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Canto I

The first canto viz. 苍补尘补蝉办补谤补惫补谤峁嘺苍补 records the salutation of the poet to Lord 艢颈惫补 and other divinities as well. First of all, 惭补峁卥丑补办补 lauds 艢颈惫补 in lofty terms and admires the fire of his third-eye. The theme of the poem (i.e. the burn of Tripuras) has been hinted at the very first stanza of the poem, by referring to the 苍别迟谤补艣颈办丑颈辫谤补诲墨辫补. The poet further mentions synonymous words like 濒辞肠补苍补辫腻惫补办补 etc. to praise the fire of the thirdeye. The description of the 艣补谤腻驳苍颈 i.e. fire of arrow of 艢颈惫补, again indicates the destruction of the demons as its subject-matter. Then the Ganges and the crescent of the moon, 艢颈惫补鈥檚 补迟迟补丑腻蝉补 i.e. the loud laughter, his body besmeared with ashes etc. are described. Thereafter, the poet pays tribute to 骋补耻谤墨, 颁补峁囜笉颈办腻, 叠谤补丑尘腻, Hari, 尝补办峁�m墨, 厂补谤补蝉惫补迟墨, 骋补峁噀艣补, Skanda, 碍腻尘补诲别惫补, 础谤诲丑补苍腻谤墨艣惫补谤补 and to spring season. In the concluding verses, 惭补峁卥丑补办补 once again eulogizes 艢谤墨办补峁囜弓丑补.

Canto II

As the very title suggests, the second canto i.e. 蝉耻箩补苍补诲耻谤箩补苍补惫补谤峁嘺苍补 gives description of the merit of the good as well as demerit of the wicked persons. Besides, it portrays the virtues of superior poets as well as worthlessness of the inferior poets. Again, the poet tells about the causes and elements of poetry also. According to the poet, though the bad person always tries to find fault and intends to criticize even flawless poetry, however, an excellent poet remained unharmed by such mean comments. Instead of getting disheartened, a good poet gets encouraged. 惭补峁卥丑补办补 further opines that spontaneous control over words and meaning, use of harmonious words, apt use of rasas are some of the striking characteristics of a great poet. Inferior poets imitate great poets, but fail to suggest sentiments and convey the proper beauty of a poem. The poet mentions the two causes of poetry such as 艣补办迟颈 and vyutpatti, which could be acquired by the grace of goddess 厂补谤补蝉惫补迟墨. 惭补峁卥丑补办补 refers to the elements of poetry, which are as follows-words, senses, style, 驳耻峁嘺蝉, 补濒补峁僰腻谤补蝉, absence of fault, vakrokti and rasas. Among these, vakrokti i.e. the indirect speech and rasa are the most vital parts.

