CHAPTER V

CRITICAL ANALYSIS OF RAS ARATNAKARA BHANA

THEME Unlike other BhZinas the R R B has no central story.

The Mukha does not state a particular purpose that could

find its accomplishment in Nirvahana. Several incidents

happening at the time of the Vita's tour are collected within

the frame work of a Bhgna. Each episode is complete in

itself, This is a stylistic peculiarity where the story is never

central, but constitutes only a frame in which free standing

proses and verses are arranged.

After PrastSvana, the Vita awakened from his sleep

enters. He is ready for a morning jaunt. He is at a loss as

to what he is to do that day. Then suddenly he remembers

his friend Madanaketana requesting him to be an interme-

diary with Madanamandira, a courtesan girl. Vita decides to fulfil his desire and take it as his duty to arrange the

union of the couple.

This is the main purpose of his journey. On the way he met with Navamalika, the intimate friend of

Madanamandira. On knowing the love sick condition of

Madanamandira vita feels that his task is more easy that

both of them were longing for each other. He promised herthat their union will take place that evening itself.

He wish to continue his journey through the courte-

san street to enjoy himself. On his way he met several

persons and incidents in the courtesan street. Firstly he

met Suvarnamallika, a young courtesan, the sister of

lndumati. She is going to worship Kgmadeva, the God of

love, to fulfil her desires. According to her request Vita

advices her the thousand names of Kamadeva.

Then saw a crowd under a mango tree. They are

looking at a satirical letter describing the foolishness of an

old Brahmin named DevadattaSarman. He tried to woo

GunamaEjari, a young courtesan. He contacted her mother

and pleased her with hundred gold coins. But Gunamaiijari

IS not ready to cheat her husband Kanakangada. But her greedy mother decided to please him in the guise of

Sunamaqari in darkness. She directed the old fellow to

the pleasure garden. On his way to the pleasure garden

the unlucky old man fell into a deep well. On hearing his

cry from the well at mid night the bawd and the companion

of the old man came and rescued him from that well. With

injuries all over the body and a belly filled by drinking wa-

ter went back to his abode. The story of Devadattasarman's

unfulfilled love is inscribed and exhibited by Citralekhan, a

funny young man.

Then he came across Vajramustjka, who has a hor-

rible look. According to the King's order he goes to

Citralekhan's house. Vita knows that such lampooning is a culpable offence and he will got a cruel punishment.

Then he came across Vidyullata, who is fatigue out of the union with her paramour. Her hypocracy and jeal-

ously towards Saudamini, who was prettier than her, are

satirically described. She tried to hide her union with her

suiter and reveals other's secrets.

On the way then he saw Pravalagatri, a courtesan

who is pregnent. Vita gives many advices which would be

followed during the pregnancy period. Here is a refer-

ence about purana recitation. Attending to purana recita-

tion is considered good during this pregnancy period.

Vita then found men of other regions. Some of these people are marrying young virgins and leave them

and go to foreign lands intent on making money. There

they steal money from poor people and give it to other

people's wives. Some other are well dressed idiots cany-

ing a load of books conceited and proud and who exhibit

their success before fools using high sounding words like

'Ghata' 'Pata'. When encountered with real scholars they

lost all their glory. Some other are taking bath in the morn-

ing and recite the names of Visnu with devotion and at the . . end of their lives they attain Moksa at the feet of Visnu.

The next person whom the Vita met on the street is

Vihabhuti, the son of a rich merchant. He is wandering

up and down the courtesan street like a mad man without

food, water, sleep and bath, after being rejected by

Vilasavati who is the best among the courtesans and who

has been in love with him from childhood. The reason is

that once he went to Sucindram town to participate in a

festival, with the permission of Vilasavati. Then a rumour

monger told her that Visvabhuti having fallen for a courte-

san there is spending his time with he indiscreatly. After

return from Sucindram town he went near her but she

rejected him with fiery looks. This was the cause of his

present condition. Vita offers his help and promises that

his desire will be fulfilled the nextday itself.

Then he met with Kumbhodari, wife of Musaladhvaja.

Her continuous sexual unions won her the popular title

Bhogini Vita tries to duck away from that intoxicated toddy

drunk evil woman by taking another route, but to his dis-

may was caught up by her.

Then the vita entered into the house of KalBsarasvati. On hearing the melodious music from her Vina. He didn't

know that her husband was there. Lucky for him Indusundara, her husband did not see him. He suddenly

come out of the house and thinks that one is careful to visit

a courtesan at inappropriate time.

