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Rāmāyaṇa, the Mahābhārata and Paurāņic legends are also alluded in this poem.
A brief résumé of his intelligent allusions would be sufficient to exhibit his background of his mahākāvya. Like his predecessor poets Bhārvi and Māgha, he also tride to fulfil all the characteristics of a mahākā vya. His motif is inspired by the Bhattikāvya although he extensively improved upon it to the extent of making it a perfect compendium of illustrations. Being controlled by historical theme and grammatical vocabulary, Hemacandra could not exhibit himself as a genuine poet in this poem as he did in his devotional poems. His grammatical illustrations were a serious obstacle in his multidimentional expression of sentiments and appropriate diction. We can not expect ludid poetry from such an author. Notwithstanding all these restrictions he has tried to fulfil all the characteristics of a mahākāvya.
In descriptions, he has described the Summer, the Spring, the Winter and the Rainy seasons consisting of all the possible aspects of nature. He has tried to describe the Sun-rise, the night, the rivers, water-sports and the mountains. The blend of grammar is not devoid of his aesthetic vision which finds expression at a number of places. Likewise he has described the city, svyamvara and a number of expeditions and battles.
Amongst sentiments, heroic is dominent in the Dvyāśrayakāvya whose blend with grammar together with appropriate diction of the situation may be observed in the following verse