Canto III

Canto III provides description of the country (in the present context, it denotes Kashmir, the home-land of the poet) and the lineage of 惭补峁卥丑补办补, the poet. According to the poet, 厂补迟墨蝉补谤补, otherwise known as Kashmir is a renowned place, situated in the northern direction. It is a place wherein, Kali cannot enter. Kashmir is a wealthy province, encompassed by the mountains. Again, here there is inflamed three types of sacrificial fires at the houses of the twice-borned. During the winter season, the females take part in some amorous activities with their consorts, which enliven the god of love with new life. Charming lotuses bloom magnificently in the lakes of this country. It is said that the king of the snakes i.e. 惭补丑腻辫补诲尘补n膩ga dwells in a lake of Kashmir. Herein this place, the snakes are free from fear, as 骋补谤耻岣峚 do not harm them, for 惭补丑腻辫补诲尘补 having footprints of his master i. e. 痴颈峁ａ箛耻, on the head. Again, this country delivers saffron to the rest of three worlds. Not to speak of the scholarly people, even the children of this country are learned by the grace of the 厂腻谤补诲腻, the goddess. The prominent Gods like 惭补丑腻诲别惫补, Hari as well as 尝补办峁�m墨 inhabit in Kashmir. The wooden form of Lord 艢颈惫补 known as 碍补辫补峁璭艣惫补谤补 dwells in the water of this country. The rulers of Kashmir are celebrated for their faithfulness regarding safeguarding of their subjects. There are two holy rivers Sindhu and 痴颈迟补蝉迟腻, unite and flow through this country. The city Pravara, by name is located in this country. The poets of this place express vigour and suggest sentiments in their poems, but refrain from too much indulgence in puns. 惭补峁卥丑补办补 gives a description of his pedigree, wherein he, at the outset, provides information regarding his grandfather Manmatha, who got royal patronage, also favoured the learned people. A virtuous, generous person, Manmatha was an austere devotee of Lord 艢颈惫补. His son 痴颈艣惫补惫补谤迟补, endowed with the virtues of his father, had four sons viz. 艢峁涐箙驳腻谤补, 叠丑峁涐箙驳补, 础濒补峁僰腻谤补 and 惭补峁卥丑补办补. All of them were virtuous, generous, learned, eloquent and modest. Of them, the youngest one i.e. 惭补峁卥丑补办补 was appointed as an officer in the affairs of the protection of the subjects (辫谤补箩腻辫腻濒补苍补辫耻谤耻峁�a), by 闯补测补蝉颈峁僪补, the king, son of king Sussala. Eventually 痴颈艣惫补惫补谤迟补 abandoned his body at the temple of Ra峁嘺sv膩min and took the combined form of Hari and Hara. The poet gives a description of the circumstances that led to the composition of his poem. He states that once at the 11^th day of a fortnight, while sleeping, in a dream, his deceased father appeared before him and advised 惭补峁卥丑补办补 to compose a poem, in praise of Lord 艢颈惫补. In compliance to the command of his father and to eulogize Lord 艢颈惫补, 惭补峁卥丑补办补 began to compose the 艢谤墨办补峁囜弓丑补carita.

Canto IV

In this canto, 惭补峁卥丑补办补 gives a fine description of the mountain 碍补颈濒腻蝉补. According to him, the mountain 碍补颈濒腻蝉补 is situated in the north of Kashmir. The 碍补颈濒腻蝉补 is the residence of Lord 艢颈惫补. With its brightness, the mountain is comparable to the sea-waves and the rays of the moon. It extends over the atmospheric region and through the nether world. The images of the deer, on dazzling crystalline rocks, make the valleys of 碍补颈濒腻蝉补 fascinating. Lord 艢颈惫补 is fond of this mountain 碍补颈濒腻蝉补 and makes it a replica of Himself. The earth rests on the 碍补颈濒腻蝉补, the holy river 骋补峁単腻 flows on this mountain. Again, the fire of the third-eye of Hara makes it reddened as well as the beams emitting from the crystals surround it. The day of 碍补颈濒腻蝉补 becomes, as if, transformed into night because of the shady rays of 艢颈惫补鈥檚 throat, whereas, the night appears to be a day for the light of the crystals. Here, during the dance of 艢颈惫补, the dusts are raised, spread over the sky and take the shape of the luminaries. The king of the mountains i.e. the 碍补颈濒腻蝉补 is full of heaps of gold. The light wind blows herein 碍补颈濒腻蝉补 and the water-fountains flow. The females of the demi-gods, like the Kinnar墨s, dwell in the caves as well as the 痴颈诲测腻诲丑补谤墨蝉 take part in some amusing activities on the valleys of the mountain. The divine couple 艢颈惫补 and 艢akti cheerfully resides here. It appears, as if, 碍补颈濒腻蝉补 worships the Lord, as it culls flower from the trees, offers gaja-mauktika, smoke of scents in form of clouds, illuminates lamps of sun-stones, provides water of moon-stones, carry out beautification with dusts of hilly stones, supplies fruits, execute music of divine minstrels etc. The sun reflecting on the rocks of the mountains makes it appear like gold. The sun is not capable of melting the snow that covers the mountain. The mountain 碍补颈濒腻蝉补, when reflected on the 惭腻苍补蝉补谤辞惫补谤补, seems like the king of the serpents as if, coming out to behold the loveliness of the earth. The Alak膩pur墨 is located on the lower part of this mountain. The 碍补颈濒腻蝉补, with all its paraphernalia is comparable to itself only, however, Mandara, the mountain is similar to it to some extent, but the Sumeru, the hill is not at the same benchmark of it. The moon-beam, smile of 骋补耻谤墨 and the loud laughter of 艢颈惫补 only are some of the things of its equal standard.

