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comes to about sixty-five. Among these the dramas have the major share. He has twenty-two dramas to his credit.
The special features of his dramas are: many of these are either prologues or epilogues of the well known classical dramas. These prologues and epilogues resemble the style and mood of the respective dramas so closely that one does not feel that a different poet has written these. His Prasanna Kasyapam is an epilogue to Sākuntala. It depicts the events after the reunion of Dushyanta and Shakuntala. Similarly Maniharana is an epilogue to Urubhanga of Bhasa. Adbhutamsukam and Pratijnakautiliyam are the prologues to Venisamhara and Mudrarakshasa respectively. Veerasubhadram is also a prologue to Dutaghatotkacha. His other dramas derive their theme from the Epics and Bhagavata. Most of these are one or two-act plays. He has dramatised Rishyasringa's episode in his drama Nighna Tapasa while Samyuktā is a historical play dealing with the story of Prithviraja. Anangada Prahasana is a Prahasana form of play.
Adbhutadutam is a major Mahakavya of our Poet. It is in fifteen cantos and deals with Sri Krishna's efforts to effect a reconciliation between Pandavas and Kauravas. The poet reveals his devotion to lord Sri Krishna profusely here. It is more a Bhakti Kavya than a Sandhāna Kavya. Good many figures of speech are employed here. Particularly, the Arthāntaranyāsa and Virodhabhāsa are very effective. Karunarasa Tarangini is his earlier poem. It deals with Kāliyamardana episode. Pathikoktimala is a Lyric. The poet wrote it to sustain a temporary separation from his wife when he was on a journey. In Upākhyanarathna manjusha he recounts a number of Upākhyanas selected from different Puranas.