Then the Vita met with a beautiful well-figured, well-

featured man, residing near Sangamesa temple who makes garlands. His visit to Thiruvananthapuram is to see the

marvellous beauty of the royal city.

The play ends with the description of the greatness

of lord sangameha. The poet says that Sangamesa gives

the whole world eternal happiness and acts as a ferry to

the sea of life.

THE VITA IN RASARATNAKARA BHANA

In R R B the poet does not mention the name of the

Vita He speaks in high poetic language. The Vita is addressed as 'bhava' a respectful term by all other char-

acters

The poet describes him as the doctor of love-sick-

ness '(Anangarogacikitsaka), an incompirable sea of kind-

ness2 (Nirupama KarunSinidhi), friend to sorrowful and the

saviour of destitute lovers3 (Arfabhandhu).

The Vita carries with him a long range of varied

experiences of a host of common people. He is described

as a native ofthe town, a delinquent who enjoyed amorous

life in full. He is thus femiliar with all the people, one and

all, in the streets of the courtesans4 which were seperately

situated in the town.

In the course of his journey in the courtesan street,

he indulges in cranks and mock disputes in love and also

settles disputes between the courtesans and their client at

times. He makes correct observations on the state of af-

fairs of several people in a satirical way.

In RRB the Vita is in all his glory. He is basically

satiric and comic. He is ready to protect his friends from

troubles. The couhesans during their love quarrel seek

h ~ s help.

DRESS AND MAKE-UP OF THE VITA IN RRB

In RRB the Vita is described as a handsome man

dressed in rich cloth and smeared with sandal paste and

perfumes. He weared white dress. There is a green tur-

ban on his shaven head and a red spot on his forhead.

There is a golden stick in his hand5. He considers that his

body, beautiful like a tender shoot and made more beauti-

ful by ornamentations, is capable of stealing the hearts of

the courtesans6.

These characteristics of the Vita give him the ap- pearance of an aristocratic gentle man of Kerala.

AS A SATIRIST Satire is a powerful weapon in literature. Its chief

object is to cure man in his oddities and aberrations and

thus do something wholesome for the society. Unlike

humour, satire retains an isolated identity, because the

satirists is to play the role of a judge or a critic of human

characters. Thus the utimate result of satire is doing good

to both in individual and society.

The story of RRB revolves round a Vita who wan-

dering round the street narrates several incidents involving

a lot of people in the different strata of society. He comes

across several persons whom he describes and goes on

satirising those people and their hypocritic activities. He

makes correct observations of several people in a satirical

way. The main object of the Vita in this BhSna is to satirises

certain aspects of the contemporary interesting manner.

The Vita ridicules man who have been deceived by

courtesans and bawds. His satire is directed against the licentious Brahmins, teachers and courtesans. He laughs

at the aged Brahmins who were longing forthe company of teen aged girls. They made payments to the bawds.

The activities of these characters in their search for sen-

sual pleasure are illustrated through suitable dramatic situ-

ation.

The desceptive nature of the courtesans and bawds

conveys the moral lesson that one should take good care

to keep away from them. They lost all theirwealth and are

beaten by the courtesan.

CHARACTERS SUVARNAMALLIKA

She is very beautiful courtesan girl. Her breasts

compete with half open lotus buds, eyes innocent and beau-

t~ful like the waves in the middle of palazhi , lips with the

loveliness of hibiscus and as splendid as the lightning in

the evening. The poet imagines that her eyes, like blue

water lily, is one of the arrows of Cupid and if cupid chances

to see her Rati will be divorced. According to the advice

of her mother, Suvamamallika goes to worship Kamadeva,

the deity of Madhukananesvara who destroys all accrued sorrows and gives sexual pleasures.

VEVADATTA~ARMAN Devadattaharman is described as an old man who

is proud, deaf, grey haired, flat nosed, pot-bellied, over

eighty, body covered with grey hair and bearing on the

chest the mark of the great sin of beating the princes as if it was a black mole. He tried to woo GunamaiTjari, a bueatiful

Courtesan. But she rejected his request due to his ugly

form. He then contacted her mother and pleased her with

hundred gold coins, Attracted by the old man's innumer-

able wealth her greedy mother decided to entertain him in darkness, in the guise of Gunamavari. The bawd di-

rected him to the nearby pleasure garden. But on his way

to garden the unlucky old man fell into a deep well. The

distressed companion of the old man sought the help of

the old woman and using a pulley fished him out of the

well. He returned to his house with broken knees, stom-

ach full of water and supported by his companion.