Canto V

Canto V gives a pen-picture of Lord 艢颈惫补, as found in the mythological accounts. The poet describes that 艢颈惫补, the God of the gods lives in 碍补颈濒腻蝉补. All the gods like 叠谤补丑尘腻, Hari, Indra and others worship Him. He is pleased to them, who bow down their heads to Him. 艢颈惫补 slayed 骋补箩腻蝉耻谤补, 础苍诲丑补办腻蝉耻谤补 and Tripuras. During the killing of the Tripuras, Mandara, the hill acted as the bow and 痴腻蝉耻办颈苍腻驳补 was made the bowstring. At the end of a cosmic age, He annihilates the three worlds, created by 叠谤补丑尘腻 and protected by 痴颈峁ａ箛耻. 艢颈惫补 keeps a pitcher of ambrosia and an axe as well as bears the celestial river 骋补峁単腻 and the crescent moon on the matted lock of His hair. 艢颈惫补 wears gajacarma, contains poison in His throat and keeps a human skull in His hand. Some enraged and poisonous snakes wrap His body. The three-eyed God, travels on the back of an ox, capable of moving in the three worlds. Desireless persons take recourse to Him. His wife is 骋补耻谤墨. He takes a combined form of Himself and 骋补耻谤墨, viz. 础谤诲丑补苍腻谤墨艣惫补谤补. He, who burnt to ashes 碍腻尘补诲别惫补, pervades the three worlds with eight figures viz. the sun, the moon, fire, air, the earth, water, sacrificer and the sky (箩补濒补峁� vahni岣�stath膩 ya峁ａ弓膩 蝉奴谤测腻-candramasau tath膩/ 腻办腻艣补峁� v膩yuravan墨 m奴rtayo鈥欋梗峁璦u pin膩kina岣�// Abhij艌膩na艣akuntala峁�, 辫谤补蝉迟腻惫补苍腻, page 2). 艢颈惫补 dances at every evening in combination with His spouse and with ardent zeal, every one gazes at it.

Canto VI

The description of the spring season is found in canto VI of the 艢谤墨办补峁囜弓丑补carita. 惭补峁卥丑补办补 describes that at the advent of the spring, the black-bees begin to hum, after drinking the honey from the blossoms of mango trees. Beholding the 笔补濒腻艣补 and 础艣辞办补 flowers, the love-smitten females cast aside their pride and vanity and get united with their lovers. The heat of the sun lessens, as the sun moves away slowly from the south direction. Fresh and exhilarating wind blows, carrying the scent of sandal-wood that grows in the Malaya Mountain. Various flowers like lotuses, Kunda, Tilaka, Campaka, 惭补濒濒颈办腻 etc. bloom. The separated lovers and lovelorn ladies feel much affliction during this time, at the day hours being extended and nights reduced. The cuckoos, that were silent beforehand in the winter, begin to sing in this season. The separated people keep a distance from the mango trees considering them being the army of the god of love. The lustre of the moon also torments them. The beloveds are however being adorned by their young lovers, with flowers. The 础艣辞办补 flowers bloom at the stroke of feet of the ladies. The wind of the spring is mild, the sky becomes clear, water is pleasing and the earth too is clean. Even the minds of selfrestrained sages become agitated, at the sight of the trees, with twigs shaking. It appears, as if, 碍腻尘补诲别惫补, triumphs over the entire world, through the southern breeze, the moon, cuckoos and black-bees. The flowers of Kuravaka tree, with black-bees sitting on them becomes attractive to look at. Again, the blooming creepers, with black-bees appear to be the bow of 碍腻尘补诲别惫补 along with arrow attached to it. It seems, as if, the spring is protecting the manifold assets of the god of love.

