3.1. The heroes (Nayaka) and their characteristics

III : NETA, i.e. THE HEROES AND HEROINES—(A) THE HEROES (NAYAKA) AND THEIR CHARACTERISTICS—Dhanapala seems to have had Dhananjaya's views

714 before his mind's eye, along with the living personalities of his royal patrons like Siyaka, Munja, and Bhoja as also W the characters of Bana's Kad. and Harshacharita of Bana, when he conceived his heroes like Meghavahana, Harivahana and Samaraketu, and heroines like Madiravati, Tilakamanjari and Malayasundari. Of these, Meghavahana is so to say the Kathamukha-nayaka, Harivahana is the Katha-nayaka, and Samabaketu is the Pataka- -nayaka. It must never be forgotten, in view of Mammata's famous Karika regarding the ends of in Poetry and for that matter of all literary activity, served a multifold purpose in the Indian society of the times%3B it was a means of mass-education (vyavahara-vide) inculcating proper character- -building so as to enable people to avoid the pitfalls of personal and social shortcomings (sivetara-ksataye). While, on the one hand, it provided a higher type of delight (sadyah-paranirvrtaye), along with general knowledge of essential arts and sciences presented in a most palatable manner and easily digestible form (kanta-sammitayopadesayuje), on the other hand, it enabled a poet, successful in achieving all these, to earn spontaneous popularity (Yasase) and adequate financial return (arthakrte). Sanskrit poetry was never a mere harlot catering to the whims of the populace nor a means of an indiscriminate expression of normal or

715 abnormal psychological aberrations of one's repercussions to complex socio-economical environment in the name of literary democracy. Poetry has been, with Sanskrit authors, rather an ideal wife expected to combine the functions of a confidante, hard worker, loving mother, expert love-maker, willing companion in pursuits spiritual and tolerant of shortcomings. Thus, literature was expected to conduce to the well-being of the society rather than abnormality and unbriddled self-centered individualistic outlook. It is in this light that we have to appreciate the Sanskrit poet's insistence for an ideal hero and the Sanskrit rhetoricians' prescriptions in the matter. It was from these standards that the poetry of the times was evaluated, especially its 'Vastu' and'Neta' aspects. Naturally a an eminent poet like Dhanapalgased would be, and has to be, very scrupulous in adhering to these literary norms. That is why the prescribed normal qualities for a 'Neta' have been embodied in his 'Nayaka' so as to be easily recognizable both in the characters of his heroes like Meghavahana, Harivahana, Samaraketu and others, and in those of his heroines like Madiravati, Tilakamanjari and Malayasundari. We, therefore, pass on to the classificatory clarifications of the Nayakas of the Tilakamanjari of Dhanapala;

716 (1) Well-bred (Vinita): Meghavahana, Harivahana and Samaraketu are, all of them, well-trained in all the arts 28 and sciences. Modesty (vinaya) is also a prominent trait of the nature of both Meghavahana and Harivahana. Thus, Meghavahana's modesty is seen when he receives the Vidyadhara Muni with utmost humility and offers his whole kingdom along with his retinue in his service.29 30 (2) Charming (Madhura): Meghavahana, Harivahana and Samaraketu are all very handsome. Thus, King Meghavahana is compared with the goddess Laksmi in point of charm and with nector in point of pleasantness. Harivahana is also said to be very handsome right from his birth, and princesses of a number of great kings are said to be ily constantly looking at his extraordinary handsome figure which was comparable to that of Nalakubara.32 Samaraketu, though of dark complexion, is also said to have been very 33 handsome. (3) Liberal (Tyagi): Meghavahana offers his very head when the Vetala requests for it. 34 Similarly, Harivahana undertakes the mystic penance just to save the lives of the Vidyadhara couple and actually requests the propitiated deities to do the favour to Anangarati.35 28. Tilakamanjari,p.13(1); 79(12ff.); 114(17ff.). 29. ibid., p.25(20ff.). (Ft.nts.30 to 35 contd. on p.717)

