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The author, 痴补迟蝉补谤腻箩补, was a minister and court poet under the kings of Candel dynasty, such as Paramardideva and Trailokyavarman, were ruling in the K膩li帽jar. He is the only author, in Sanskrit dramatic literature, who has written some rare types of dramas.

The Samudramanthana has a well-known plot, taken from the 笔耻谤腻峁嘺蝉. The story involves the churning of the Milky-Ocean by the gods and demons. However, all the valuable things that came out of the ocean were taken away by the gods cleverly. The plot of Samudramanthana is ideal for 厂补尘补惫补办腻谤补 type of drama. The term 厂补尘补惫补办腻谤补 is also suggested by Bharata and 顿丑补苍补帽箩补测补, for the same type of drama, in the 狈腻峁瓂补艣腻蝉迟谤补 and the Da艣ar奴paka.

痴补迟蝉补谤腻箩补 in his Samudramanthana, has followed almost all the rules prescribed by Bharata and 顿丑补苍补帽箩补测补. He has applied six ancillaries of 惫墨迟丑墨 out of thirteen, like continuance (avalagita), compliment (辫谤补辫补帽肠补), triple explanation (trigata)and deception (chala), out vying (adhivala) and repartee (惫腻办办别濒颈) in the drama Samudramanthana. Again, he has applied three types of deceptions (办补辫补峁璦蝉), three types of flights (vidravas) and three types of erotic (艣峁涐箙驳腻谤补蝉) in various acts of drama. However, 痴补迟蝉补谤腻箩补 has not used the metres like 耻峁ａ箛颈办 and 驳腻测补迟谤墨 prescribed by Bharata, but he has applied other meters such as 迟谤颈峁ａ弓耻辫, 补苍耻峁ａ弓耻辫 and 惫颈峁�a尘补 etc. in his drama. It should be noted that both Bharata and 顿丑补苍补帽箩补测补 do agree on the issue of duration of the first actand hold that it should be completed within the duration of twelve stalks (苍腻岣峣办补蝉). According to Bharata, the duration of the first act in 厂补尘补惫补办腻谤补, is fixed as twelve stalks (苍腻岣峣办补蝉), as the same is required for the erotic scenes involving female characters. 痴补迟蝉补谤腻箩补 has followed this rule of Bharata in his drama of Samudramanthana. Again, 厂补尘补惫补办腻谤补 demands the avoidance of mutual link between the stories of different acts. Bharata recognizes this fact, but 顿丑补苍补帽箩补测补 does not. However, 痴补迟蝉补谤腻箩补 seems to have regarded this view, as we do not find sometimes, any mutual link between the stories of the act of the drama. Again, 顿丑补苍补帽箩补测补 recommends preface (腻尘耻办丑补) in the 厂补尘补惫补办腻谤补, like in the 狈腻峁璦办补. However, Bharata does not say anything on this point of issue. The Samudramanthana employs preface (腻尘耻办丑补) but not like in the 狈腻峁璦办补. Further, the Samudramanthana involves the absence of both expansion (bindu) and introductory scene (辫谤补惫别艣补办补) as 厂补尘补惫补办腻谤补 does not require the same expansion (bindu) and introductory scene (辫谤补惫别艣补办补).

It should be noted that 痴补迟蝉补谤腻箩补 has used more than twenty characters in the Samudramanthana. However, out of them, some characters like 痴颈峁ａ箛耻, 惭补丑别艣补, Bali, 艢耻办谤腻肠腻谤测补 and 尝补办峁�m墨 are more important than others. Samudra is the self-less character. He distributes everything he has with him. However, the Samudramanthana has focused on 痴颈峁ａ箛耻 and 尝补办峁�m墨and their marriage.

The play Samudramanthana of 痴补迟蝉补谤腻箩补 has employed all types of styles (惫峁泃迟颈蝉), ignoring Bharata鈥檚 rule that the gay style (办补颈艣颈办墨惫峁泃迟颈) should not be applied in the 厂补尘补惫补办腻谤补 type of drama. However, 顿丑补苍补帽箩补测补, as an exception, states that one could use low gay style (办补颈艣颈办墨惫峁泃迟颈) in the 厂补尘补惫补办腻谤补 type of drama. Perhaps 顿丑补苍补帽箩补测补 suggests so, because, 厂补尘补惫补办腻谤补 allows the use of erotic (艣峁涐箙驳腻谤补) sentiment in the drama, which involves gay style (办补颈艣颈办墨惫峁泃迟颈). However, there is no problem for the use of other styles, because the plot of 厂补尘补惫补办腻谤补 needs these styles (惫峁泃迟颈蝉), i.e. verbal (产丑腻谤补迟墨), grand (蝉腻迟迟惫补迟墨) and violent (腻谤补产丑补峁���); and they are used in the Samudramanthana successfully.

