4. Conclusion

From a close observation of the drama it is clearly felt that the dramatist has given more emphasis on the delineation of Vīrarasa than that of the other rasas that also related to Cāṇakya . Raudra and Karuṇarasas also have some space in this drama, and there is a little mention of Bhayānakarasa, Adbhutarasa and Śāntarasa; and only a tint of Śṛṅgārarasa and Bībhatsarasa. But the Hāsyarasa is totally absent from the drama. It is quite natural that a political drama possesses no humour, but the dramatist could have used some portions having satire through Cāṇakya’s attendants or spies which would have made the drama more entertaining. Moreover, the absence of Śṛṅgārarasa also made the drama serious but monotonous. Yet, Viśākhadatta has earned all success in delineating the principal sentiment. The descriptions of different varieties of Vīrarasa attain the zenith of the same.

According to the norms of dramaturgy, meters used in the verses expressing the sentiment of heroism should be of fast tempo. It should be capable of expressing the energy of the speaker. Meters like Vasantatilaka [Vasantatilakam], Śārdūlavikrīḍita [Śārdūlavikrīḍitam], Śragdharā, Mālinī etc with fast tempo are suitable for Vīrarasa.^[1]

Our dramatist also has followed the same with utmost care. Most of the heroic verses are composed in Vasantatilakam^[2], Śārdūlavikrīḍitam^[3], Śragdharā^[4] etc. These kinds of minute observations of the dramatist have made the drama a perfectly heroic one.