Noteworthy

Copious and judicious employment of literary embellishments or Alankarams and Vrittams or metres to suit the context, besides devices like yamakam and anuprasam. These heighten the impact of the scenes or events described, on the reader, and make them come alive before his mind's eye. As many as 26 different metres have been used, some of them extensively and others sparingly. Some of the more notable instances are set out below:

1. The majestic "Sardulavikriditam" (meaning gambolling of tigers/leopards) brings out the awesome grandeur of the Lord's incarnation as Narasimha (half-man, half-lion) in Dasakam 25; Krishna's entry into Mathura in Dasakam 74 (with its earth-shakingly ominous import to the Lord's enemies), and many other scenes and events.
2. The superbly balanced and serene "Sragdhara", to depict the events leading up to the Mahabharata war and the war itself (Dasakam 86); expounding the path of Devotion (Bhaktimarga) from Dasakam 91 onwards. This metre has also been used in Dasakam 34 and 35, giving a highly condensed account of the Lord's incarnation as Shri Rama, and in many other places (mostly selected verses) in conformity with the context.
3. The dancing "Totaka" and the lilting "Drutavilambita" metres in Dasakams 55 and 56, respectively to describe Krishna's dance on the hood of the serpent Kaliya. In these dasakams, the reader gets a graphic picture of the dance, unsurpassed in poetic beauty and grandeur, with a fascinating, onomatopaeic harmony between sound and sense. The Drutavilambita metre is employed also in many other dasakams, notably Dasakams 78 and 79, describing Rukmini's yearning for union with her Lord, and her wedding.
4. Last, but not least, the "Kusumamanjari" metre, with its charmingly billowing pace of alternating long and short syllables, used in the one and only Dasakam 69, to depict the Rasakrida. Every one of the eleven verses in this dasakam, is outstanding for its magnificent resonance through the blending of sound and sense, between the words and the action. Verse 4 is especially so, where the poet creates a marvellous word-picture before the reader's eyes, of the harmonious intertwining and blending of the notes flowing from Krishna's flute with the lyrics and music, the rhythmic beat of the percussion instruments, the tender footfalls and handclaps of the dancers and the jingling of the bracelets worn by the Gopis.