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This 补濒补峁卥腻谤补 occurs in many places in the play.

(i) This 补濒补峁卥腻谤补 is used to describe 笔腻峁囜笉耻 who had just now risen from sleep and is still yawning.

He is seen yawning with a loud noise; his eyes are ruddy; mouth is wide open, with a very thick and red long tongue, stretched out; and in this act his shoulders are lifted fully up with all his ten fingers twisted (II.8):

膩raktasa峁卥ucadap膩峁単amudagrada峁冡梗峁璻a峁僾y膩d膩ya vaktramurup膩峁璦lad墨rghajihvam |
uccairbhujau valayitau gr膩thit膩峁単ul墨kau kurvan sa艣abdamiha j峁沵bha峁嘺m膩tanoti ||

Here the appearance of a person as he is waking up is described quite naturally and hence the 补濒补峁卥腻谤补 is 艢vabh膩vokti.^[1]

(ii) There is a splendid natural description of a mid-day in the king鈥檚 garden鈥揵ecause of the heat of the sun, the beautiful peacocks are seen sitting near the waterfalls flowing down from the mountain; on the banks of the rivers, inside the holes of big trees, the snakes are seen sleeping enjoying the gentle breeze carrying the fragrance of the lotuses (IV.3):

膩s墨danti vi艣膩la艣aila艣ikharabhra艣yannad墨nirjhar膩峁�
  艣ukl膩p膩峁単akul膩ni s奴ryakira峁嘺i岣� 艣奴ny膩mara峁噛膩van墨m |
腻惫补谤迟补蝉辫丑耻峁璦辫耻峁囜笉补谤墨办补尘耻办耻濒补辫谤别峁卥丑辞濒补苍辞诲驳补苍诲丑颈苍腻
  t峁沺yanto 尘补谤耻迟腻 svapanti ca nad墨t墨re bile峁Ｅ玶ag膩岣� ||

(iii) The beating of the drums announcing the approach of mid-day makes the parrots in the cages flutter out of fear; and all who had who had been engrossed in different action stop their work and listen to the drum. This natural scenery is presented by the poet beautifully as an example of 厂惫补产丑腻惫辞办迟颈 (IV.2):

辫谤腻蝉腻诲辞诲补谤补辫耻峁�j颈迟补辫谤补迟颈谤补惫补辫谤腻驳产丑腻谤补诲墨谤驳丑墨办峁泃补峁�
  蝉补诲测补岣� pa峁�jaragarbha eva cakit膩nudbhr膩mayanta峁� 艣uk膩n |
k膩ryavy膩priyam膩峁嘺m膩navamukha峁� kar峁�antam膩tmonmukha峁�
  madhy膩hn膩gamas奴can膩ya pa峁璦ho dhatte 诲丑惫补苍颈峁� 迟腻岣峣迟补岣� ||

(iv) 厂惫补产丑腻惫辞办迟颈 has been handled effectively even while depicting an emotional moment. On seeing 闯帽腻苍补 艢补谤尘腻 who had for long been his friend and had been away for sometime now, king 闯墨惫补 is overwhelmed with joy and is moved emotionally beyond words that tears come from his eyes. His voice is choked as he controls his tears and addresses 闯帽腻苍补 艢补谤尘腻.

This moving scene is well presented by the poet quite naturally with no embellishments (VI.8):

膩tha suciraviyog膩t sa峁僤ih膩na岣� sakhitvekimapi viva艣acet膩 nirbharairhar峁�abh膩rai岣� |
kathamapi samuda艣rurb膩峁�pasa峁價uddhaka峁囜弓ho vacanamidamavocanmattaha峁僺asvare峁嘺 ||

Footnotes and references:

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[1]:

See, com. p. 82: cira峁僴idr膩bha峁卆gena ye kila 惫颈办腻谤腻岣� prak峁泃yaiva pr膩durbhaveyust膩natra 苍颈辫耻峁嘺峁� svabh膩vokty膩 nirvar峁噄tav膩n 办补惫颈岣� |