Canto VII

In canto VII, 惭补峁卥丑补办补 is found to have described the swinging sports enjoyed by Hara and 骋补耻谤墨, when the spring season is in full swing. Hara along with His spouse goes out to witness the grandeur of 碍补颈濒腻蝉补, the mountain. The trees are adorned with branches and flowers. 艢颈惫补, being amazed at the sight of the exquisite beauty of the spring, draws the attention of 笔腻谤惫补迟墨 and persuades Her to observe it. He gives a description of the blooming lotuses, 笔补濒腻艣补s, Kuravakas etc., also make Her listen to the sweet sounds of the cuckoos and humming of the black-bees. According to 艢颈惫补, the southern breeze, the blossoms of mango trees-all excite carnal desire in the minds of its listeners. Besides, He describes the miserable condition of the separated couples. In the footsteps of his Lord, 狈补苍诲墨, the son of 艢颈濒腻诲补 too, gives a short description of the majesty of spring and requests 艢颈惫补 to permit 笔腻谤惫补迟墨 to mount the swing. 笔腻谤惫补迟墨 honours the encouraging words of 艢颈惫补 and enjoys the upward and downward movements of the swinging sport. Her fatigue however has been pacified by the refreshing wind and water drops of the celestial river 骋补峁単腻. It has been stated that She appears just like the flag of the god of love and thereby the triumph of 碍腻尘补诲别惫补, over the three worlds has been indicated.

Canto VIII

Herein canto VIII, the poet gives description of flower plucking by 笔腻谤惫补迟墨 and Her female attendants. After enjoying swinging sports for long, 笔腻谤惫补迟墨 gets fatigued and 艢颈惫补 makes Her calm down. Then 笔腻谤惫补迟墨, with Her companions begin to cull the flowers. The 碍补谤峁噄办腻谤补 flowers touch the body of the divine females, as if to collect fragrance from them. The celestial ladies have gathered mango blossoms, different varieties of flowers like the Vakula, Tilaka, 础艣辞办补, Atimukta, Campaka, Tagara, 碍颈峁兣泆办补, 厂颈苍诲丑耻惫腻谤补, Kairava and others. The black-bees, flying around the back part of 笔腻谤惫补迟墨, take the shape of an umbrella. The condition of the creepers and the trees after the plucking of flowers from them, is also depicted in this canto. The limbs of the celestial damsels, being beautified by the flowers easily inflame the desire for carnal pleasures.

Canto IX

Canto IX provides a charming description of the water sports of Lord 艢颈惫补, 笔腻谤惫补迟墨 and the celestial damsels. Due to flower-plucking, the divine females are sweating; in the meantime, the sun is also generating much heat. As a result, they have decided to take a bath in the waters of the 惭腻苍补蝉补 Lake. With curiousness, they observe the lake. The lake is having impatient fishes. Before plunging into the waters, the celestial damsels sit on the top of the stone-slabs to take a rest. Their figures having reflected in the clear water of the lake, make the impression that, as if, they are mermaids, coming out of the water of the lake. They have defeated even the pride of the swans, on the bank of the lake, by their way of walking. The echoing sounds of the wave are, as if, the sound of conch-shell blowing by the foam, in honour of 笔腻谤惫补迟墨鈥檚 bath. The damsels increase the beauty of the lake by their closeness with the lake. They have plunged into the waters, along with 笔腻谤惫补迟墨 and Lord 艢颈惫补. The lake appears to have been excited at the pleasant contact with them. The waters of the lake have been decorated by the saffron and other cosmetics applied by 笔腻谤惫补迟墨 and the damsels as well as purified by the ashes, dissolving from the figure of the Lord. The lake gets 蝉腻测耻箩测补 with Lord 艢颈惫补. The fire in the third-eye of Hara, reflected in the water of the lake seems like the submarine fire. They have enjoyed the water sports very much and the lake also worshipped Hara and 骋补耻谤墨, in its own way.

Canto X

In canto X, 惭补峁卥丑补办补 describes the evening twilight. According to him, the sun, after crossing the sky, becomes fatigued and approaches the setting mountain, which welcomes it with the melodious sounds of fountains. Under the horizon of the western ocean, the orb of the sun slowly declines. The lotuses shrink and the remaining beams of the sun fall on them. The sun appears to be the golden inkpot of time and when the forepart of the sun is reversed, the ink in the form of darkness spreads over the earth. In that darkness, the 补产丑颈蝉腻谤颈办腻蝉 have gone to meet their lovers. The darkness however, afflicts the 颁补办谤补惫腻办补蝉 and the lovelorns. The effects of darkness are noticed on the lotuses, creatures, day-lotuses and night-lotuses, the eastern quarter and on various other things. The moon, on the crest of 艢颈惫补, lightens the earth. The sea again, coming into contact with the rays of the moon, begins to roar and tries to overspread the sky. The vegetables, in the form of hand of light, try to touch their lord, i.e. the moon. The females, beholding the moon become lustful and forsake their pride and touchiness.

