7. Conclusion

From the view point of subjectmatter, rasa and bhāva, the style of Viśākhadatta is very attractive. After discussing his style of writing, one can easily grab the main point behind his style. He has composed this drama with Vīra as its predominant sentiment. Now if we take a minute observation it would be clear in front of us that all the literary merits found in his drama are favorable to Vīra-rasa. Such as, while employing the guṇas he has chosen the Oja-guṇa in abundance, and thus, the richness of Gauḍī-rīti has come forth in his style. Amongst the vṛttis our dramatist has vehemently deserted the Kaiśikī-vṛtti breaking even the rules of dramaturgy to make the drama an instance of pure Vīra rasa dominant drama. However, from the observation of pravṛtti it is found that Viśākhadatta has followed some of the norms and tactfully uses two different languages for one character like Virādhagupta as he was in disguise as a character called Āhituṇḍika. But the monotonous representation of the merits demonstrating the heroic sentiment is soothing by his enormous manipulation of Subhāśitas like the drops of rain in the desert.