717-718 (4) Competent (Daksa): Meghavahana is an able ruler as is evident from the description of his regime. 36 Harivahana is also an able and efficient master who rules by love rather than by powers. (5) Affable (Privamvada): Meghavahana's affability in speech is evidenced in his dialogues with the Vidyadhara Muni, the Vetala, the goddess Sri and also with his subordinates. Harivahana's culture in sweet-speaking is revealed in his dialogues with his friends like Samaraketu, Gandharvaka and with Malayasundari. 38 (6) Popular (Raktaloka): Meghavahana was a very popular king with his subjects as he is called 'the Lord of 39. the people in the literal sense). Prince Harivahana was also a beloved king of his friends and subjects as he had afforded protection to every creature, had arranged for regular worship at the temples of all the religious faiths, had pleased all the good people and mendicants, and had given them relief by lessening the burden of the taxes. 30. Tilakamanjari,p.14(5). 31. ibid., p.77(19). 32. ibid.,p.163(9ff.). 33. ibid., p.276(18ff.). 34. ibid.,p.51(23). 35. ibid.pp.397-401. 36. ibid.,p.15(9ff.). / 39. ibid., p.12(22ff.): / 40. ibid.,p.427(4ff.). 37. ibid., p.26(2ff.); 32(12ff.); 49(4ff.); 50(5ff.); 51(15ff.); 55(12); 55(17ff.); 57(19ff.); 59(14ff.); 81(7ff.);81(22ff.). 38. ibid.,p.109(17ff.);111(11ff.); 113(7ff.);241(20ff.); 257(23ff.). 40

719 (7) Upright (Suci): Meghavahana was a man of purity in speech and action. He readily accepts the advice of the 41 Vidyadhara Muni, obliges Jvalanaprabha by accepting the necklace, 42 and straightforwardly asks the boon of a son in Madiravati, from the goddess Sri. Similarly, Harivahana 43. is also pure at heart in that he at once assures Tilakamanjari about his being harmless at the very first meeting 44 with her in the bower. Samaraketu is rather inferior to both in this respect. (8) Eloquent (Vagmi): Meghavahana's cleverness in speech is illustrated in his talk with the goddess sri, 45 while that of Harivahana is evinced in his appreciation of the unidentified love-letter and his dialogue with Gandharvaka as regards the merits and demerits of the potrait of _46 Tilakamanjari. (9) Of Exalted Lineage (Rudhavamsa): Both Meghavahana and Harivahana are born in the line of illustrious kings 47 like Bharata, Bhagiratha, Dilipa, Dasaratha and the like. (10) Resolute (Sthira): The mental firmness of Meghavahana is seen in his regulation of life both in duty 41. Tilakamanjari,p.31(6ff. :. ). 42. ibid.,p.45(5ff.). 43. ibid., p.58(16ff.). 44. ibid.,pp.248-250. 45. ibid., pp.59-60. 46. ibid.,pp.109-110; 166-167. 47. ibid., p.27(17-20).

720 and enjoyment, while that of Harivahana is seen in his equanimity both in happiness and misery. (11) Youthful (Yuva): Meghavahana, Harivahana and Samaraketu are all young men, the last to being in thair late teens. 48 of (12) Intelligent, Energetic, Having Good Memory, Wise, Artistic and Dignified (Buddhi-utsaha-smrti,prajna-kalamana-samanvita): Meghavahana's intelligence is seen in his talk with the Vetala, enthusiam in his persistence in the propitiation and care for the people, memory in the assurance about fuafaaaang the fulfilment of the prediction the Vidyadhara Muni when Madiravati saw the dream, wisdom in passing his kingdom to Harivahana when the latter came of age, art in his life in the harem, and dignity in his dealing with his subordinates. Harivahana's intelligence is revealed in his interpretation of the unidentified love-letter, enthusiasm in his persistence in the penance for propitiating mystic Vidyas, memory in his enquiry about Tilakamanjari just after his attainment of the emperorship of the Vidyadharas, wisdom in the administration of his kingdom, art in his appreciation of the portrait of Tilakamanjari and the effect of his lute-playing on the mad elephant, and dignity in his relation with Samaraketu, Tilakamanjari and others. Samaraketu is also not far behind them in these qualities. 48. Tilakamanjari, TH. 276 (19).

