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According to the 狈腻峁瓂补艣腻蝉迟谤补, 狈腻峁璦办补 should contain all four types of styles (惫峁泃迟颈蝉) [cf. 狈腻峁瓂补艣腻蝉迟谤补.XXII.7.], i.e.

1. verbal style (产丑腻谤补迟墨惫峁泃迟颈),
2. grand style (蝉腻迟迟惫补迟墨惫峁泃迟颈),
3. gay style (办补颈艣颈办墨惫峁泃迟颈) and
4. violent style (补谤补产丑补峁�墨v峁泃迟颈).

1) Verbal Style (Bh膩rat墨v峁泃ti)鈥�

The Verbal Style is generally used in the prologue of the drama, because it has four elements, i.e.

1. propitiation (辫谤补谤辞肠补苍腻),
2. preface (腻尘耻办丑补),
3. garland (惫墨迟丑墨) and
4. the farce (prahasana).

The propitiation is the part of preface (腻尘耻办丑补). The ancillaries of 惫墨迟丑墨 (惫墨迟丑测补峁単补蝉) and farce (prahasana) are separate types of dramas, stated in the Da艣ar奴paka.

Preface (腻尘耻办丑补) and prologue (辫谤补蝉迟腻惫补苍腻) are synonym. It has five parts, i.e.

1. abrupt dialogue (耻诲驳丑腻迟测补办补),
2. story caught up (办补迟丑辞诲驳丑腻迟补),
3. excess of representation (辫谤补测辞驳腻迟颈艣补测补),
4. entrance (辫谤补惫峁泃迟补办补) and
5. continuance (avalagita).

Out of these, 耻诲驳丑腻迟测补办补 and avalagita are the parts of 惫墨迟丑测补峁単补蝉. According to the 狈腻峁瓂补艣腻蝉迟谤补 (XXII.35), the poet may construct prologue (腻尘耻办丑补) skillfully, taking the relevant one (out of five parts of preface). The 惭耻诲谤腻谤腻办峁�a蝉补 has applied all of these varieties of preface and all thirteen types of ancillaries of 惫墨迟丑墨 (惫颈迟丑测补峁単补蝉) as given below:

Story caught up (Kathodgh膩ta) 鈥�

When a character enters following the word of 厂奴迟谤补诲丑腻谤补, it is called 办补迟丑辞诲驳丑腻迟补. In the 惭耻诲谤腻谤腻办峁�a蝉补, 颁腻峁嘺办测补 enters following the word of Sutradh膩ra, viz. 鈥�办谤奴谤补驳谤补丑补岣� sa 办别迟耻岣� candram 鈥� abhibhavitum icchati鈥� is the 办补迟丑辞诲驳丑腻迟补.

Entrance (Prav峁泃taka) 鈥�

When a character enters following the description of a season, it is called 辫谤补惫峁泃迟补办补. In the 惭耻诲谤腻谤腻办峁�a蝉补, the verse (I.3), viz. 鈥�c墨yate b膩li艣asy膩pi鈥︹赌︹赌�惫补辫迟耻谤驳耻峁嘺尘补辫别办峁�a迟别鈥� is the description of the autumn season and 颁腻峁嘺办测补 enters following the description of the verse and hence it is 辫谤补惫峁泃迟补办补.

Excess of representation (Prayog膩ti艣aya) 鈥�

When a character enters through the observation of 厂奴迟谤补诲丑腻谤补, it is called 辫谤补测辞驳腻迟颈艣补测补. In the 惭耻诲谤腻谤腻办峁�a蝉补, 颁腻峁嘺办测补 enters through the observation of 厂奴迟谤补诲丑腻谤补 who describes in the seventh verse, viz. 鈥�办补耻峁璱濒测补岣� 办耻峁璱濒补尘补迟颈岣� sa 别峁�a 鈥︹赌︹赌� vi峁�adabhiyoga ityavaiti鈥� and hence it is 辫谤补测辞驳腻迟颈艣补测补.

Continuance (Avalagita) 鈥�

When an idea is transferred to another for desired effect, it is called avalagita. In the prologue of the 惭耻诲谤腻谤腻办峁�a蝉补, on the occasion of house matter, the word 鈥�办谤奴谤补驳谤补丑补岣� sa ketu鈥� transfers the desired ideaand hence it is avalagita.

Abrupt dialogue (Udgh膩tyaka) 鈥�

Udgh膩tyaka is the accidental interpretation, which brings out the intended meaning in the correct form. It is of two types, i.e. of the form of alternate word of secret sense (驳奴岣峢腻谤迟丑补辫补诲补辫补谤测腻测补谤奴辫补) and of the form of the sets of the question and answer (辫谤补艣苍辞迟迟补谤补尘腻濒腻谤奴辫补). In the 惭耻诲谤腻谤腻办峁�a蝉补, the first type of 耻诲驳丑腻迟测补办补 is used when the 厂奴迟谤补诲丑腻谤补 utters the word 鈥�办谤奴谤补驳谤补丑补岣� sa 办别迟耻岣�鈥�. The second type of 耻诲驳丑腻迟测补办补 is used in the first benedictory verse.

