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痴补迟蝉补谤腻箩补, the court poet and minister of Paramardideva and Trailokyavarman is the author of the 罢谤颈辫耻谤补诲腻丑补. He is the only author, who has contributed some valuable and rare types of dramas to the Indian classical literature. The 罢谤颈辫耻谤补诲腻丑补 of 痴补迟蝉补谤腻箩补 is the best example of 岣宨尘补 type of drama.

The 艢ivapura峁嘺 (chapter. 5-7) is the source of the 罢谤颈辫耻谤补诲腻丑补 drama. It is a fight between gods and the mighty Tripur膩sura. Tripur膩sura, who used to trouble the three-worlds, was killed by 惭补丑别艣补 in a planned attack. The story of the 罢谤颈辫耻谤补诲腻丑补 is a little bit changed by 痴补迟蝉补谤腻箩补 to suit the drama. It is well planned and composed by 痴补迟蝉补谤腻箩补.

痴补迟蝉补谤腻箩补 has followed almost all the rules stipulated by Bharata and 顿丑补苍补帽箩补测补. However, in some cases, he has ignored certain rules. For instance, he has not used some 产丑奴迟补 and 辫颈艣腻肠补 like characters. Again, Bharata has prohibited that the scenes of war etc. should not be shown on the stage. However, 痴补迟蝉补谤腻箩补 has shown war scenes in the third act, where Sarvat膩pa and 碍腻谤迟颈办别测补 fight with fire arms.

Bharata states that there should be sixteen well-known and exalted heroes in 岣宨尘补; however, 顿丑补苍补帽箩补测补 states that the 岣宨尘补 should have sixteen heroes, who are haughty. In the 罢谤颈辫耻谤补诲腻丑补, 痴补迟蝉补谤腻箩补 has used more than sixteen heroes, who are both exalted and haughty. It must be observed here that characters like 骋腻苍诲丑补谤惫补蝉, 驰补办峁�a蝉, Mahorogas, Bhutas and Pretas are not used in 痴补迟蝉补谤腻箩补鈥檚 岣宨尘补. Further, it should be observed that neither Bharata nor 顿丑补苍补帽箩补测补 advocate the use of the female characters, because they are not useful in 岣宨尘补. However, 痴补迟蝉补谤腻箩补 has used the weaker characters like 笔峁泃丑颈惫墨 and 艢别峁�a, who could be considered as the female characters that are tortured by the demons.

痴补迟蝉补谤腻箩补 has used all the three styles i.e. 叠丑腻谤补迟墨, 厂腻迟迟惫补迟墨 and 膧rbha峁��� in the 罢谤颈辫耻谤补诲腻丑补. He has used 叠丑腻谤补迟墨v峁泃ti in the prologue. Since there are more gods than the demons, 厂腻迟迟惫补迟墨v峁泃ti has dominated the drama, which indicates the heroic sentiment. Since the 罢谤颈辫耻谤补诲腻丑补 has very few violent scenes on the stage, 膧rbha峁��� can be considered to have been prevalent. Thus, 痴补迟蝉补谤腻箩补 can be stated to have used the three styles justifiably.

痴补迟蝉补谤腻箩补 has also applied all the six sentiments in the 罢谤颈辫耻谤补诲腻丑补, i.e. furious, heroic, terrible, pathetic, odious and marvellous. However, it should be noted that since the plot is violent, furious and heroic sentiments are more prevalent. The other sentiments are used as the subordinate sentiments whenever necessary.

痴补迟蝉补谤腻箩补 has employed perfectly four junctures with the combination of elements and actions except the pause (惫颈尘补谤艣补) juncture, which is prohibited in the 岣宨尘补 type of drama.

痴补迟蝉补谤腻箩补 has employed necessary technical aspects whenever the drama needs. However, it must be observed here that 痴补迟蝉补谤腻箩补 has used 痴颈峁�k补尘产丑补办补 in the second act, in which two low types of characters are speaking in Prakrit language, which is prohibited by Bharata (狈腻峁瓂补艣腻蝉迟谤补, XX.33).

痴补迟蝉补谤腻箩补 wanted to show that, as the part of the administration, peace was established in the society. It was a high cultured society, but disturbed by the regular attacks from other kings and foreign invasion. Therefore, he sent out through his drama a strong signal to the people to be united. The prime motto of 痴补迟蝉补谤腻箩补 was that people and the king should be united to ward off foreign invasion. Further, it should be noted that the 罢谤颈辫耻谤补诲腻丑补 reflects the fact that the society is neither good, nor bad; but it is a mixture of both.

痴补迟蝉补谤腻箩补s drama indicates that women were not safe in the society. They were troubled by the stronger male population. However, the society had given all types of freedom to women such as learning, working, choosing their own partners etc. Thus, as far as the women are concerned, Candel kings were moderate.

At the end, it can be stated that the 罢谤颈辫耻谤补诲腻丑补 is based on the political reality that India was invaded by Muslims. Symbolically, the demons represent Muslims and gods represent Hindus. It is symbolic that 惭补丑别艣补, at the end of fourth act, declares the names of those gods who have helped to win the war (vaikun峁環a岣� 鈥︹�︹��sl膩ghase 苍腻谤补诲补 鈥揑V. 22). 惭补丑别艣补 knew that if his kings are weak, the other powerful kings would occupy the state, because the land of the weaker section of society is always invaded by the stronger section of the society (durbal膩n bali峁ａ弓hai岣� gh膩tayanti鈥摪瞻�颈辫耻谤补诲腻丑��.I).

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