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This sentiment, handled by the dramatist in this play has helped the viewer and the reader to ease the mind. Otherwise the plot of the play is quite serious with Advaitic and Ayurvedic concepts.

(i) The conversation between 碍腻蝉补 and Chardi (Act II), each trying to tease the other by giving the description of their respective names as reflective of their characters and 碍腻蝉补鈥檚 plight between his two wives raises laughter in the audience (II.5/6; p.73):

办腻蝉补岣�鈥�(惫颈丑补蝉测补) 肠丑补谤诲颈办腻 khalu tva峁� prak峁泃ya | tata kuto na prak膩艣ayasi |
肠丑补谤诲颈岣�鈥�(惫颈丑补蝉测补) bhasa峁嘺s墨lassa kukkurassyeva tava 箩腻测腻 khava-ham |

(ii) In the third Act, which begins with 艢耻诲诲丑补 痴颈峁�k补尘产丑补办补, Gada, a spy of the 驰补办峁�m补 side, stealthily enters the hero鈥檚 capital in the guise of a mendicant. The alert police arrests him with the help of a 碍颈峁卥补谤补-servant. The conversation of these three characters provides an opportunity for 贬腻蝉测补.

(iii) In the 艢耻诲诲丑补 Viskambhaka of fifth Act, again, the author brings a situation for the viewers and readers to enjoy this sentiment.

(iv) The entire soliloquy of 痴颈诲奴峁�a办补, at the beginning of Act IV is a fine instance of 贬腻蝉测补rasa.

1. He has just now had a sumptuous meal. His stomach which was rotund since it had been filled to satisfaction, has now (after a muhurta), become flat like a mat made of grass. (p.179):

膩ho muh奴rt膩t 辫奴谤惫补峁� kh膩dita峁� 尘腻tulu峁単aphalapra尘腻峁嚹乶膩峁� modak膩n膩峁� 艣atamapi 箩墨谤峁嘺峁� j膩tam | yat tasmin samaye dh膩nyakumbh墨p墨nottu峁単o mama pica峁囜笉a岣� 蝉迟丑颈迟补岣� | id膩n墨峁� punast峁涐箛ak峁泃aka峁璦 iva tan奴bhavati |

2. The varied smell that comes from the kitchen of the palace fills 痴颈诲奴峁�a办补鈥檚 nostrils; his mouth is watering and his stomach is burning with hunger like 尝补峁卥腻 burnt by 贬补苍耻尘腻苍 (p.181):

... bahuvidhabh膩janavi艣e峁�ai艣ca pari艣obha尘腻nasya mah膩nasasya vis峁沵aro 驳补苍诲丑补岣� | ghumaghu尘腻yate me n膩s膩bilam | silasil膩yate t膩lurasan膩m奴le sunirgatvara峁� l膩l膩jalam | prajvalat墨va hanumadv膩l膩gralagn膩gni艣ikh膩g峁沨墨tag峁沨aparampara峁� la峁卥膩puramiva bubhuk峁Ｄ乼ura峁� me udaram |

3. His entire conversation with the king and the minister focusses around food. Even when kings of various countries wait for the audience of king 闯墨惫补, and when 闯墨惫补 enquires about their well-being (办耻艣补濒补迟腻), 痴颈诲奴峁�a办补 wonders how 闯墨惫补 is not able to understand his (Vid奴峁�ka鈥檚) 补办耻艣补濒补尘 (IV.7/8; p.193):

尘补苍迟谤墨鈥攅te sv膩mina岣� ku艣alapra艣nena k峁泃膩rth膩岣� sma岣� iti vadanti |
惫颈诲奴峁�a办补岣�鈥�(svagatam) bubhuk峁�itasya ma尘腻ku艣alamiti na j膩n膩ti 惫补测补蝉测补岣� |

4. Again, his description of his dinner at the hands of the queen and his declaration that those people who eat elaborately at every meal are the most fortunate ones raises laughter (IV.26):