Humorous speech (痴测腻丑腻谤补) 鈥�

痴测腻丑腻谤补 is the word with enticement. In the dr膩r膩k峁�asa, it is applied in the statement of 厂奴迟谤补诲丑腻谤补, when he asked 狈补峁��� as to 鈥淲hether she has invited venerable 叠谤腻丑尘补峁嘺蝉 favouring his family or she has just welcome them as guests for these special preparation of meals? (kathaya kimadya bhavaty膩鈥︹赌︹赌�p膩kavi峁�e艣膩rambha岣� -udr膩r膩k峁�asa, Telang, p.58).

Deception (Chala) 鈥�

Chala is making enticement by the favourable words. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied when 狈补峁��� answers to 厂奴迟谤补诲丑腻谤补 that she has invited 叠谤腻丑尘补峁嘺蝉 because the moon is to be eclipsed (uparajyate kila 产丑补驳补惫腻苍 candra iti鈥摬殉芑灏�腻谤腻办峁�a蝉补, Telang, p.58).

Incoherent (础蝉补迟辫谤补濒腻辫补) 鈥�

础蝉补迟辫谤补濒腻辫补 is the useless advice to make someone fool by unrelated words. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied when 狈补峁��� gets false advice about the lunar eclipseand 厂奴迟谤补诲丑腻谤补 asks her as to who told her about this. (腻谤测别, ka evam膩ha鈥摬殉芑灏�腻谤腻办峁�a蝉补, Telang, p.58).

Mildness (惭峁沝补惫补) 鈥�

惭峁沝补惫补 is the falsification of good qualities and praise of bad qualities through the argument in opposite mode. In the Mudr膩r膩 k峁�asa, it is applied when 厂奴迟谤补诲丑腻谤补 says to 狈补峁��� that preparing meals for 叠谤补丑尘补峁嘺蝉 is useless and then allows her to prepare meals for worthy 叠谤腻丑尘补峁嘺蝉 because she is deceived by someone (tat pravartyt膩m bhagavato br膩hma峁嚹乶uddi艣ya 辫腻办补岣�, candropar膩gam prati tu ken膩pi vipralabdh膩si -惭耻诲谤腻谤腻办峁�a蝉补, Telang, p.59).

Abrupt remark (骋补峁囜笉补) 鈥�

骋补峁囜笉补 is the excess use of words with anger and excitement in the form of altercation. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied when 厂奴迟谤补诲丑腻谤补 recites 鈥�办谤奴谤补驳谤补丑补岣� sa ketu艣candra鈥︹赌︹赌�abhibhavitumicchati bal膩t鈥� (惭耻诲谤腻谤腻办峁�a蝉补, Telang, p.59)and it creates anger in the mind of 颁腻峁嘺办测补and being excited he says from behind the curtain 鈥�腻岣�, ka 别峁�a mayi sthite鈥� (惭耻诲谤腻谤腻办峁�a蝉补, Telang, p.60), relating to Candragupta.

Enigma (狈腻濒颈办腻) 鈥�

狈腻濒颈办腻 is the enigmatic speech in the form of making fun of others. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied when after listening, the word of 颁腻峁嘺办测补, i.e. 鈥�腻岣�, ka 别峁�a mayi sthite鈥� from behind the curtain, 狈补峁��� asks 厂奴迟谤补诲丑腻谤补, 鈥�腻谤测补 办补岣� punar别峁�a鈥︹�� Here the word 鈥�腻谤测补鈥� has the hidden meaning, which makes fun of 颁腻峁嘺办测补.

Out vying (Adhivala) 鈥�

Adhivala is the arguments between two persons comparing each other and both find their respective positions. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied when 厂奴迟谤补诲丑腻谤补 recites 鈥�kruragraha..鈥� from behind the curtainand 颁腻峁嘺办测补 says 鈥�办补岣� 别峁�a..鈥�.

Re-interpretation (Avasyandita) 鈥�

When one鈥檚 intelligence interprets the auspicious or inauspicious meaning is called avasyandita. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied when the intelligence of 颁腻峁嘺办测补 interprets the word 鈥�办谤奴谤补驳谤补丑补鈥︹赌︹�� with Candragupta. Therefore, 鈥�办谤奴谤补驳谤补丑补..鈥� is called avasyandita.

