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All the above mentioned characters possess important roles in the stories and help to carry forward the momentum of the narrative by increasing the interest of the reader.
The world of womenfolk is none the less interesting in KumāPra. Female characters are found in the role of a queen, chief-queen, courtesan (ganikā), harlot (vesyā), supervisor of harlots (bāiyā, akkā), step-mother, co-wife, female ascetic, nun as well as pseudo nun, female messenger, female slave, fortune-teller, acrobat, snake-charmer, gardener and in many other vocations.
The picture of the society reflected in KumāPra, really provides a rich cultural data fathoming the genuine way of life, of the masses.
C] Woman-Focused Narratives
We cannot make a separate class of stories as 'woman-focused stories' because these stories can be included in the above mentioned classification. But when we focus our attention on the female characters of the narratives, we come to know instantaneously that womankind reflected in the narratives is one of the salient feature of KumäPra.
Eight narratives are named after women. ( 21 p.151; E-G714162 p.181; fload 1 p.220; ladie p.230; 1941 p.237; 744-44 p.243; 74Uf1055217 p.253; tiffe p.407). In six narratives out of 57 female characters have no important role to play (3742f866211 p.23; ITR5211 p.129; Slechtge 241 p.92; 19741 p.402; HTR21 p.415; theles-af44 pp.447-450). Barring these six stories, in each and every story, leading role are played by women as an infant, child, unmarried girl, recently married young woman, middle-aged woman and as an old woman. We find housewives, courtesans, harlots, nuns, queens, princesses, servants, wet-nurses, slaves, beggars and women doing small occupations. Numerous references of female deities are noteworthy.
We should give full marks to Somaprabha because he had cautiously avoided one sided picture of a woman. Some of his female characters are noble, exalted, generous, liberal and loyal but some of them are mean-minded, quarrelsome, vicious, miserly, jealous and self-willed. Many of the ladies are neither too good nor too bad. The famous topic of 'stri-ninda' is not high lightened in any of the narratives.
Somaprabha's feministic approach can be seen from the below mentioned observations:
* As we have seen, the householders of the merchant class are dealt with in almost every narrative. The references of their long business tours occur frequently. "The sexual life of their wives'-is a family problem as well as a social issue. Somaprabha has grasped this problem and tries to solve. It in his own way. (ufahamit 44-4704211 p.244; Pri hr-fe2 p.407; site) ar 127 p.237)
* Normally, 'sva-dara-samtosa-vrata' is interpreted from the viewpoint of a male śrāvaka but Somaprabha mentions specially that, "the lady so and so accepted the vow of 'para-purusa
tyāga'." The feministic interpretation of the vow, given by Somaprabha is really noteworthy."
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