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Vararuci鈥檚 Ubhay膩bhis膩rik膩 is one of the best 叠丑腻峁嘺蝉 produced ever. However, he has not given much information about himself. The Ubhay膩bhis膩rik膩 does not mention anything about the author. The other sources say that he was a poet in the court of 碍耻尘腻谤补驳耻辫迟补, the son of Candragupta II.

The plot of the Ubhay膩bhis膩rik膩 is very small, but is well set. It is an erotic story about two young lovers, who were separated from each other because of some misunderstanding. However, at the end, without bearing the separation, both unite with each other. The plot is ideal for 叠丑腻峁嘺 type of drama. The title also is meaningful as Ubhay膩bhis膩rik膩 means both eager to love and both make to go to meet each other 鈥�ubhayor abhisara峁嘺m鈥�.

However, Vararuci does not follow fully the rules prescribed by Bharata and 顿丑补苍补帽箩补测补. Sometimes he chooses the rule stated by Bharataand sometimes the rule stated by 顿丑补苍补帽箩补测补 and sometimes the rules by both. For instance, he has chosen 痴颈峁璦 as the main character, which is stated by both Bharata and 顿丑补苍补帽箩补测补. However, he has not chosen 顿丑奴谤迟补, as the main lead as stated by Bharata. Again, Vararuci opts for both Bh膩rat墨v峁泃ti and Kai艣ik墨v峁泃ti, preferred by 顿丑补苍补帽箩补测补, neglecting Bharata鈥檚 restriction to apply only verbal style (产丑腻谤补迟墨惫峁泃迟颈) in 叠丑腻峁嘺. Bharata is silent about the sentiment; however, his insistence for the verbal style (产丑腻谤补迟墨惫峁泃迟颈) is confusing. However, 顿丑补苍补帽箩补测补 states that poet can choose either heroic sentiment or erotic sentiment as the main sentiment of 叠丑腻峁嘺. Vararuci opts for erotic sentiment as the main sentiment in his Ubhay膩bhis膩rik膩, because the story is of two young lovers.

叠丑腻峁嘺 should ideally have only one character on stage. According to Bharata, he should be either 痴颈峁璦 or 顿丑奴谤迟补, however, 顿丑补苍补帽箩补测补 states that 痴颈峁璦 is the only character. 痴颈峁璦 or 顿丑奴谤迟补 works like a hero, comedian or supporting character all in one.

However, the story of drama needs many characters; but in 叠丑腻峁嘺 these characters remain behind the curtain. Vararuci presents 痴颈峁璦 on the stage, but more than twenty characters who have important roles in the plot, remain behind the curtain. In the plot, N膩r膩ya峁嘺datt膩 is the heroine and Kuberadatta is the hero, but on the stage, 痴颈峁璦 Vai艣ik膩cala is the only person who speaks with some imaginary persons. Vararuci鈥檚 痴颈峁璦 is expert in various arts. He is sharp, polished, cultured and a perfect man of the world. Vararuci has used many harlots, because without them 叠丑腻峁嘺 is incomplete. All the characters Vararuci has used are appropriate.

Primarily 叠丑腻峁嘺 contains verbal style (产丑腻谤补迟墨惫峁泃迟颈), because it is mainly based on verbal representation. That is why Bharata is against the gay style (办补颈艣颈办墨惫峁泃迟颈); however, 顿丑补苍补帽箩补测补 states that 叠丑腻峁嘺 can have gay style as well. 叠丑腻峁嘺 uses harlots, because they support the erotic sentiment and the erotic sentiment originates from the gay style. Thus, 顿丑补苍补帽箩补测补 asserts that generally (产丑奴测补蝉腻) 叠丑腻峁嘺 contains verbal style; however, it can also have other styles. Vararuci鈥檚 Ubhay膩bhis膩rik膩 is based on erotic (艣峁涐箙驳腻谤补) sentimentand therefore, along with verbal style (产丑腻谤补迟墨惫峁泃迟颈), it has also used gay style.

