita ca na casam vasagah, svatamtra - vrttih, anisthurah, anirsyalu anavaramgi caiti nayakagunah 1 ka . su . 5.1.12.

72 literature, possess one or more qualities which are menVisvanatha tioned above. Pancasayaka also gives a list of the features of hero, which are the reflections of Kamasutra. in his Sahitya-darpana states the same. "Liberal, learned, of good family, graceful, with the ardour of youth and beauty, clever, a general favourite and possessed of spirit, wit and virtue these are the qualities of a leading character. On the basis of these qualities, 109 the character of the hero was divided into four types, viz., Dhirodatta, DhIroddhata, Dhiralalita and Dhiraprasanta. These heroes were divided once again into four types, viz., Daksina, Dhrsta, Anukula and Satha. types of heroes in the literature. Thus, we see sixteen These sixteen types of heroes were divided again into three types, viz., Uttama, Madhyama and Adhama. In this way there are forty eight types of heroes. All these heroes possess the qualities which are described by the Kamasutra. For example, Carudatta, the hero of the Mrcchakatika is described by Vita thus- "To the distressed, he is wishyielding tree bent down with the fruit of his virtues. To the virtuous he is a family head. To the learned he is the mirror. He is the touch-stone of the moral conduct and the ocean having righteousness for its coast-line. 109. tyagi krti kulina susriko rupayauvanotsahi | dakso snuraktaloka stejo-vaidagdhya - silavanneta || | FT.8.3.55.

73 He is hospitable and never shows dis-respect. He is a treasure of all manly virtues and he is courteous and magnanimous by nature. By reason of his manifold virtues, 110 he alone deserving praise really lives; while others are merely breathing. Sri Harsa sketches his hero through Mitravasu thus- "On the one hand he is an ornament to the royal race of Vidyadharas; well-read, esteemed by the good, matchless in beauty, rich in valour, learned, modest and youthful. On the other hand he would be prepared to give up his life even out of pity, since he is out to save all 111 Kalidasa's Dusyanta, Vikrama and Agnicreatures...etc. mitra, Bhavabhuti's Madhava and Rama, Sriharsa's vatsaraja and Jimutavahana, Bharavi's Arjuna, Harsa's Nala etc. possess one of the other quality mentioned by Vatsyayana. 110. dinanam kalpavrksah svagunaphalanatah sajjananam kutumbi | adarsah siksitanam sucaritanikasah silavelasamudrah | satkarta navamanta purusagunanidhirdaksinodarasatvo ddayekah slaghyah sa jivatyadhikagunataya cocchvasantivacanye || mrccha . 1.48. |||. yadvidyadhararajavamsatilakah prajnah satam sammato rupenapratimah parakramadhano vidvan vinito yuva | yaccasunapi santyajetkarunaya satvarthamabhyudyata- stenasmai dadatah svasaramatula tustirvisadascame || naga . 2-10-

74 After describing the hero and his qualities, the Kamasutra describes the nature of friends who help in the matter of love. The following are the kinds of friendsone who has played with us in the childhood, who is bound by an obligation, who has the same taste, who is a classmate, who knows secrets and faults or whose faults and secrets are known, who is the child of a nurse, who is brought up with us and who is hereditary friend. The Kamasutra advises that they should tell the truth, should not change by time, should be favourable according to the desire, should be firm, should be free from covetousness and should not reveal secrets. Vatsyayana opines that it is better to keep friendship with washermen, barbers, florists, perfumers, vender of spirituous liquor, beggars, cowherds, betel-leaf sellers, gold-smiths, Pithamardas, Vitas, Vidusakas and also with the wives of these 113 Kokkoka adds some more people who are fit to people. 112. sahapamsukriditamupakarasambaddham samanasilavyasanam sahadhyayinam yasvasya marmani rahasyani ca vidyada yasya cayam vidyadva yatrapatyam saha samvrddham mitram | pitrapaitramahamavisamvadavmadrsta- vaikrtam vasyam dhruvamalobhasilamapariharyamamantri vijnaviti mitrasampat | ka . su . 1. 5.35, 36. 113. rajaka - napita-malakara-gandhika-saurika - bhiksuka - gopalaka- tambulika - sauvarnika-pithamarda - vita - vidusakadayah mitrani | tadyosinmitrasca nagarakah syuriti vatsyayanah 1 ka . su . 1.5.37, 38.

1 75 become messengers. They are maid-servants, female friends, girls, widows, female astrologer, female servants of other's house, shop-keepers, foster mother and neighbours. Further, he says, citizens who are clever may use parrots, starlings, etc. as messengers. 114 We come across many examples which show that heroes were taking the help of the above mentioned persons to win the heart of their beloveds. Agnimitra takes the help of Vidusaka; Madhava wants the help of Kamandaki who is an ascetic, Vatsaraja takes the assistance of a magician, Sakara needs the help of Vita, Pundarika wishes the support of Kapinjala who is his fast friend, Candrapida desires the help of his maid-servant, Nala sends a swan, Upaharavarman takes the help of Puskarika and her old mother to win the heart of his beloved. Hence Kalidasa remarks- "One with an assistant is capable of accomplishing the object beset with obstacles. One, even though possessed of eyes, cannot perceive an object in the dark without a lamp. 115 1140 dasi sakhi kumari vidhaveksanika ca sairandhri | HTPMG-ATTALK-2016-zat gafuar a aeg-fagat || dhatri prativesmanika sthirabhava dutya etahh 79:1 sukasarikadayopi pratimapraya vidagdhanam || rati, 13-102, 103. 115. artha sapratibandham prabhuradhigantum sahayavaneva | gru aufa a grufa zida faar aayeft || NTM.1-9.

heng 78 The Kamasutra tells the hero to take the help of the companion, but the poets and dramatists expand the idea and apply this rule to the heroines also. Hence, Bakulavalika helps Malavika; Sakuntala seeks the help of Priyamvada and Anasuya. Susangata assists Ratnavali. Manorama supports Priyadarsika or Aranyaka. Vasantsena takes the help of Madanika, etc. Vatsyayana states that the following qualities should be possessed of by the messengersskill, boldness, grasping the intention by outward signs, absence of confusion, understanding other's hearts, capacity of reasoning, trickery, knowledge of time and 116 place, quick comprehension, swift and good planning. We see all these qualities in the above mentioned messengers. In the Kuttanimata, Vikarala, hence, suggests Malati to send a go-between who is clever and bold, who is able to understand the mind of the others and who is expert in speaking with duel meaning. 117 116. patuta tha - imgitakarajnata - anakulatvam paramarmajnata - pramanata prataranam - desajnanam - kalajnata visayabuddhitvam - laghvi pratipattih atutut ganjur: 1 &T.7.1.5.40. 117. catura pragalbhbhavati paracittajnana - kausalopeta | yojya tasmin dutirvakrokti - vibhusita prayatnena || kuttani . 89. 3