Vada in Theory and Practice: Studies in Debates, Dialogues and Discussions in Indian Intellectual Discourses c10.s15.13

c10.s15.13

*Saṅkalpasūryodaya* of Veṅkaṭanātha in ten acts is modelled on *Prabodhacandrodaya* of Kṛṣṇa Miśra. It was composed at Śrīraṅgam, before its author flew from that place due to Mohammadan invasion.⁴⁴ Like *Prabodhacandrodaya*, the play depicts the symbolic fight between the two kings — Mahāmoha (Great Delusion) and Viveka (wisdom). Mahāmoha has followers like Vasanta (spring season), Rāga (infatuation), Kāma (love), Krodha (anger), Lobha (greed), Tṛṣṇā (thirst), Mada (intoxication), Kuhanā, Asūyā (zealousy) and Dveṣa (malice); whereas the protagonist is accompanied by his wife Sumati and is assisted by Vyavasāya (decision) as the army chief, Śraddhā (faith), Vicāraṇā (thought), Virakti, Viṣṇubhakti, Saṅkalpa (resolution), Buddhi (intelligence), Guru (the master) and Śiṣya (the disciple). Puruṣa (the Man) represents the Jīva (individual soul). The tussle between these two parties involves. It culminates in the emancipation of Puruṣa with the help of Viveka, Sumati, etc.