On the basis of the shloka-patterns, too, it appears that the Trivandrum plays certainly do not constitute a group (chi-square = 66.02; df=20, P > 99.5). If we leave out the absent ra-vipulâ, we get two main groups, of low and high preference for the vipulâ respectively. Within each group several vipulâ patterns - bha : na : ma - can be discerned. The low preference group is the largest, and consists of Cârudatta, Svapna 1-5, Pratijnâ, Karnabhâra, Pancarâtra, Madhyama, Dûtavâkya, Pratimâ, Avimâraka, and Bâlacarita. The remaining plays - Svapna 6, Ûrubhanga, Dûtaghatotkaca, and Abhisheka - have a high preference.
Two remarks can be made concerning the low-preference group. Firstly, the Pancarâtra and the Madhyama stand apart from the remaining eight low-preference plays regarding their vipulâ pattern. Secondly, the remarkable contrast between the two Svapnavâsavadatta parts indicates that the last act could very well have been added by a later hand.
Furthermore, three plays occupy a non-significant position, namely on the one hand the Karnabhâra with its too low number of shlokas to conclude anything safely, and on the other hand the two embassy plays. Although these latter each seem to belong to a different group, their difference in preference is in reality only small, 11 % against 9 %, and therefore insignificant. They occupy an intermediate position between the high-preference and the low-preference plays.
The Cârudatta, finally, appears to be genuine, however, with the concluding acts missing. The Mrcchakatika is an elaboration of it, with many interpolated regular shlokas, and a clumsy vipulâ.
The reference authors display regular patterns, except for Bhavabhûti. There is a remarkable difference between the two parts of his Mahâvîracarita which consists of the total lack of the ra-vipulâ in the first half while it is employed in the second. This vipulâ is known to disappear gradually through the centuries, and therefore, it may be possible that Bhavabhûti wrote the first part of an already existing but damaged drama. The Coincidence Test, too, indicates two different hands, as the second part of the Mahâvîracarita shows a more archaic pattern of coincidence and non-coincidence in contrast with the first part.