There is a difference of opinion between Bharata and 顿丑补苍补帽箩补测补 regarding the sentiments in a 叠丑腻峁嘺. Bharata seems to be in favour of heroic (惫墨谤补) as the only main sentiment, whereas 顿丑补苍补帽箩补测补 favours both heroic (惫墨谤补) and erotic (艣峁涐箙驳腻谤补) as the sentiments. However, the erotic is the only sentiment that Vararuci applied to the Ubhay膩bhis膩rik膩 primarily.

Both Bharata and 顿丑补苍补帽箩补测补 prescribe gentle (濒腻蝉测补) in the 叠丑腻峁嘺. However, we do not witness it anywhere in the present drama.

In the Ubhay膩bhis膩rik膩, Vararuci has applied both opening (mukha) and concluding (苍颈谤惫补丑补峁嘺) junctures. Vararuci has also applied the combination of elements like seed (产墨箩补) and denouement (办腻谤测补); and actions like beginning (腻谤补尘产丑补) and attainment of success (辫丑补濒腻驳补尘补).

Vararuci鈥檚 Ubhay膩bhis膩rik膩 does not make use of many technical aspects, because the play is conducted by a single person. Since there are no movements of other actors on the stage, it does not use the technical things like aside (svagata), aloud (辫谤补办腻艣补), personal address (箩补苍腻苍迟颈办补)and confidential (补辫补惫腻谤颈迟补). 叠丑腻峁嘺 is mainly based on imaginary conversationand therefore, Vararuci has applied the technical things such as the conversation with imaginary person (腻办腻艣补产丑腻峁�i迟补), which requires intimation scene (nepatya or 肠奴濒颈办腻). (It needs, because 痴颈峁璦 talks frequently to people, who are behind the curtain.) Again, like in other dramas, it is necessary to use benedictory verse (苍腻苍诲墨), prologue (辫谤补蝉迟腻惫补苍腻 or 蝉迟丑腻辫补苍腻) and epilogue (产丑补谤补迟补惫腻办测补) for the preliminaries and auspicious ending of the drama. However, Vararuci has followed 叠丑腻蝉补 and started the drama with the prologue, 鈥�苍腻苍诲测补苍迟别 迟补迟补岣� 辫谤补惫颈艣补迟颈 蝉奴迟谤补诲丑腻谤补岣�鈥� without a benedictory verse.

Vararuci has not provided any information about himself. However, he has provided important information about the society of that period. If we accept that he was the poet in the court of 碍耻尘腻谤补驳耻辫迟补, then it could be said that 碍耻尘腻谤补驳耻辫迟补鈥檚 period was a golden age in the Indian literary history. He has given beautiful picture of the Kusumapura, known as 笔腻峁璦濒颈辫耻迟谤补. It describes the market, palaces, houses, lanes and the common people. People were living peacefullyand enjoying their life helping each other.

From Vararuci鈥檚 Ubhay膩bhis膩rik膩 it is known that the women were free and that they were allowed to undertake the work they liked. They were studying 补峁単补惫颈诲测腻蝉, looking after domestic mattersand worshipping gods. These things indicate that society was highly cultured and liberal.

It should be noted here that Vararuci was the predecessor to 顿丑补苍补帽箩补测补; and hence the Da艣ar奴paka was unknown to him. Therefore, it is not possible that Vararuci follows the rules prescribed by 顿丑补苍补帽箩补测补. However, since Bharata鈥檚 狈腻峁瓂补艣腻蝉迟谤补 was well known to Vararuci, he could have followed the rules prescribed by Bharata. Nevertheless, it must be observed that principles of 叠丑腻峁嘺 have been prescribed differently by both Bharata and 顿丑补苍补帽箩补测补. So, it can be observed that neither the principles of 叠丑腻峁嘺 are uniform, nor they have been followed in the drama completely.

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