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It is difficult to determine the exact number of 补濒补峁僰腻谤补蝉 used in the 惭耻诲谤腻谤腻办峁�a蝉补, as scholars are of varied opinion regarding the employment of 补濒补峁僰腻谤补蝉 in many verses of the very drama. As for example, the first verse (苍腻苍诲颈 verse), wherein scholars are of various opinion whether it is a 痴测腻箩辞办迟颈 or Vakrokti. 痴颈艣惫补苍腻迟丑补 supports where in a verse there remains more than one 补濒补峁僰腻谤补 mixed up with one another than there may occur Sa峁僺峁涐梗峁璱 or 厂补峁卥补谤补-补濒补峁僰腻谤补.^[1] Rhetoricians are of opinion that these types of 补濒补峁僰腻谤补蝉 are like those ornaments, created by amalgamation of two popular ornaments, increase the beauty of the person worn, even double. Thus following this, 痴颈艣腻办丑补诲补迟迟补 also has used a vast number of such amalgamated 补濒补峁僰腻谤补蝉 in most of the verses and the first verse also is an example of such amalgamation.

Moreover, 痴颈艣腻办丑补诲补迟迟补 not merely used the 补濒补峁僰腻谤补蝉 just for the sake of decoration of the art piece; he knows the proper timing of the implication in the proper place. As for example if we again take the 苍腻苍诲颈 verse, the use of 补濒补峁僰腻谤补蝉 like Vakrokti can be seen. This, not only helps to make the speech of 艢颈惫补 a tricky one, but also indicates the trickery of 颁腻峁嘺办测补 in whole of the drama. In this drama extensive use of 办腻惫测补濒颈峁単补-补濒补峁僰腻谤补 by the dramatist in his writings leads to the inference of author鈥檚 predilection for the same. On the other hand, 痴颈艣腻办丑补诲补迟迟补 has used 艢le峁Ｄ乴a峁僰膩ra in only a few places. To unravel the real meaning hidden in the 艢le峁Ｄ乴a峁僰膩ra is the job of the scholarly minds, and according to the dramaturgy, as the drama is meant for the common people; hence the dramatist generally refrains from using such 补濒补峁僰腻谤补蝉 in his work. Apart from these, 鲍迟辫谤别办峁Ｄ� symbolizes the imaginative powers of a writer. In the drama 惭耻诲谤腻谤腻办峁�a蝉补 the dramatist 痴颈艣腻办丑补诲补迟迟补鈥檚 ample usage of this 鲍迟辫谤别办峁Ｄ�-补濒补峁僰腻谤补 stands testimony to the strong imaginative powers of the dramatist.

惭补尘尘补峁璦 has said in his 碍腻惫测补辫谤补办腻艣补 that 补濒补峁僰腻谤补蝉 are like those ornaments which enhance the beauty of a body part and thus enhancing the beauty of the whole body.^[2] Like that, the 补濒补峁僰腻谤补蝉 that has been used by 痴颈艣腻办丑补诲补迟迟补 have enhanced the beauty of the verses leading to the enhancement of the beauty of the drama. Now, from the above discussion we can come to the conclusion that 痴颈艣腻办丑补诲补迟迟补 has shown his expertise in the employment of 补濒补峁僰腻谤补蝉 in the 惭耻诲谤腻谤腻办峁�a蝉补. He has touched almost every type of 补濒补峁僰腻谤补. Yet, the use of Yamaka and 笔耻苍补谤耻办迟补惫补诲腻产丑腻蝉补 types of 艢补产诲腻濒补峁僰腻谤补, and, the 艢峁沶khal膩mulak膩la峁僰膩ra type of Arth膩lamkaras are hardly been observed in this dramatic composition. This fact supports that 痴颈艣腻办丑补诲补迟迟补 has used those 补濒补峁僰腻谤补蝉 that are worth to be used in a particular situation and avoided the extensive use of the same. As rhetoricians like Kuntaka has observed that too much use of 补濒补峁僰腻谤补蝉 also can make a piece of work unpleasant. Ala峁僰膩ras should be used only there, where it is necessary.^[3]