Canto XI

Canto XI gives a description of the moon. The poet throws light on the feelings and activities of the young people, at the sight of the moon and also gives a description of the impact of the moon on the Nature, in general. 惭补峁卥丑补办补 depicts the orb of the moon. The moon appears to be the breast of the night, on seeing which; the lovelorns are suffered a lot. The females however stop to be touchy at the sight of the moon. The rays of the moon, being reflected on the bodies of the females make them prettier and as a result, the lovers appreciate them highly. Then the poet describes the 补产丑颈蝉腻谤颈办腻蝉 on their way. The separated ladies censure the moon; on the contrary, the united maidens eulogize the moon, for inspiring their lovers to get united. In other words, the moon generates carnal desire in the minds of the youths. 艢峁涐箙驳腻谤补 has been depicted as an elephant and the constellations are seen as to be the bunch of desire-fulfilling tree.

Canto XII

Canto XII continues the description of the moon and its impact upon Nature and on rest of the living beings. The god of love i.e. 碍腻尘补诲别惫补 equips himself with warlike costumes and armaments, with the intention of winning the three worlds. The plantain leaves and the southern winds act respectively as his weapon and chariot. Though entreated by Rati not to go, 碍腻尘补 sets out, taking his bow and arrow made of flowers. The separated females come on the verge of death, being pierced with the arrow of 碍腻尘补. The lady-messengers narrate the pathetic condition of their mistresses in front of their lovers. Due to the effect of the moon, the seawaves are agitated and they, as if, touch the sky. The moon is requested by the older ladies to make an end of the separation of the younger lovesmitten ladies, setting forth their journey towards the lovers. The females, united with their partners, commend the moon. Again, some ladymessengers are scolded by their mistresses for debauchery. Thus, the moon has exercised diverse influences, particularly on the youth and generally on all the objects of Nature.

Canto XIII

In this canto, the poet has described the decoration of extra-terrestrial females with different ornaments, ointments, flowers, fumigation and attires and also draws a sketch of union with their lovers. As narrated by the poet, the divine ladies begin to embellish various limbs of their body. The saffron and paste of musk, camphor, Aguru are being applied on different parts of their body. Some precious jewels like 笔补诲尘补谤腻驳补, bracelets made of elephant-tusk are used to adorn their ears and wrists respectively. Necklaces, studded with jewels as well as 谤补蝉补苍腻, 尘别办丑补濒腻 etc. are also used by these celestial damsels. The sweet sounds of their anklets and ornaments are however, overpowered by the humming of the black-bees, staying on their tresses. Thus, beautified by various cosmetics and embellishments, the divine damsels are engaged in amorous activities with their lovers.

Canto XIV

Canto XIV presents a description of wine-drinking of the celestial females along with their lovers and its effects on them. As narrated by 惭补峁卥丑补办补, the poet, the divine couples are gathered in the pleasure-garden to drink wine. The wines are kept in some large pots and from those pots, it is being transferred to some smaller ones, which makes some sounds of cheer. The reddish wine are being served in some drinking vessels, made of gold and jewels, decorated by flowers and mango-blossoms. Some blackbees are fascinated by the smell of the wine and draw in. The females are intoxicated by drinking of the wine and involve in amorous activities with their lovers. They begin to embrace and kiss one another. The damsels urge the moon, reflecting on the wine, to leave the drinking vessels. Some funny incidents also occur, such as one lover of a damsel has kissed another lady, noticing his beloved senseless due to intoxication, who is actually pretending insanity, becomes furious on that unexpected behaviour of her lover, however pacified by the lover as if, he is only testing the genuineness of her senselessness. Thus, herein this canto, the wine-drinking and its impact on the couples are being described.