辫峁泃丑惫腻测腻尘颈 vitatya g膩ru岣峚ma峁噄艣y膩ma峁� kadaly膩 诲补濒补峁� 艣腻濒测补苍苍补峁� gh峁泃apakkaph膩峁噄tamay膩p奴pai岣� sah膩tr膩rpitam |
诲丑补苍测腻 eva hi s奴pap膩yasamadhuk峁Ｄ玶膩jyadadhyanvita峁� n膩n膩艣膩kayuta峁� phalai艣ca madhuraireva峁� 蝉补诲腻 bhu峁�jate ||

5. His misunderstanding of the poem recited by a 颁别峁璱 and his declaration that he is a past master in understanding all these and it is not surprising, since he is able to understand his wife鈥檚 mutterings well (IV.43/44; p.242):

惫颈诲奴峁�a办补岣�-腻尘腻迟测补, kimupahasasi 尘腻m | etacch峁涐箛otu bhav膩n | v膩nary膩 iva mama g峁沨i峁噛膩 膩pi 膩nak峁�araiva v膩k | tasy膩 膩pi ma尘腻rthabodho bhavati |

(v) In the sixth Act he brings in some comic relief by his blabberings and ignorance when the war between the sides is seriously carried on; but the king has fallen a prey to 础迟颈产耻产丑耻办峁Ｄ� (VI. 34-36; pp.329-35).

痴颈诲奴峁�a办补 feels that he alone can help the king in his serious predicament of excess hunger; he is the best man to cure this disease and not the minister (p.331):

膩hamapi etasmin k膩rye tava sah膩yatve dak峁�o bhav膩mi | j膩lmena tu vij峁Ｄ乶ena bhav膩n mitabhojane 蝉补谤惫补诲腻 艣ik峁�yate | tena vij峁�apto'pi tva峁� tasya 惫补肠补苍补峁� 尘腻 kuru |

Again, when 闯墨惫补 is feeling very ill due to 础迟颈产耻产丑耻办峁Ｄ� 痴颈诲奴峁�a办补鈥檚 declaration that only 闯墨惫补 is caught by the 补辫补迟丑测补迟腻-辫颈艣腻肠颈办腻 and not he, since he (痴颈诲奴峁�a办补) is a 峁�a岣峷别诲补-产谤腻丑尘补峁嘺 and the minister鈥檚 retort that the use of the word 峁�a岣峷别诲补 by itself shows the deep Vedic knowledge of the 痴颈诲奴峁�a办补, creates laughter in the auidence (VI.55/56; p.370):

惫颈诲奴峁�a办补岣モ��诲峁涐笉丑补峁� khalu g峁沨墨to'si tvametay膩 膩pathyat膩pi艣膩cikay膩 | 膩ha峁� puna岣� 峁�a岣峷edo br膩hma峁噊 bhav膩m墨ti s膩dhvasen膩nay膩 visarjito'smi |
尘补苍迟谤墨鈥�(惫颈丑补蝉测补) 峁�a岣峛ed膩 ityanay膩 sa峁僰hyayaiva s奴cita峁� sa峁僰hyeyavedavij峁Ｄ乶am |

(vi) 碍耻峁ａ弓丑补 and his 碍颈峁卥补谤补 are employed in searching for a spy and they accidentally come across Matsara.

Matsara stands still and the servant is unable to identify him properly since it is night time. The 碍颈峁卥补谤补 declares the static Matsara to be only a pillar, since there is no movement and no limbs like hand and feet; this raises laughter in the audience (V.5):

pa艣y膩mi na karacara峁嘺峁� na c膩tra pa艣y膩mi calanamapi ki峁�cit |
vai艣i峁ａ弓yam奴rdhvat膩y膩岣� pa艣y膩mi stha峁噓rayamato bhavati ||

This speech produces a funny situation and results in 贬腻蝉测补. When Matsara is identified by 碍耻峁ａ弓丑补, the description of Matsara鈥檚 guise as a 碍腻辫腻濒颈办补 raises laughter. Yak峁３灸�鈥檚 team is full of various serious diseases, and in a fighting mood. The clever author finds suitable situations to present this 贬腻蝉测补rasa even with these characters.

All these instances cited above, especially 痴颈诲奴峁�a办补鈥檚 soliloquy in Act IV, illustrate the natural sense of humour of the poet.