VAJKAMUSTIKA . .

Vajramustika, . . the royal servant, has a horrible look.

He has the colour of dark cloud, a brown turban and a red

shawl on his shoulder. He has fierce eyes and frighful

face with copper coloured beard and walking speedly with

an upraised sword. By the order of the commander,

Vajramustika went to bring Citralekhan.

v II>Y u L L A T ~

V1dyullat3 is a beautiful courtesan who is wasting

her days using the money she got from her paramours.

She is fatigue out of the union with her paramour. Her

hyprocracy and jelousy towards Saudamini, who is pret-

tier than her are satirically described. She tried to hide

her union with her suiter and reveals other's secrets.

PRAVALAGATRI Pravalagatri is a pregnant woman. She was bliss-

fully asleep when the Vita arrived at her house. He wakes

up her from sleep. The Vi!a advices her that pregnant

women should avoid sleeping on their back, hot water, hot

rice, tamarind and pepper.

'THE MEN OF OTHER REGION

They cover their proud head with soiled cloth and

cover their loins with an ankle length cloth. They wear

palmyra leaf umbrellas and have strands of disheavelled

hair hanging down their back.

Some of these people are after marrying young vir-

gins leave them and go to foreign lands to make money.

There they steal money from the poor and give it to other

people's wives.

Some other are well dressed idiots carrying a load

of books. They exhibit their knowledge before fools using

high sounding words like 'Ghats' 'Pata7' etc.

Some other are after taking bath in the morning,

recite the names of Visnu with devotion and making them-

selves happy through reverence before the idol. They are

interested in the study of PurSinas and proceed through

the four stages of manhood. At the end of their lives they

attain moksa at the feet of Visnu. . .

VISVABHUTI VisvabhlTiti is the son of a rich merchant. He is

wandering up and down the cortesan street like a mad

man without food, water, sleep and bath, being rejected by

Vilasavati who is the best among the courtesans and who

has been in love with him even from childhood. The rea-

son for their love quarrel is that once he went to sucindram

town to participate in a festival with the permission of

ViliLsavati. At that time a romour monger told her that

ViSvabhuti had fallen in love with a courtesan there and is

spending his time with her. The rejection of Vilasavati is

the cause of the present condition of ViivabhGti.

KlJMBHODARI

An old courtesan, wife to Musaladvaja. Her con-

tinuous sexual unions won herthe derogative title 'Bhogini8'.

KAI,/\SARASVATI

Kalzsarasvati is a very beautiful courtesan. As the

name suggests she is a brilliant musician. The melodious

music from her ~Tna attracts every one.

PROVERBIAL SAYINGS IN KASARATNAKARA BHANA

Wisemen make proverbs and fools repeat themg.

There is no community without a language and no lan-

guage without a proverb. It takes its impetus from folk

tradition.

Four qualities are necessary to constitute a prov-

erb-brevity, sense, piquancy and popularity. The modern definition of proverbs is that much matter compresed into

a few words. Mere brevity will not give an expression the

force of a proverb. It must present a serious thought and

expression. Piquancy means the wit that is embodies in a

genuine adage. In its wit the proverb expresses a pungent criticism of life which frequently has a flavour of cynicism

about it. Quality depends on the power of a proverb to do

more than amuse the hearer. A saying attains the rank of

a proverb when it is accepted by the people as true.

Generally, there are two kinds of proverbs. One is

popular proverbial saying and the other is literary proverb.

A popular proverbial saying is uttered spontaneously at an

unusual and emotion stirring incident or experience. The

second one is an outcome of literary workmanship.

Though, of the ten types of rupakas Bhana is con-

sidered to be short, it deals with the problems of society at the grass root level. This type of dramatic composition

bears a lot of social influence. A study of RRB reveals that

there is not only social awareness but also the influence of

Malayalam literature. It contains many proverbs as well as

popular usages current in the society. A study reveals

that they are the sanskritised forms of the popular

Malayalam proverbs and idioms. They find their presence in the present Malayalam dramas, novels, stories etc. These

proverbs were cbmmonly used by the people of those days

in course of their conversation and are even now very

popularly used by the people. In this play the proverbs

and usages form part of the dialogues. These proverbs

are uttered by various characters to justify their arguments,

thoughts and actions

It can be observed that the poet has properly made use of

some important and interesting proverbs with social or cul-

tural values popular in the contemporary society. These

proverbial sayings will inevitably convey certain ideas be-

yond their literal sense. One may come across six such

sayings in RRB.

