3. The sentiment (rasa) of the Ramavarmavilasa

The main sentiment of the play [ramavarmavilasa] is Srngara. Love germinates in the hero and heroine when they see each other neer the confluence of the two rivers Kanaka and Kaveri. The king after seeing the princess says that his mind has been carried away by the charioteer Cupid in the crystal chariot of the buttocks of the Vidyadhare princess as she gently left for her palace. 214412112112-12-211-2-2-100 & 1211212/11! nitam mano madiyam nitambabimbena manirathenaiva 11" 16 Ibid., Act.I, p.38 16

595 The lambana vibhava is the king. The uddiosna vibhava is the beauty of the heroine. From the statement of the hero it is evident that Cupid has shot his arrows at him and that the hero has fallen in love with her. Here the first stage of vipralambha Srigara viz. Abhilasha is seen. After the departure of the heroine, the longing of the hero for the heroine increases steadily with the result that he is always immersed in thoughts connected with her. His body becomes femished and pale. The messenger Sarangaka describes his condition as follows. kimapi vapusi jyaniglanirmukhe gamanam muhuh skhalitamalase netre matradhikah svasanilah ! iti vivrnute cintasantapamesa manogatam kathamapi punadhairyatkaryantarani ca gahate || " "His body appears aged. felter time and again. His face is femished. His stops His eyes are dull. His breaths are of long duration. All these describe his sorrowful and thoughtful state of mindwhich some how due to resoluteness indulges in other affairs." From the description, it is clear that the king has reached the cinta stage. The hero expresses his longing for his beloved in the following verse. na samadhigata purva kacidvakarsavidya na khalu gagana margollamghane naipunam va ! tadapi suvadana tam svapnavrtyajyalaksya mabhilasati mano me hanta ! kasto manobhuh || 17 Ibid., Act. II, p.41 18 Ibides Act. II, p. 53-54 18 17

536 11 Neither the art of attraction, nor the skill to go in the sky has not been learnt (by me) earlier. Alas! Oh Cupid! Still my mind desires that girl of beautiful countenance who cannot be got even in droem. Hore the alamhona vibhava is the hero and the uddipene vibhava is the beauty of the heroine. While the hero suffers thus, the heroine equally undergoes pengs of love. The river goddesses take pity on them and they meet each of them. They speak words of succour and promise them to bring about their union as early as possible. They take a necklace from the hero to the heroine as token of love to alleviate the agony of the latter. At last the hero and the heroine are united in wedlock thenks to the efforts of Kenska and Kelamanjari. In act III, there are some elements of the sentiments Vira and Bhayanaka. When the demon Pingalakshe goes through the sky warning the hero of danger if he covets the hand of the Vidyadhars princess, the heroine is filled with fear. Further, when the vidusheke cries for help saying that he is manhandled by a demon, the hero takes his sword and makes himself ready to go to his aid. Fate again separates the couple. In the fourth Though act, the hero is undergoing pangs of separation. the heroine is agein united with the hero by the power of Kelemenjari, their union does not last long; for the hero's first wife, suspecting her lord's conduct, comes to

chastise him. Here the Vipralambha Srigare of the mane (Irshya) type starts 1ts course. Princess Rasacandrika 597 on seeing the coming of the queen disappears by her magical power. The king receives the queen endtries to please her. But that proves to be of no avail. She goes alone in anger. Ultimately, with the help of Kelamanjari end Kanaka, the king is not only able to remove his first wife's anger but also to get her acquiescence to princess Resecandrika becoming her co-wife. Thus the union of the hero with his queen brings about the play of Sambhoga Sengara at the end of the play. From the above, one can find that the sentiment Brigara has been developed in a consistent manner. In the third net, Viprelembha and Sambhoga Srngeras alternate with each other.