The hero of this play is a historical personage, the king Pururavas of the lunar race, the ruler ot Pratisthan and son of Budha and Ila. He is, by nature, of a gallant type of hero and by conduct sly in his dealings, as he keeps himself attached to Urvashi even at the cost of the displeasure of his queen Aushinari. As a gallant type of hero he is always found lacking in self-assertion (cf.ननु वज्रिण 1-19). He is unmindful of the failings of his people (cf. Vidushaka's breaking the news and loss of भूर्जपत्र later on). He is magnanimous throughout the play. He is full of valour (Cf...कस्मा परित्रातव्या etc.) and is always resolute in his undertakings.
Turning to the assistants of the hero, we find, पीठमर्द्द, the first, who is the hero of the पताका, a devout assistant to his master and smart in discourse. Next is विदूषक who is his constant companion, administrator in his love-affairs, a man of ready wit and plays a part which helps the general denouement of the play. There are others, like विट, नट, शकार and similar ones who are proficient in one art only. Besides this, the hero may be aided by his political or ecclesiastical ministers, ascetics and friends and eunuchs, mutes and others as well. At times there is a Rival Hero, or प्रतिनायक who is just the contrapositive to the main hero, being rapacious, bold and of evil conduct.
As the assistant of the hero of this play, there is only one, by name Maņavak, who plays the part of the clown in the drama. He is always jocund in his spirit and cracks jokes even at the expense of the hero. He is very shrewd (Obs. his replies when he lost the भूर्जपत्र), and he always takes delight in setting the two balls against each other (Ref : श्रान्तोऽस्मि प्रियवयस्यमस्या मृगतृष्णिकाया निवर्तयितुम्).
The heroine whose qualifications are more or less similar to those of a hero is classed under three types : स्वीया- the married wife of the hero; अन्या or परकीया, one belonging to some one else; सामान्या or a common woman. The first is of three kinds : मुग्धा, मध्या and प्रगल्भा; the second of two kinds: परोढा and कन्यका; and the last is of its own kind. They are again of various kinds: e. g. अभिसारिका, she who herself condescends to go to her lover or invites him to her residence,and कलहान्तरिता=-wrathful, and so on. For her assistants, she may have सखी, दासी, धात्रेयी (nurse-), प्रतिवेशिका (neighbourly woman), and the like, who have similar qualities to those of