( 1 ) Ah0 KEisilresu Kanthagatamuktahgra .,, ParimStganarnidZnh may3caritamf0.

My action is like the searching for a pearl chain-

laying around the neck-in the pond.

It shows how a foolish man will put a lot of efforts in

doing something which actually could have been accom-

pllshed through minimumwork.

This proverb flashes across the Vita's mind as he

sets out on a morning jaunt. He is at a loss as to what he is

to do that day. He spents his valuable time pondering over

various options. Then suddenly he remembers his friend

Madanaketana requesting him to be an intermediary be-

tween him and Madanamandira. It was foolish of him to

have wasted his time thinking about what to do when he

had a definite purpose in front of him.

(2 ) Kimatra gartaganangna apCpam8va bhaksyatam"

Eat the bread, need not search for the number of

holes in the plate that made it. It means -do what you have to do. Don't get caught up by

unnecessary details.

Dur~ng his journey the Vita met a beautiful maiden

named Suvarnamallika. Vita teaches her the thousand

names of Ksmadeva. She was amazed by his scholarship

and asks him where he got it from. Vit,a replies that it is

not necessary to search the source for everything. It is enough to concentrate on the given text.

(3) Sakalakaryasyapi Kiifyotpati v~a i r6 in~dn@~myas~a -

~ a k t ~ k s a ~ a K&+-anamf2.

Dlgg~ng for the cause of all things might weaken the

object

Conflne yourself to the appreciation of the object at hand It w~ l l be sheerwaste of time to dig into the roots,

and causes of the object. It might even weaken the object ~tself

As V~ta teaches Suvamarnallika the different names

of Karnadeva. She wonders where he got all those names

from He replies that she just need to know the thousand

names of Kamadeva and shouldn't bother about the sources

of these names. Such an enquiry might even destroy a

full apprec~ation of the thousand names.

(4) Lavanasana &a salilapZnam Karotu Kim jvayoh 13?

Those who have eaten sault will drink water. Let us

not trouble ourself with it.

This is a very popular Malayalam adage which means

that who ever is guilty will be punished and that one has

bear the consequence of one's actions.

Vita during his journey, comes across a highlypo-

lemic letter, hung from a mango tree lambasting the old

man Devadatta $arman, who on the way from a young

courtesan's house accidently fell into a well: The public

seemed to enjoy the letter. Vita knows that such lampoon- ing is a culpable offence and that the kings solidiers will

come in search of Citralekhan, the authorofthe letter. He

desociates himself from the whole affair by telling himself

let those who are guilty get the punishment.

(5) Paramarta Kathane sikyamapi hasatif4.

Even the 'Uri' ( a domestic accessory hung down

and made of coir) will smile when one tells the truth.

Even a lifeless object like Uri will show some kind of

reaction when the truth is disclosed. One cannot hide

oneself behind passivity when truth is told.

Vita goes to Vidyullata's house and hides behind a

curtain. She, sensing that some one is there and make

that person over hear, discusses with her servent the as-

pects of chastity. The irony is that she had a sexual en-

counter with one of her paramours just sometime back.

Vita comes out behind the curtain revealing his identity

and reminds her of the time when he has a union with her.

Suggesting that she need not preach on chastity. Vidyullata

blesses and covering her face with her palms and smiles.

Then Vita told herthat even the most inanimate things like

an 'Uri' will burst into a smile on hearing the the truth told.

(6) ~ a r n a ~ o ~ a s a r ~ a n & ~ h khalu rajano, ganikajano

gajSca ' 5 .

Kings, courtesans and elephants should be ap-

proached only at appropriate time and place.

It means that unless one is careful about the timing

of one's visit to all the three, one's intension might not be fulfilled and might even have face bodily haml.

Vita entered into the house of the various courtesan

Kalasaraswati on hearing the melodious music from her

~ ~ n a . He didn't knowthat her husband was there. Lucky

for him lndusundara, her husband did not seen. He gets

out of the house quickly and thinks that one is carefull to

v~sit a courtesan at inappropriate time.

