In Vikramorvashi, the purva-rag commences from the point of redemption of Urvashi from Keshi upto the middle of the third Act when she is sent to this world under the ban of Bharat, the length being that of about one half of the play. In Shakuntal, the purva-rag and the Sambhoga are so closely twined together that the former is shortened to its utmost. The commencement of the poorvarag in the king in Shākuntal is marked from the time that he has been slyly looking at the girls in Kanva's ashram behind the tree. Shakuntala Las fallen a prey to a similar feeling after having had a chat with him in the first Act, This prevails upto the second Act only. In the third Act the marriage being consummated, the poorva rag, if there be any, turns at once into Sambhoga, which in its turn is of the shortest period possible.
With a critical appreciation of the interspersing of the Sambhoga and Vipralambha in the plot of the play, the critics will find that there is a seasoned balance of the two in Vikramoryashi to a more tasteful manner than in the case of Shâkuntal, where rapidity of action and disproportionate prolongation of separation, form the marked feature of the sentimental development. In Vikramorvashi the hero meets the heroine and has an opportunity to observe well the lineaments of the heroine while riding a common chariot, and there he cherishes his feeling for the woman. Similarly in Shakuntal, the king conceals himself and scans the features of the girl and falls a victim to her beauty. Thus a deep observation on the part of the hero fascinates him and makes a move towards becoming familiar with the heroine. In the case of Urvashi she is also attracted there and then and the poorva rag commences. Then there is a separation on account of Chitraratha's arrival exactly as it is in the Shakuntal due to the appearance of Gautami. Then they meet again in the play in hand, the heroine moving towards her paramour. In Shakuntal the hero is again brought to the scene under the pretext of the safeguard of the hermitage and there the poorva rag. ends; whereas in Vikramorvashi this second union, though short, gives salad dressing to the poorva rag, which is disturbed by Urvashi's presence being required for the enactment of Laxmi Swayamvaram, an episode which is a pleasant outcome of the poet's fancy. After having enjoyed a short suspense then again there is a union of the two, approved for a length of time by the custodian of the heroine, where the poorva rag
