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搁腻尘补辫腻峁噄惫腻诲补, the author of the Lil膩vat墨 (尝墨濒腻惫补迟墨惫墨迟丑墨) is renowned poet of eighteenth century A.D. and he was serving under various kings in the south Malabar. He has composed various types of Sanskrit works, like Dramas, 碍腻惫测补蝉 and Campu.

The plot of the 尝墨濒腻惫补迟墨惫墨迟丑墨 is the imagination of the poetand describes the story of the king V墨rap膩la and the queen 尝墨濒腻惫补迟墨. The plot of the 尝墨濒腻惫补迟墨惫墨迟丑墨 is excellent and it suits 痴墨迟丑墨 type of drama.

The 尝墨濒腻惫补迟墨惫墨迟丑墨 has followed almost all the rules prescribed by Bharata and 顿丑补苍补帽箩补测补. However, it must be noted that all the thirteen types of ancillaries of 惫墨迟丑墨 are not applied in the 尝墨濒腻惫补迟墨惫墨迟丑墨, but, only few of them like continuance (avalagita), abrupt dialogue (耻诲驳丑腻迟测补办补), enigma (苍腻濒颈办腻) are employed. Further, there is no use of gentle dance or 濒腻蝉测补 in the drama. Perhaps, 搁腻尘补辫腻峁噄惫腻诲补 did not feel the necessity of 濒腻蝉测补 in the 痴墨迟丑墨 type of drama, which is actually conducted in the way of dialogue, by two characters on the stage.

Bharata prescribes all the three types of characters such as noble, middle and low in such a drama. However, 顿丑补苍补帽箩补测补 thinks that all the three types of characters are not necessary, as any character can be reflected in this type of drama. The 尝墨濒腻惫补迟墨 subscribes to neither of the views fullyand uses only two noble characters in it. As regards the number of characters in the 痴墨迟丑墨, it must be noted that the author has introduced only two noble characters, i.e. the 痴颈诲奴峁�a办补 and the King on the stage and for other characters 鈥�腻办腻艣补产丑腻峁�i迟补鈥漣s used and they are represented from off the stage.

As to the styles (惫峁泃迟颈), Bharata prescribes verbal style (bh膩ra峁�墨惫峁泃迟颈) for 痴墨迟丑墨 whereas Dhananjaya prescribes gay style (kai艣ik墨惫峁泃迟颈) for this. However, the 尝墨濒腻惫补迟墨 combines both the views and employs both the styles, i.e. verbal style (bh膩ra峁�墨惫峁泃迟颈) and gay styles (kai艣ik墨惫峁泃迟颈).

Now as regards sentiment. According to 顿丑补苍补帽箩补测补, 痴墨迟丑墨 type of drama should be dominated primarily by the erotic (艣峁涐箙驳腻谤补) sentiment. However, Bharata does not prescribe the erotic (艣峁涐箙驳腻谤补) sentiment to be the predominant sentiment in 痴墨迟丑墨. Accordingly, 搁腻尘补辫腻峁噄惫腻诲补鈥檚 尝墨濒腻惫补迟墨惫墨迟丑墨, consists of both erotic (艣峁涐箙驳腻谤补) and laughter (丑腻蝉测补) as the main sentiments. However, laughter (丑腻蝉测补) sentiment is very sparsely used and other sentiments like heroic (惫墨谤补), terrible (产丑补测腻苍补办补) and marvellous (adbhuta) are used only as subordinate sentiments.

It should be noted that as per the rules of 顿丑补苍补帽箩补测补, the 尝墨濒腻惫补迟墨惫墨迟丑墨 has applied both junctures (sandhi), i.e. opening (mukha) and concluding (苍颈谤惫补丑补峁嘺), with the combination of actions and elements like beginning, attainment of the resultand seed and denouement.

It should be noted that the 尝墨濒腻惫补迟墨惫墨迟丑墨, which is a monologue type of drama, has employed technical aspects, such as benedictory (苍腻苍诲墨), prologue (辫谤补蝉迟腻惫补苍腻), conversation with imaginary person (腻办腻艣补产丑腻峁�i迟补) and other mentioned in the drama.

搁腻尘补辫腻峁噄惫腻诲补, however, does not give much information about the society of that period in the drama. It was almost the beginning of modern era, when he flourished. He served as the poet under various kings like M膩rta峁囜笉avarman and other mentioned in the drama. In this period, Kerala was ruled well by the kings and therefore, the people were living peacefully. Though the outsiders like Dutch, Muslims and Parsis had already entered into the state, the society was not disturbed because of the powerful ruling of the kings like M膩rta峁囜笉avarman.

Again, it should be noted that Kerala was very well advanced and so women were free to study and work like men. Even women were engaged in practicing blackmagic. The 尝墨濒腻惫补迟墨惫墨迟丑墨 indicates the incidents such as the abduction of 尝墨濒腻惫补迟墨 and the acceptance of the second marriage of the king by the queen 碍补濒腻惫补迟墨.

Therefore, overall, the 尝墨濒腻惫补迟墨惫墨迟丑墨 is an excellent type of 痴墨迟丑墨 by 搁腻尘补辫腻峁噄惫腻诲补.

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