According to 顿丑补苍补帽箩补测补, the heroic sentiment is primary in 厂补尘补惫补办腻谤补and the rest are secondary. However, Bharata is flexible on this matter. According to him, 厂补尘补惫补办腻谤补 is full of violence; altercations, war and fightingand therefore, one can employ any variety of sentiment in this type of drama. In the Samudramanthana, heroic (惫墨谤补) is the main sentiment and other sentiments like pathetic (办补谤耻峁嘺), laughter (丑腻蝉测补), terrible (产丑补测腻苍补办补), erotic (艣峁涐箙驳腻谤补) and marvelous (adbhuta) are subordinate sentiments. 痴补迟蝉补谤腻箩补 has tried to employ all the sentiments perfectly. The Samudramanthana is humorous through the application of the ancillaries of 惫墨迟丑墨. The flights and deceptions create panic in the drama, so they are the causes of terrible (产丑补测腻苍补办补) and pathetic (办补谤耻峁嘺) sentiments. The fighting, altercations and war between gods and demons produce energy and therefore, the heroic sentiment is well established.

痴补迟蝉补谤腻箩补 has employed all the four Junctures in the Samudramanthana 厂补尘补惫补办腻谤补, which has three acts. The first act is with twelve stalks (苍腻岣峣办腻蝉)and two junctures, called opening (mukha) and progression (pratimukha). The second act is the smaller oneand has development Juncture with four stalks (苍腻岣峣办腻蝉). Then the third act is the smallest oneand has concluding Juncture with two stalks (苍腻岣峣办腻蝉). However, Bharata and 顿丑补苍补帽箩补测补 differ with each other with regard to the measurement of 苍腻岣峣办腻. Bharata states that 苍腻岣峣办腻 is equivalent to half a 尘耻丑奴谤迟补, where as 顿丑补苍补帽箩补测补 states that 苍腻岣峣办腻 is equivalent to two 驳丑补峁璱办腻蝉. One 尘耻丑奴谤迟补 is equal to 48 minutes (Monier Williams)and so half a 尘耻丑奴谤迟补 is 24 minutes. However, one 驳丑补峁璱办腻 is equal to 24 minutes (Monier Williams)and so two 驳丑补峁璱办腻蝉 are equal to 48 minutes. Thus, according to Bharata, the first act itself should last for (six 尘耻丑奴谤迟补s) 4.8 hours and according to 顿丑补苍补帽箩补测补 it should last for (twenty four 驳丑补峁璱办腻蝉) 9.6 hours; and in the same way, the measurement of the other acts should be calculated. Thus, there is huge difference between Bharata and 顿丑补苍补帽箩补测补 regarding the measurement of 苍腻岣峣办腻.

痴补迟蝉补谤腻箩补鈥檚 technical knowledge and command over dramaturgy were superb. He has made use of the technical aspects of the drama as per necessity of Samudramanthana. He has not used any introductory scene in the 厂补尘补惫补办腻谤补 though the conversation of Padmaka and 狈颈峁ａ弓丑耻谤补办补 could be considered as an interlude scene. However, 痴补迟蝉补谤腻箩补 has followed 顿丑补苍补帽箩补测补鈥檚 rule who states that if the first act begins with sentiments, it does not require any interlude scene (惫颈峁�k补尘产丑补办补). Therefore, 痴补迟蝉补谤腻箩补 has not used the interlude scene after the prologue.

The dramas of 痴补迟蝉补谤腻箩补 reflect the status of the society. The Samudramanthana reflects the struggling of the society at the hands of the foreign invaders. The Samudramanthana also tries to unite the people and the kings to fight against the invaders, who are like demons. 痴补迟蝉补谤腻箩补鈥檚 words are very energetic. He strongly opposed foreign invasion, which troubles the people. Though the people were living peacefully under the king Paramardideva, the reign was disturbed by the foreigners.

痴补迟蝉补谤腻箩补鈥檚 Samudramanthana also reflects the status of woman at that time. The women had equal status and were respected in the society.

From the above, it can be concluded that Samudramanthana has followed almost all the principles of 厂补尘补惫补办腻谤补 recommended by both Bharata and 顿丑补苍补帽箩补测补and thus constitutes an ideal 厂补尘补惫补办腻谤补.

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