Canto XV

The poet describes the amorous activities of the celestial youths in this canto. After drinking wine in the pleasure garden, the divine females along with their lovers, have come back to their home and have taken their seats on the beds. The beds are being decorated with flowers and the surroundings are also beautified. The smoke of Aguru, musk and camphor has covered their figures. They begin their love-making by embracing, kissing, snatching cloths and physical union takes place. The best army of 碍腻尘补诲别惫补 i.e. the sensuous and slender-figured damsels show their expertise, in making love, during which the cosmetics are wiped by the sweats from their bodies and the ornaments have been broken into pieces. After the union, the couples fall asleep and remain on each other鈥檚 arms until the daybreak.

Canto XVI

In canto XVI, there is the description of the dawn, besides, there is the reference of coming of the gods, 痴颈诲测腻诲丑补谤补蝉, Kinnaras as well as the Gandharvas and the bard鈥檚 singing of panegyric in praise of Lord 艢颈惫补. At the arrival of the visitors, the attendants of 艢颈惫补 start appreciating Him in lofty terms. They asked the Lord to rise up from the bed, as the moon sets and the darkness has been dispersed. Again, they narrate that the oceanwater has become tranquil, the air also becomes chilled, the sun rises, both the earth and the heaven get brightened, the stars vanish and the blaze of the lamps appears to be diffused. The water-lilies, with the humming of black-bees are as if, praising the Lord, with folded hands. They look like brides too, as the water-lilies contract, as and when the sun rays cuddle them. The morning wind slowly passes over the lotuses, as if, to listen to the humming of the black-bees staying there. Moreover, it has been stated that the gods are waiting at the threshold of 艢颈惫补, among which there are the mighty gods and demi-gods viz. Indra, the chief of the gods, 叠谤补丑尘腻, the creator, 碍峁涐梗峁嘺, 狈腻谤腻测补峁嘺, Hari, Skanda, the commander-in-chief of the gods鈥� army, Agni, 痴腻测耻, 骋补峁噀艣补, V峁沨aspati, Kuvera, 痴补谤耻峁嘺, Yama, the Rudras and the 痴颈诲测腻诲丑补谤补蝉, the Kinnaras and the Gandharvas. At the admiring speech of the bards, both the Lord and His better-half awake from their sleep. The morning has scrupulously worshipped Lord 艢颈惫补.

Canto XVII

Canto XVII gives a description of the meeting of Lord 艢颈惫补 with the gods regarding the oppression of the Tripuras. Lord 艢颈惫补 has entered and presided over the assembly of the gods, wherein, at the outset, the gods have eulogized Him. They have prayed Him as 笔耻谤耻峁�a, pervading everything in the three worlds, the Pure, that purifies everything. They further said that 艢颈惫补 takes the threefold figures voluntarily. The ignorant people call Him to be indifferent. Because, the Nature itself, cannot be the creator. 艢颈惫补 only, which is changeless, according to them, is the only tattva, the inconstant elements such as Mahat etc. cannot be the tattvas. He is the Brahman; in the form of invisible sound i.e. 厂辫丑辞峁璦. The Buddhists, the 碍峁�a辫补峁嘺办补蝉, 碍补峁嚹乨补 and his followers, the 颁腻谤惫腻办补蝉 and others, none can deny Him actually. The 鲍辫补苍颈峁�a诲, while propounding unqualified Brahman, do not consider 艢颈惫补 to be different from Him. 艢颈惫补, the God, Lord and the knower of the world is also identical with 艢akti. This way, they praised 艢颈惫补 and being eulogized by them, He enquired about the root of their misery. Knowing all the details, He took pity on them. The 骋补峁嘺蝉 also become furious, hearing the severe atrocities inflicted upon the gods, by the demons.

Canto XVIII

In this canto, the poet draws a sketch of the agitation of the 骋补峁嘺蝉, on hearing the miserable condition of the gods, by the torture of the demons. The eyes and cheeks of the 骋补峁嘺蝉 are reddened with rage; their eye-brows have been shaken, when shoulders stroked with their hands, the ornaments have broken into pieces. They are sweating excessively; some of them begin to rub their hands. Some uttered rude words, other begin to look at their weapons with angry sights. In a nutshell, they have become violent and aggressive. Among them, the prominent are 笔耻峁�p补诲补苍迟补, the devotee of 艢颈惫补, 叠丑峁涐箙驳颈谤颈峁璱, the lean and thin one, 痴墨谤补产丑补诲谤补, 罢补峁囜笉耻, Nandin and others. Seeing the external expression of wrath of the 骋补峁嘺蝉, even 骋补峁噀艣补 and 碍耻尘腻谤补 are influenced and have begun to sweat and sigh respectively. Being beaten by the angry 骋补峁嘺蝉, the earth appears to be twisted and quivered.