' I ' H l NATURE OF THE HUMAN MIND

It is a very nature of man to get himself solised by

comparing his own sorrow, pain or demerit by comparing

with those of others. The heart rending sorrow of Yudhistira

left away from him when he heard the owful sorrow of

Nala. Some times people regained themself from the lose

of property merit or status. It is a natural instinct in hu-

manity. This psychological aspect has been deleneated in

the context of a courtesan finding fault or demerit with

other courtesans.

By describing the mental state of Vidyullata the poet

tries to reveal the nature of human mind. Vidyullata is a

beautiful courtesan. She is wasting her days using the

money she got from her paramours. Hiding her union with

paramours she find fault in Saudamini, who had a secret

affair with Samsidha, the master.

By introducing Vidyullata the poet satirises the mental

state of human being who hides the demerits of them-

selves and reveals others secrets.

'KHATA', 'PATA' It is not necessary that a poet is a scholar in

Darsanas. So it is natural that this poet might not have

been a great scholar. In those days there were forum of

scholars where ~imamsakas, Naiyayikas etc. prove their

sharpness in the knowledge of DarSanas. In such assem-

blies of scholars (VidvadsabhB) they are freeto attack the

vlews of others. The author of this BhZna also might have

participated in such assemblies as he was the court poet

of K ing Uttram Thirunal.

The poet does not spare the scholars from his

red~cule. He introduces some scholars from other regions,

who were well-dressed idiots carrying a load of book con-

ceited and proud and who exhibit their scholarship before

fools using high sounding words like 'Ghata' 'Pata' etc.

But when they encounterwith real scholars they loose all

their pretentions like a drop of water put in a red hot iron.

I >IIIZ MATICAL ELEMENTS IN RASARATNAKARA HHANA

RRB satisfy all the conditions prescribed for a

Bhana. It is a story of Vita ( DhOrtacaritam), is completed

with in a days time, and action is carried by a single char-

acter (ekaharya) using the technique of iikgsabhasita.

The theorists do not specify the unit of time for

Bhanas. The action generally takes place between the

sunrise and the moon rise of a single day. In RRB there

are descriptions of sunrise, midday and the evening. The

play would seem to end prematurally in the evening. Most

of the conversations with the Vita and the people he meets

on the way ends with the promise that he will arrange their

meeting with their lovers.

Normally in BhZinas the SCltradhara begins by de-

scribing the season of staging and the name of the author.

Then he describes the spring season. The spring season

is portrayed as instigator of love. The whole play is charged

with the mood of spring. It excites amorousness and

playfullness.

PKASTAVANA The contents of the PrastSvana in RRB are:

1 There are three Ngndi verses in RRB. In the first the

poet seeks the blessing of Lord SangameSaI6, through the

communion with good people. In the second verse seeks

the blessing of Lord Padmanabha". In the third verse the

poet prays that the thrills of ~ i v a , which were generated

from the ecstacy experienced by Siva when PSrvathi, who

was silent after a love-tiff embraced him fearfully when

Ravana playfully balanced Kailasa in his hands, may please

the audience.

2. Then the Sutradhiira enters. He mentions the occa-

sion of staging the BhanaI8, its nameqg and authorz0. There

is detailed description of his patron King Uttram Thirunal

of Vanci Kingdom.

SENTIMENT The main sentiment of the play is erotic, heroic, is

dropped entirely. The poet says that his work contains all

the sentiments2'. The name of the play suggest that this

play is the ocean of sentimentsz2. Hgsya and Karuna are

subordinate to the erotic sentiment.

HISTORICAL AND CULTURAL ELEMENTS

The poet was a great devotee of Lord SangameSa

of Kiitalmanikya temple and Lord Padmanabha of

Sripadmanabha temple. H expresses his devotion to these

gods in the NSndi, towards the end. Lord ~ a n ~ a m e ~ a is

described as carrying the mace, conch-shell and rosary

in his hands and wears a crown embedded with a dia-

mond. The poet refers to two flagposts made of gold and

silver in ThiruvananthapuramZ3. The poet imagines that

these are the banners of the fame of king of VaiiciZ4. The poet refers to pCiniyaSala infront of a beautiful lakez5. The

poet says that like a courtesan who alliviates the increased

heat of cupid, this refreshment shop, enjoyable, tranquit

and glorious makes everybody happy.

