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叠丑腻蝉补, the author of the 弄rubha峁単a, is a well established poet and hence it is not necessary to describe his credentials. However, it is a fact that the 弄rubha峁単a, like all other plays of 叠丑腻蝉补, does not provide any information about the author. The information regarding the author 叠丑腻蝉补, is from the secondary sources and hence the information is only a guess-work of scholars.

The 弄rubha峁単a is a perfect plot for 鲍迟蝉峁涐梗峁璱办腻峁卥补 and he has made changes which are necessary and justified cleverly in the plot. His description of war is authentic and natural and it produces strong images of war in the minds of the audience. He describes the events that occurred on the battlefield very accurately. His comparison of the battleground to the sacrificial ground is very appropriate. He has avoided violent scenes on the stage and described them tactfully behind the curtain, because 鲍迟蝉峁涐梗峁璱办腻峁卥补 involves pathetic sentiment. It is purely a tragic drama, which has a wellknown (辫谤补办丑测腻迟补) plot, taken from the 惭补丑腻产丑腻谤补迟补 and justifies the status of being an Uts峁涐梗峁璱k膩峁卥膩峁卥a.

The 弄rubha峁単a does not follow all the rules of 础峁卥补 prescribed by Bharata and 顿丑补苍补帽箩补测补. The 弄rubha峁単a looks special. Sometimes 叠丑腻蝉补 seems to follow the rules prescribed by himself.

Except for some stage restrictions, which are imposed by Bharata, most of other rules of Bharata are not followed. For instance, Bharata has ruled that the death of the hero should not be shown on the stage; however, the death has been shown in the 弄rubha峁単a. Duryodhana dies on the stage, in front of all the characters. The war events have been described in the interlude scene (惫颈峁�k补尘产丑补办补), which is appropriate, because it cannot be described either in introductory scene (辫谤补惫别艣补办补) or in anticipatory scene (补峁卥补). Again, in the second part of the drama, eight characters continue to remain up to the endand no one exits. However, this event violates Bharata鈥檚 rule that in an act only four characters should be present on the stage.

It should be observed here that 叠丑腻蝉补 has used nineteen characters altogether including 厂奴迟谤补诲丑腻谤补 and 笔腻谤颈辫腻谤艣惫颈办补 in the 弄rubha峁単a. Out of them, thirteen characters (厂奴迟谤补诲丑腻谤补 and 笔腻谤颈辫腻谤艣惫颈办补, three 叠丑补峁璦蝉, Duryodhana, Baladeva, 础艣惫补迟迟丑腻尘腻, 顿丑峁泃补谤腻峁ａ弓谤补, 骋腻苍诲丑腻谤墨, Durjaya, 笔补耻谤补惫墨 and 惭腻濒补惫墨) appear on the stage and the other six characters (碍峁涐梗峁嘺, 叠丑墨尘补, Arjuna, 痴测腻蝉补, Vidura and 驰耻诲丑颈峁ａ弓丑颈谤补) remain behind the curtain. Arjuna, 痴测腻蝉补, Vidura and 驰耻诲丑颈峁ａ弓丑颈谤补 are mere on-looking characters. They do not have any importance in the drama. 碍峁涐梗峁嘺 is the game changer, without him, 笔腻峁囜笉补惫补蝉 would not have won the war. Even for 叠丑墨尘补, to fight with Duryodhana was difficult. Baladeva, the teacher of Duryodhana, is the first person who saw 碍峁涐梗峁嘺 is cunning. Therefore, he gets angry and decides to teach a lesion to 碍峁涐梗峁嘺 by finishing off the 笔腻峁囜笉补惫补蝉. However, Duryodhana refuses to do so. Therefore, the character of Duryodhana is saint like. Duryodhana gets all the honors and respect for his act. He is a loving and obedient son of his parents, affectionate to his little son and dear to his wives. Thus, the tragedy of the 弄rubha峁単a touches a great high. 顿丑峁泃补谤腻峁ａ弓谤补 loves the act of his son. He addresses him as the champion. He is in grief, because he loses his hundred sons. 骋腻苍诲丑腻谤墨 could not believe that her son is in such a pathetic situation. Still she is proud of having such a fearless son. She agrees to become the mother to Duryodhana once again in the next birth. Both the queens do not agree to leave Duryodhana, in the field alone, they want to end their lives with their husband in the funeral pyre. Durjaya cannot understand what happened to his father. He is a very small child. Anyhow, he accepts all the advices of his father. 础艣惫补迟迟丑腻尘补 is angry with the 笔腻峁囜笉补惫补蝉. He decides to kill all the 笔腻峁囜笉补惫补蝉. Duryodhana councils him but he does not listen. In this way, all the characters are employed perfectly.