Canto XIX

This canto gives a description of the expression of the enthusiasm of the 骋补峁嘺蝉 to fight with the demons as well as it narrates the discussion of 艢颈惫补 with the gods about the annihilation of the demons. The 骋补峁嘺蝉 have showed their eagerness to fight with the demons. 艢颈惫补 has gesticulated His right hand and makes them listen to Him. He enquired them, why they refrain from fighting with the demons. At that, they have expressed their inability to fight, without the help of 艢颈惫补 and urged Him to kill the demons. 艢颈惫补 has agreed and ordered them to prepare for the war. The gods have rejoiced over the words of the Lord and do accordingly. The 碍补颈濒腻蝉补 too, echoing the enthusiastic noise of the army of 艢颈惫补, as if, has blown the auspicious conch at the departure time. Then the positive signs have appeared before the gods and evil omens appeared before the demons, indicating the imminent destruction of the Tripuras.

Canto XX

In this canto, 惭补峁卥丑补办补 gives a description of the construction and preparation of the chariot of 艢颈惫补 by the gods to fight with the demons. The earth takes the form of a chariot, the long rivers are fastened to the lower part of the chariot, stars become the iron sheets as its cover, Dharma, Artha and 碍腻尘补 take the form of three pieces of bamboo, the herbs, brightened by the moon takes the form of a wheel of the chariot, the sun becomes another wheel, the clouds, being transformed into pieces of wood become the yoke of the chariot, the sky also becomes its yoke, perseverance and intelligence become its screws, Indra, 痴补谤耻峁嘺, Kuvera and Yama become the horses to pull the chariot, the Atharvaveda and 础峁単颈谤补蝉, the father of V峁沨aspati have guarded the wheels. Again, 痴颈峁ａ箛耻 transformed Himself into the arrow, while Agni and Soma stayed on the tip of that arrow. The Mandara hill converted itself into the bow, 叠谤补丑尘腻 take the charge of the duty of the charioteer. The clouds have yelled, while 艢颈惫补 rides on the chariot and marches forth to kill the Tripuras.

Canto XXI

Herein this canto, the poet describes the march of the troop of 艢颈惫补鈥檚 army towards the Tripuras. The 骋补峁嘺蝉 are seen preparing themselves with different weapons to fight with the demons. 碍耻尘腻谤补 rides on his mount, i.e. peacock, 骋补峁噀艣补 takes the lead of the army of the gods. The warriors take leave from their beloveds with a heavy heart, soon after getting tight hug from them. Some ladies try not to let them go, some follows them to a little distance. In the meantime, the chariot of 艢颈惫补 moves rapidly at that much pace, that even the minds of the 骋补峁嘺蝉 become unable to pass them over. Taking the 笔谤腻蝉补, a kind of weapon in their hands, the 骋补峁嘺蝉 go into the cities of the demons and caused much havoc therein. With much dread and terror, the wives of the demons look at the frightful army of the gods.

Canto XXII

This canto contains the description of the agitation, preparation and coming out of the demons from their respective cities to fight with the gods鈥� army. The demons become wrathful, as they come across the news about the attack of 艢颈惫补鈥檚 army. Out of anger, their faces become red. They have begun to behave in the same manner as like the 骋补峁嘺蝉. They have taken various weapons in their hands such as swords, discuses and bows. They ride in the horses and elephants to go to the battlefield. At that time, while the demons are preparing for the fierce fight, there appeared some evil omens such as the crying of jackals, owls, crows as well as occurrence of earthquake etc. They feel a mixed feeling of happiness and sorrow because they think that they would be united with celestial females, if they could either kill the gods or even be killed by them. At the entering of the gods鈥� army into the Tripuras, the wives of the demons are so much terrified that they begin to cry at the top of their voice. Thereafter, both the two army have faced each other.