721 (13) Heroic (Sura): Meghavahana's bravery is seen in his victory over his enemies, and in his encounter with the Vetala. Harivahana's bravery is seen on the occasion when the mad elephant kidnaps him away and begins to fly, Samaraketu's bravery is rather tarnished by his recourse to a night-attack. (14) Mighty (Drdha): Meghavahana, Harivahana and Samaraketu are all of them men of sturdy physical build. (15) Vigorous (Tejasvi): All the three Meghavahana, Harivahana and Samaraketu are heroic by mature. But the poet has brought out the heroism of the first and thes last ones more prominently than that of Harivahana. (16) Well-versed in the Lores (Sastra-caksu): Both Meghavahana and Harivahana conduct themselves in accordance with the procedures laid down in various treatises on Socio-polotical science (Dharma-sastra and Artha-sastra) in matters of statecraft and follow the Erotics in matters of love. Samaraketu is rather weak so far as the statecraft is concerned. (17) Just Observer of Religious Etiquette (Dharmika): Meghavahana, Harivahana and Samaraketu are all of them regular in their daily worship of their family deities. The first two are exemplary in their devotion to Lord Jina, while the last one is rather given to physical pleasures.

722 From another point of view, both Meghavahana and Harivahana are of the DHIRODATTA type, since both are highly energetic, very sagacious, forgiving, never given to self- -praise, steady, dignified though humble, and unflinching These 49. 'These quain their efforts for attaining the desired end. lities can be seen in them in the following instances: (1) Of Great Excellence (Maha-sattva): Meghavahana's fortitude and energetic disposition is seen respectively in his resolve to undertake penance for obtaining a son, and in the consolidation of his political hold and administration in his young age. Harivahana is likewise unmoved even though the elephant kidnapping him began to fly/ His courage is seen in his single-handed attempt at taming the mad elephant. (ii) Exceedingly Serious (Atigambhira): Both Meghavahana and Harivahana are sagacious by nature. Meghavahana did not allow himself to be boisterous even though he succeeded in his deadly penance for the propitiation of the takes goddess Sri. Similarly, Harivahana also ma emperorship of the Vidyadharas rather easily. the (iii) Forbearing (Ksamavan): Meghavahana is very generous and forgiving as is seen in his attitude to Samaraketu. Similarly, Harivahana is also generous to the extent 49. c£ • Dasarshpaka of Dhananjaya, II, 4 cd & 5 ab: mahasattvo'tigambhirah ksamavanavikatthanah ||4|| sthiro nigu ‌dhahakarom dhiroda to dr ‌dhavratah |

723 of offering his whole kingdom to Anangarati, and he is very much merciful even to the wild beasts so that he does not like to kill them for sport. (iv) Unboastful (Avikatthana): Neither Meghavahana nor Harivahana are given to boasting about any of their achievements. (v) Resolute (Sthira): Meghavahana's steadfastness in love is seen in his wish to have a son from Madiravati. Similarly, Harivahana's steadfastness is exemplified in his attempt at suicide when he receives from Tilakamanjari an unexpectedly shocking letter and loses all hopes of ever obtaining her. (vi) With Self-assertiveness Suppressed (NigudhahanKara): Both Meghavahana and Harivahana are men of utmost dignity in their behaviour towards even the super-human agencies like the goddess SRI, and saints. Their authority is fully matched by their humbleness. (vii) Firm of Purpose (Drdhavrata): Meghavahana does not give up his penance even when the Vetala demands his head. Nor does Harivahana swerve from his resolve of successfully completing the mystic propitiation inspite of various physical threats and psychological temptations. SAMARAKETU, the Pataka-nayaka, is a close and beloved associate of Harivahana, in comparision to whom he

724 is slightly inferior. Of the above-enumerated qualities, Samaraketu lacks fortitude since he is easily shaken by the ups and downs of life, and he is rather unsteadfast in his love, right from his former existence as Sumali who forsook his beloved Priyamvada for the sake of enjoyments with Svayamprabha; of course, he has improved much in this respect in his birth as Samaraketu. And his egotism gets revealed during his fight with Vajrayudha. Moreover, he is a man of the world and his love has more of the earthly element than the ethereal one. As Dhanapala does not want to depict any type of rivalry in his Katha, there is no scope for a Pratinayaka or a villain in his plot.