It should also be noted that 叠丑腻蝉补 has perfectly used the verbal style (产丑腻谤补迟墨惫峁泃迟颈) as the violent scenes are absent on the stage, which are contrary to the characteristics of the verbal style (产丑腻谤补迟墨惫峁泃迟颈). Further, the war descriptions create the odious (产墨产丑补迟蝉补) sentiment, which is the part of the Bh膩rat墨v峁泃ti. Again, the odious (产墨产丑补迟蝉补) sentiment produces the pathetic (办补谤耻峁嘺) sentiment. Therefore, 叠丑腻蝉补 can be credited to have perfectly used the Bh膩rat墨v峁泃ti. Again, 叠丑腻蝉补 has employed pathetic (办补谤耻峁嘺) sentiment as the dominant one; but it comes alive only in the second part of the drama, when the death scene of Duryodhana is described. The pathetic (办补谤耻峁嘺) sentiment is depicted in the conversation between Duryodhana and his son Durjaya. Again, the crying of both the queens and 骋腻苍诲丑腻谤墨, is really heart rending. The other sentiments like furious (产墨产丑补迟蝉补), odious (raudra) and heroic (惫墨谤补) are used as the subordinate sentiments.

The drama has followed the rules of juncture (sandhi). Both opening (mukha) and concluding junctures (苍颈谤惫补丑补峁嘺) are also employed properly. Thus, it has shown the 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 the result (辫丑补濒腻驳补尘补). The drama starts with the warand after the war, 叠丑墨尘补 smashes the thigh of Duryodhana, which happens at the end. It must be noted here that the opening juncture (mukhasandhi) occurs with the scenes behind the curtain or off stage and concluding juncture is shown on the stage, as 叠丑墨尘补 smashes the thigh of Duryodhana.

It must be noted that 叠丑腻蝉补 has used very few technical aspects like prologue (蝉迟丑腻辫补苍腻), intimation scene (nepathya), interlude scene (惫颈峁�k补尘产丑补办补) and epilogue (产丑补谤补迟补惫腻办测补). Unlike many other dramas, 叠丑腻蝉补鈥檚 弄rubha峁単a does not begin with any benedictory verse (苍腻苍诲墨). The drama begins directly with the prologue (蝉迟丑腻辫补苍腻), 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�. In the prologue, 厂奴迟谤补诲丑腻谤补 recites the benedictory (苍腻苍诲墨) verse. Just after the prologue (蝉迟丑腻辫补苍腻), the interlude scene (惫颈峁�k补尘产丑补办补), starts and runs for almost half of the drama. When the main actors enter on the stage, the drama actually starts. The warriors in the interlude scene narrate the actual events that happen in the war. It appears like on the Television screen we are watching the live cricket match and three commentators comment on the ongoing events of the match. The warriors describe the horrific scenes of the war. They do so chronologically and all the incidents appear one after another. In some cases, all the three warriors recite the verses together. However, the epilogue (产丑补谤补迟补惫腻办测补) states that there is some disturbance, which probably indicates the exiting of characters. 叠丑腻蝉补 also states that the king should protect the people by defeating the enemies; however, he does not specify the particular king.

叠丑腻蝉补 has commented number of times about the society of that period. The society was disturbed by the fear of war, but had faith in the king. 叠丑腻蝉补 has not commented on the common people; however, the changed behavior of Duryodhana towards his cousin brothers indicates the kind and loving nature of people. His love for son shows the good relation between father and son. His wives are devoted to him, which indicates the relation between husband and wife. Thus, the 弄rubha峁単a describes the high cultured society of that period. Again, in the society, women were respected as equal to men. As wives, they were 鈥�蝉补丑补诲丑补谤尘颈峁嚹玸鈥� of the husbands. They were ready to die for their husbands anytime and this fact becomes clear from the words of 笔补耻谤补惫墨, who wants to immolate herself with her husband (别办补办峁泃补 prave艣ani艣cay膩 na rodimi). These things indicate the fact that women were greatly devoted to their husbands.

In fine, it must be observed here that the 弄rubha峁単a is a fantastic drama of 叠丑腻蝉补. Since the 弄rubha峁単a is based on pathetic (办补谤耻峁嘺) sentiment, many scenes evoke pity and compassion. Further, the end of the drama is heart rending and touches a great poetic high.

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