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In the prologue of the drama, 痴颈艣腻办丑补诲补迟迟补 claims that he is the author of the 惭耻诲谤腻谤腻办峁�a蝉补. However, he has not given much information about himself. He states only that he is the grandson of 痴补峁璭艣惫补谤补 and the son of 笔峁泃丑耻. The scholars like M. R. Kale (1983, 惭耻诲谤腻谤腻办峁�a蝉补, Introduction, p.xiii) assign him to eighth or prior to the eighth century A.D.

The plot of the 惭耻诲谤腻谤腻办峁�a蝉补 has a political background. The story has been taken from the historical source; however, some matters in the story are invented by the author, such as 鈥�碍补耻尘耻诲墨 festival鈥� in the third actand the description of the 鈥淛ir峁噊dy膩na鈥� in the sixth act.

痴颈艣腻办丑补诲补迟迟补 has followed almost all the rules prescribed by Bharata and 顿丑补苍补帽箩补测补, though he occasionally disregards the rules regarding sentiments (rasa), styles (惫峁泃迟颈), gentle dance (濒腻蝉测补) etc. He has not applied gentle dance (濒腻蝉测补) in the drama of 惭耻诲谤腻谤腻办峁�a蝉补, because it is based on politics.

痴颈艣腻办丑补诲补迟迟补 has employed more than twenty characters in the 惭耻诲谤腻谤腻办峁�a蝉补, but only few of them are historical characters like Chandragupta, C膩峁嘺kyaand 搁腻办峁�a蝉补 and the rest of the characters are imaginary. The drama does not contain any leading female character. However, the lonely female character, i.e. Candanad膩sa鈥檚 wife, has a brief role and enters in the seventh act. Bharata restricts that only four to five characters should be present in an act, however, 痴颈艣腻办丑补诲补迟迟补 has employed more than five characters in an act. As far as the classification of the drama is concerned, 痴颈艣腻办丑补诲补迟迟补鈥檚 drama could be classified even as a 笔谤补办补谤补峁嘺, as its characters are both imaginary and historical. Further, the drama could be classified, as the 痴测腻测辞驳补 type since it also satisfies the requirement of the 痴测腻测辞驳补 that the plot should be historical and sentiment should be heroic. However, as a matter of fact, it should be noted that the drama 惭耻诲谤腻谤腻办峁�a蝉补 cannot be a 笔谤补办补谤补峁嘺, as it involves the historyand other materials, which should not be present in a 笔谤补办补谤补峁嘺. It cannot be a 痴测腻测辞驳补, as the same (痴测腻测辞驳补) should be characterized by a single act and the 惭耻诲谤腻谤腻办峁�a蝉补 has seven acts in it.

According to the rule of the 狈腻峁瓂补艣腻蝉迟谤补, 狈腻峁璦办补 should apply all types of styles. However, in the 惭耻诲谤腻谤腻办峁�a蝉补, 痴颈艣腻办丑补诲补迟迟补 has applied verbal, grand and violent styles but has not applied gay style (kai艣ik墨惫峁泃迟颈). Since the plot of the 惭耻诲谤腻谤腻办峁�a蝉补 is based on politics and there is no use for a leading female character, it could not apply gay style. The plot is full of violence, anger, altercation.

Since the plot of the 惭耻诲谤腻谤腻办峁�a蝉补 is based on politics, it adheres to the heroic (惫墨谤补) sentiment as the main sentiment and to the furious (raudra), pathetic (办补谤耻峁嘺), terrible (产丑补测腻苍补办补) and marvellous (adbhuta) sentiments as subordinate sentiments. There is no use for erotic (艣峁涐箙驳腻谤补) and laughter (丑腻蝉测补) sentiments effectively. The cause may be that there is the absence of leading and other female characters.

痴颈艣腻办丑补诲补迟迟补鈥檚 惭耻诲谤腻谤腻办峁�a蝉补 has utilized all five types of junctures (sandhi) with the combination of five types of actions (补惫补蝉迟丑腻) and five types of elements (补谤迟丑补辫谤补办峁泃颈) in its seven acts. From the beginning to the end, i.e. the attainment of the result and from the getting signet ring to the surrendering of 搁腻办峁�a蝉补, the junctures are utilized perfectly.

痴颈艣腻办丑补诲补迟迟补 has applied almost all the technical aspects that are required in the drama 惭耻诲谤腻谤腻办峁�a蝉补; however, he has not applied 痴颈峁�k补尘产丑补办补 or an interlude scene after the prologue, which is prescribed by both Bharata and 顿丑补苍补帽箩补测补 as necessary in a 狈腻峁璦办补.

痴颈艣腻办丑补诲补迟迟补鈥檚 惭耻诲谤腻谤腻办峁�a蝉补 does not contain that much of the social reflaction. It has a different type of plot, based on politics; and therefore it does not deal with the social matters. However, its plot involves the ruling of the Mauryas; and therefore, it can be guessed that the society was orderly and people were living peacefully.

The drama of 惭耻诲谤腻谤腻办峁�a蝉补 does not directly comment on the status of women in the society. However, some instances suggest that women were advanced and they were employed in various ways, even as the secret agent. However, from the character of Candanad膩sa鈥檚 wife, it can be imagined that women were devoted to their husbands. They were either happy or sorrowful depending on the state of minds of their husbands.

In fine, it can be stated that the 惭耻诲谤腻谤腻办峁�a蝉补 fulfills most of the characteristics of 狈腻峁璦办补 stipulated by both Bharata and 顿丑补苍补帽箩补测补 although it lacks some of the characteristics in some cases and thus constitutes a fine example of 狈腻峁璦办补.

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