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मुहुः पश्यन् शृण्वन् रजनिचरसेनाकलकलं
जटाजूटग्रन्थि रचयति रघूणां परिवृढः ॥१-१९
Looking to his own image of his lotus-like face in the cheeks of Jānaki, which excel the lustre of the tusk of the elephant-cub bloomed open and horripilated, on the other hand, listens to the tumultous noise of the armies of the demons, Rama is tying the not of his matted locks.
In the Candralekhāvijayaprakaraņa, the character Vijayendra speaks.
प्रिये निशीथसमयप्रवृत्तो वर्ततेऽत: सौधमलंक्रियताम् इति वदन् प्रियां हस्ते विधृत्य तत्त्वप्रपञ्चनेन समं सपरिवार: परिकामति क्षणान्तः सोपानमलंकुर्वाणः सौधमधिरोहति ।
One more curious feature of the Hanumannātakam is that there is a proseportion in the form of an explanation, a sort of a tikā. The proseportion gives itself out when, like usual tikā, it ends with the word frufeyra: as in a passage which purports to explain the preceding verse 14. Similarly in the Candralekhāvijayprakaraṇa, some verse like 371GGcaeta: (2-28 and 5-46 of the Candralekhāvijayaprakaraṇa) is a TC or me and there is a sort of commentary explaining the verse in the body of the play itself.
Further we must also remember that Hanumannātakam is also called a chāyānātaka. Now the Dütangada play, the oldest chāyānātaka available hails from Gujarat as noted above. Moreover, Ullāgharāghava by Someśvara is also referred to as chāyānătaka in the play itself.
Ramaji Upadhyaya has observed that, that age i.e. of the 12th and 13th century A.D. was the age of chāyānāțaka. Hanumannātakam is also termed as chāyānātakam. The two most genuine chāyānatakas i.e. Dūtāngada and Ullāgha
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