Canto XXIII

In canto XXIII, 惭补峁卥丑补办补 gives a full-length description of the battle between the army of the gods and the demons. There take place a fierce fight between them. The soldiers of both the opposing troops get fatal injury. A demon throws an arrow upon 骋补峁噀艣补, that pierced into his mouth and looks like his second tusk. 骋补峁噀艣补 has killed many demons that threw arrows on him. The arrows slide off, thrown by the demons on the skinny body of 叠丑峁涐箙驳颈谤颈峁璱, a soldier of 艢颈惫补. Another soldier of 艢颈惫补, viz. 罢补峁囜笉耻 killed many demons by moving his weapon haphazardly. Pulaka also killed many more demons by piercing his sharp arrow. Again, with great enjoyment 狈补苍诲墨 fights. 碍耻尘腻谤补 too fights bravely and expertly with the demons. With the help of his 笔谤腻蝉补, Yama take away life from many demons. Thus, many soldiers, horses and elephants of both the troops are killed in the battle. The demons, killed in the battlefield, get divinity and become amalgamated with divine damsels. In the battle, the army of the gods has surpassed the army of the demons, at which the Tripuras have got ferocious out of anger and begin to fight unitedly. They have tried their best to kill the gods and even Lord 艢颈惫补. Thereafter, take place a ruthless fight between them.

Canto XXIV

In this canto, 惭补峁卥丑补办补 gives a picturesque description of the burning of the Tripuras. During the fight, as so many soldiers and animals are massacred, the battlefield seems to be the pleasure-abode of Yama, the god of death. The fight becomes more intense at the gathering together of the three cities. The gods, seeing the nearness of the Tripuras, begin to throw their fearful and helpless gloomy glances at Lord 艢颈惫补. At that 艢颈惫补 has placed His arrow on His bow, with the fire of His third-eye and release it towards the three cities. The flames, while reddening the sky burnt the Tripuras into ashes. The smoke of the fire as well as the ashes of the demons spread over the earth and heaven simultaneously. The gods begin to celebrate the triumph over the enemies, with unrestrained dancing. They release the imprisoned females, brought from heaven earlier. At the gesture of 艢颈惫补, the gods give up the their assumed forms and come back to their natural forms. 艢颈惫补 too withdraws His terrible adaption. Then the gods returned to 碍补颈濒腻蝉补. Reaching the abode of 艢颈惫补, the gods once again begin to eulogize Him. 艢颈惫补, thereafter bid farewell to them with a kind look.

Canto XXV

In this canto, 惭补峁卥丑补办补 gives a description of the scholars and poets of his time. This canto is actually an appendix to the poem wherein, the poet has recorded the expertise in different branches of knowledge and other personal accomplishment of thirty-two scholars before the assembly of whom, he puts his poem for a review. As found in this canto, at the very beginning of the canto, it is seen that 惭补峁卥丑补办补 feels joy and contentment, as he has glorified Lord 艢颈惫补 instead of eulogizing a king. 惭补峁卥丑补办补 has placed his poem in the assembly, gathered at the house of his elder brother 础濒补峁僰腻谤补 alias La峁卥aka, a minister of 闯补测补蝉颈峁僪补, the king of Kashmir. Being heartily welcomed by La峁卥aka, 惭补峁卥丑补办补 has offered his respect to the august gathering there. Among the scholars assembled there, Lo峁ａ弓adeva and Devadhara have lauded 础濒补峁僰腻谤补, Devadhara has extolled king 闯补测补蝉颈峁僪补 too. Suhala, the ambassador of king Govindacandra has given 惭补峁卥丑补办补 a riddle to solve, which the poet has solved at once. At the behest of Tejaka峁囜弓ha, a scholar and an ambassador of king 础辫补谤腻诲颈迟测补 of 碍辞峁卥补峁嘺, 惭补峁卥丑补办补 has composed a eulogy in favour of a king. Ruyyaka, the preceptor of the poet has appreciated and ask 惭补峁卥丑补办补 to read out his poem before the learned council, which he has complied. On listening to the 艢谤墨办补峁囜弓丑补carita, members of the assembly are very much satisfied and praised it. Then 惭补峁卥丑补办补 has dedicated his poem at the lotus feet of the Lord. He becomes highly contented because, by composing the 艢谤墨办补峁囜弓丑补carita, 惭补峁卥丑补办补 could glorify Lord 艢颈惫补, as commanded by his late father, who appeared before him in a dream.