Triple explanation (Trigata) 鈥�

Trigata is that wherein more than one meaning is sheltered with the support of reasoning. It is applied when in the verse of the 惭耻诲谤腻谤腻办峁�a蝉补, i.e. 鈥�驳耻峁嘺惫补迟测耻辫腻测补苍颈濒补测别鈥︹赌�drutamupehi鈥� (惭耻诲谤腻谤腻办峁�a蝉补, I.5), 厂奴迟谤补诲丑腻谤补 shows that the qualities of his wife are the cause of the stability of meritorious worldly life, expertise in devising expedientsand accomplishment of three objects (dharma, artha and 办腻尘补).

Compliment (笔谤补辫补帽肠补) 鈥�

笔谤补辫补帽肠补 is the praising of someone, which creates the comic relief. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied in the verse 鈥�驳耻峁嘺惫补迟测耻辫腻测补苍颈濒补测别鈥︹赌�drutamupehi鈥� (惭耻诲谤腻谤腻办峁�a蝉补, I.5), when 厂奴迟谤补诲丑腻谤补 praises the qualities of his wife, as she is the ideal woman of morals in his house, instructor in all duties and she presents herself quickly when he needs her. She is the accomplisher of trivargas, also meritorious.

Repartee (痴腻办办别濒颈) 鈥�

痴腻办办别濒颈 is the playful talk in the form of question and answer. In the 惭耻诲谤腻谤腻办峁�a蝉补, it is applied when 厂奴迟谤补诲丑腻谤补 comes to know that something is going on in his house, because everybody is engaged in the work and it is looking like a festival. Therefore, he wants to know it from his wife and calls her. 狈补峁��� comes and orders to maintain formality. However, 厂奴迟谤补诲丑腻谤补 asks her to let aside the order for a moment (腻谤测别, 迟颈峁ａ弓丑补迟耻 迟腻惫补诲腻箩帽腻苍颈测辞驳补岣� -惭耻诲谤腻谤腻办峁�a蝉补, Telang, p.58)and wants to know what is going on in the house. Such amusing conversation with 狈补峁���, is 惫腻办办别濒颈.

2) Grand Style (S膩ttvat墨v峁泃ti) -

The possessing of the good qualities is the predominant feature of the grand style (蝉腻迟迟惫补迟墨惫峁泃迟颈). It requires appropriate words and actions in proper way. Therefore, it requires the application of sentiments like heroic (惫墨谤补), marvellous (adbhuta) and furious (raudra). The other features are like challenging, using abusive dialogues, breach of alliance. The 惭耻诲谤腻谤腻办峁�a蝉补 is based on 蝉腻迟迟惫补迟墨惫峁泃迟颈, because it possesses heroic sentiment as its main sentiment. The heroic sentiment is applied through the characters like 搁腻办峁�a蝉补 and Candanad膩sa. In addition to this, the 惭耻诲谤腻谤腻办峁�a蝉补 has also applied marvellous (adbhuta) and furious (raudra) sentiments in various places, which are also the part of grand style (蝉腻迟迟惫补迟墨惫峁泃迟颈), known through the characters like Candragupta, Malayaketu, 颁腻峁嘺办测补 and Candanad膩sa.

3) Gay Style (Kai艣ik墨v峁泃ti) 鈥�

The 惭耻诲谤腻谤腻办峁�a蝉补 however, has not made much use of gay style (办补颈艣颈办墨惫峁泃迟颈). The 办补颈艣颈办墨惫峁泃迟颈 is based on the erotic (艣峁涐箙驳腻谤补) and laughter (丑腻蝉测补) sentiments with other aspects like dance, song and sport. However these are not abundantly employed in the drama, except the laughter (丑腻蝉测补) sentiment is just reflected in some places of the 惭耻诲谤腻谤腻办峁�a蝉补, through the characters like 搁腻办峁�a蝉补, Ahitu峁囜笉ika, Nipu峁嘺ka, 艢腻谤峁単补谤补惫补, 厂颈诲诲丑腻谤迟丑补办补 and 碍峁�a辫补峁嘺办补.

4) Violent Style (膧rabha峁�墨v峁泃ti) 鈥�

The violent style (腻谤补产丑补峁�墨v峁泃迟颈) is less used in the 惭耻诲谤腻谤腻办峁�a蝉补. There is no use of fight, battle or any type of violence, except the killing of Parvataka in the off stage by 惫颈峁�a-办补苍测腻. However, there are some conflicts and altercations happen between Candragupta, 颁腻峁嘺办测补, Malayaketu and 搁腻办峁�a蝉补,. The violent style (腻谤补产丑补峁�墨v峁泃迟颈) is mainly applied when the sentiments like terrible (产丑补测腻苍补办补), furious (raudra) and odious (产墨产丑补迟蝉补) are observed. There is no use of odious (产墨产丑补迟蝉补) sentiment, but the furious (raudra) and terrible (产丑补测腻苍补办补) sentiments are made use of in some cases through the characters like Candraguptaand Candanad膩sa and other characters.