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Sundarananda, her lover, is a man of Superior intelli-gence, well-educated, and well-versed in the arts of war. He is a Dhirodaita, to use the expression of the Sanskrit dramatists, and, in the language of Surabena, he is . an incarnation of meekness and gentleness, and is a poet as well as a songster. His learning is manifest in his explanation of the name Thiruvappantir and in his references to Ahapporul Ilakkanam (Act III, Scene 6). The most remarkable trait in his character, besides his love to God, is his great attachment to his parents, of whom he thinks with pious affection and tearful eyes, when they are doomed to suffer the hardships of exile and when he is himself oppressed by the pangs of love. Another noble brait in him is his gratefulness to his benefactors. -
Satguna, his father, is an incarnation of virtue. Full of piety and calm in judgment, he is loved by his subjects as well as by his enemies. His wife, Sundari, is a good match for him in every respect. • .
Suchila, his dutiful minister, is a subtle psychologist and sees through Surasena. He is convinced that virtue will triumph independent of extraoneous aid. His ministerial tact is manifest in the scene where he negotiates peace between Surasena and Virendra, +
Surasena, father of the heroine, is rough, rude and revengeful. His conquest has, as his daughter says, made him ambitious and hardened his heart. He would yield to no persuasion but force. It was only when his forces failed that he conferred with his minister. The only redeeming point in his character is that he is capable of remorse, and it is probably due to this fact that he is not murdered, though he richly deserves it, for his tyranny. .
Jnanadipa is a sage indeed. He is very hospitable to strangers, and his learned lore is manifested in the scenes where his disciple appears. Unmindful of worldly honours, he rebukes prince and peasant alike for their folly. - -
Vidya Sagara, the ocean of learning, is the Guru to the Prince and his asSociates, All revere him for his wisdom, and quote his verges and sing his songs—most of all, Ambujakshi, a clever songstress. The scene in which he figures before Surasena and thunders forth his highly eulogistic verses commemorating Surasena's late victory followed by his learned interpretation thereof, is comical enough, when viewed in the light of his question ‘Am I to be beaten ?' But this apparent inconsistency illustrates a not uncommon occurrence among human beings, viz., that when fear overtakes a man, his learning quits him and his faculty of argumentation is at a stand.
Chandramukha and, Sukumara are the companions of the Prince to whom they are firmly attached. The former relies upon experience and human effort för success in life while the latter resigns everything to the will of Providence. Hence these two characters represent two great schools of iPhilosophy, -
