rapidity and of terrible overwhelming force, while the beneficent forces invariably work silently, as if underground, and slowly, bring about results after immense travail. The forces of destruction are always fierce, quick, concentrated, and overmastering, while those of the constructive order are slow and do not so much as advertise their presence. Compare the destructive work of a tornado or an earthquake or some devastating pestilence with the slow steps Nature takes in building up life and beauty and plenty all around. Learning this lesson from Nature's book, the Poet has appropriately kept the beneficent forces emanating from SUNDARA in the background while KUDILA is allowed to fill the whole stage with his wiles, plots, counter-plots and schemings of every type and variety. His pompous speeches of inordinate length swallow up also too much time. But all to no purpose. These disappear at last and leave not a 'wrack behind'. As , in the world of action, SUNDARA represents beneficence and grace, in the world of thought, he represents "compromise" between opposing views. He throws his weight towards the central part of the balance-beam to bring about an equipoise. When KARUNAKARAR and NISHTAPARAR, his two disciples, entered into a discussion on the ultimate problems of existence and life and held differing views about a man's duty - NISHTAPARAR standing up for absolute renunciation of action and espousal of Nishta or contemplation and KARUNAKARAR upholding the necessity of action such as doing one'' duty - SUNDARA intervenes and restores harmony (III.iv. 280-2). SUNDARA thus transcends the ordinary religious standpoint. His Philosophy takes him to a higher region of Reality where the doctrinal differences of religious get dissolved and disappear in an all embracing unity of faith.

Narayana

NARAYANA, the companion of JIVAKA, is a shrewd observer of men. His judgment of a man's character is invariably correct as JIVAKA'S is invariably wrong. JIVAKA is dull; while NARAYANA is sharp - witted. JIVAKA is unsuspecting and credulous; while NARAYANA can scarcely be caught napping. JIVAKA is serious and never slides down from his kingly dignity into any mirthful mood; while NARAYANA is all mirth and takes life quite easily. His appearing before the King with the tip of his nose touched with charcoal gives us an insight into the humorous vein in his character. In spite of this lighter side, NARAYANAN could probe into and understand the inwardness of events, their causes and their drift. Such a master-schemes as KUDILA pays him a handsome compliment (III.i.157-8) and also stands in mortal dread of him (IV.iii. 301-2). It is because of NARAYANA'S intellectual power to cast his searching lime-light into the dark recesses of KUDILA'S schemes that the latter is afraid of him. And rather than facing exposure at his hands KUDILA hit upon the