The brahmins were respected. Courtesans consid-

ered KSma as their family diety. The worship of Kama

and repeating his several name is described in detail. The

listening of purana recitation is considered auspicious dur-

ing the pregnancy period. The revealing of other's se-

crets and lampooning is considered as great guilt . The

poet refers to the practice of awarding cruel punishment

for violation of code of conduct. The hand of a person was

cut off for writing and publishing secret affairs of others26.

LITERARY APPRECIATION R.R.B preserves an important place among the

Bhanas of Kerala. The poet has a high sense of imagina-

tion which is evident in the description. The descritpion of

the noon is beautiful. The east and west are the wives of

sun. When the sun enjoyed the company of the love-lorn

red-east the west watched him with envy showing off her

curved eye brows as if it were the rainbow. When it be-

gan to get hot the sun went away: the east became

colourless. Distressed with the quarrel with them the sun

took a nuetral position high in the sky. The description of

nature here is very much attractive also it adds to the sen-

timent described2'.

The poet was quite familiar with the stage practices

prevalent then. One of the NZindi Sloka described the

Kailasoddharana practiced by the Cakyars. The quarrel

made by P h a t i on seing Ganga on the fire head of siva is presented on the stage as Pg~ativiraha by the actors.

And subsequent reconciliation conscequent on the lifting

of the mountain Kailasa as 'Kailasoddharana'. Similarly

there is another verse which beautifully described what is

called ekalocanam in the KGtiy3ttarnz8. . .

The desolate CakravZika looks angrily with one eye

the moon and the such with hope. The actor while por-

traying this scene has to express anger in one eye and

hope in the other simultaneously. Assimilation of such

contradictory bhavas is afond theme of actors. This prac-

tice is prevalent even from thetime of Vyangyavyaghya.

This is a very subtle way of presentation which can

achieved only by long training and experience by the art-

I st

RRB thus provides delightful moments for the readers and spectators alike.

CHAPTER V KI<FL:RENCE 1. R.R.B.

d w a ~ i ~ 4 1 i ' G . i k r c l h m a&rm~ m3offq I

2,3 - lbid, Verse -81

Vigvabhuti, the son of a rich merchent, was aban-

doned by his lover Vilzisavati, a beautiful courtesan

because of some misunderstanding. Then he requests

the help of the Vita to reunite them by introducing him as

an lmporiable sea of kindness and the saviour of desti-

tute lovers.

.ce< lmHl+gawqw-

~ . J . r R ; m ~ ~ ,-, h

~ 6 1 f l 4 1 4 1 € 1 ~ dFh- f 3 w w w r d W 3 ~ 1 1

4. lbid

The native place of the Courtesans are described as asri32.a

5. Ibid, verse 14

v~mamk- i vswJ3~1 m mT;i--l

.3KgyE.E.ziyymhdrm h - 1 1

b lb id , verse 15

d - m ~

m r l l i ~ w : m < u i m h- ~.mi .GG- i i jg?mm~l l

7 lb~d . verse 70

'The poet satirises the men ofother region - rn- T"-"('Sq<. . .

~ ~ T Z ~ R ~ ~ V ~ F ~ ~ J C C ~ ~ S ~ I

d h R d e m - - ~ ~ ~ ~ - ~ l ~ l p h e = i + ~ t flu%-7 purr% 1 , 8 I ~ d , verse ST

wj)6l(l~ ~"Jcu~rnl

I I r m q a mfIcm3m8 ad3om &JWlOauQeSm3 ?

12 ,y)cp ~3rn~rng~cssau~o &306mo csmsl am13qrmmi

,i),3rn~rn>la~ &mIoau @#~n36)6)~0

13 94 dClXUd 6 ) N S o &JSI&IJO

14 9 ~ 6 d0rnOnn3d 9 0 1 ~ ~ 0 dml&20

I ? ? ~ ~ w & w 3 d cnsml&~esrnmd mp,rn&d @mom m a u m a u d

rbal~~ilmm~(i3

I o The poet is a native of lriiljalakkuda. So he begins the

play by seeking the blessings of Lord Sangamesa of

Kutalman~kya Temple at IriRjalakkuda.

17 Under the patronage of King Uttram Tirunal of

Travancore he wrote this play. Sri Padmanabha is con-

s~dered as the royal deity of Travancore Kings. So sec- ondly he seeks the blessings of Lord Sri Padmanabha of

Sri PadmanZbha Temple at Thiruvananthapuram.

18. R.R.B.

M-*qmmrn

m: 19. lbld

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