state, during this scene of matrimonial reconciliation, now advances behind the king and covers his eyes with her hands. The king says:—

"It must be Urvasi; no other hand could shed such ecstasy through my emaciated frame. The solar rays do not wake the night's fair blossom; that alone expands when conscious of the moon's dear presence."

She takes the resignation of the queen in good earnest and claims the king as granted her by right. Her friend takes leave and she now remains with the king as his beloved wife in the groves of a forest.

Subsequently the lovers are wandering near Kailasa, the divine mountain, when Urvasi, in a fit of jealousy, enters the grove of Kumara, the god of war, which is forbidden to all females. In consequence of Bharat's curse she is instantly metamorphosed into a creeper. The king beside himself with grief at her loss, seeks her everywhere. The nymphs in a chorus deplore her fate. Mournful strains are heard in the air.

The king enters a wild forest, his features express insanity, his dress is disordered. Clouds gather overhead. He rushes frantically after a cloud which he mistakes for a demon that carried away his bride.

He addresses various birds and asks them whether they have seen his love,—the peacock, 'the bird of the dark-blue throat and eyes of jet,'—the cuckoo, 'whom lovers deem Love's messenger,'—the swans, 'who are sailing northward, and whose elegant gait betrays that they have seen her,'—the chakravaka, 'a bird who, during the night, is himself separated from his mate,'—but none responds. He apostrophises various insects, beasts and even a mountain peak to tell him where she is.

Neither the bees which murmur amidst the petals of the lotus, nor the royal elephant, that reclines with his mate under the Kadamba tree, has seen the lost one.

At last he thinks he sees her in the mountain stream:—

"The rippling wave is like her frown; the row of tossing birds her girdle; streaks of foam, her fluttering garment as she speeds along; the current, her devious and stumbling gait. It is she turned in her wrath into a stream."

At last the king finds a gem of ruddy radiance. He holds it in his hands, and embraces the vine which is now transformed into Urvasi. Thus is she restored to her proper form, through the mighty spell of the magical gem. The efficacious gem is placed on her forehead. The king recovers his reason. They are thus happily re-united and return to Allahabad.

Several years elapse. An unlucky incident now comes to pass. A hawk bears away the ruby of re-union. Orders are sent to shoot the bird, and, after a short while, a forester brings the jewel and the arrow by which the hawk was killed. An inscription on the shaft shows that its owner is Ayus. A female ascetic enters, leading a boy with a bow in hand.

The boy is Ayus, the son of Urvasi, whom his mother confided to the female ascetic who generously brought him up in the forest and now; sends him back to his mother. The king who was not aware that Urvasi had ever borne him a son, now recognises Ayus as his son. Urvasi also comes to embrace her boy. She now suddenly bursts into tears and tells the king:—

"Indra decreed that I am to be recalled to heaven when you see our son. This induced me to conceal from you so long the birth of the child. Now that you have accidentally seen the child, I shall have to return to heaven, in compliance with the decree of Indra."

She now prepares to leave her husband after she has seen her boy installed as associate king. So preparations are made for the inauguration ceremony when Narada the messenger of Indra, comes to announce that the god has compassionately revoked the decree. The nymph is thus permitted to remain on earth for good as the hero's second wife.

Nymphs descend from heaven with a golden vase containing the water of the heavenly Ganges, a throne, and other paraphernalia, which they arrange. The prince is inaugurated as Yuvaraj. All now go together to pay their homage to the queen, who had so generously resigned her rights in favour of Urvasi.

MALAVIKAGNIMITRA,

or

AGNIMITRA AND MALAVIKA.

We learn a wise sentiment from the prologue. The stage-manager, addressing the audience, says:—"All that is old is not, on that account, worthy of praise, nor is a novelty, by reason of its newness, to be censured. The wise do not decide what is good or bad till they have tested merit for themselves: a foolish man trusts to another's judgement."

Puspamitra was the founder of the Sunga dynasty of Magadha kings, having been the general of Vrihadratha, the last of the Maurya race, whom he deposed and put to death: he was succeeded by his son Agnimitra who reigned at Vidica (Bhilsa) in the second century B.C. King Agnimitra has two queens Dharini and Iravati. Malavika belongs to the train of his queen Dharini's attendants. The maid was sent as a present to the queen by her brother, Virsena, governor of the Antapala or barrier-fortress on the Nermada.

The queen jealously keeps her out of the king's sight on account of her great beauty. The king, however, accidentally sees the picture of Malavika, painted by order of the queen for her chitrasala, or picture-gallery. The sight of the picture inspires the king with an ardent desire to view the original, whom he has never yet beheld.

Hostilities are about to break out between Agnimitra and Yajnasena, king of Viderbha (Berar). The first, on one occasion, had detained captive the brother-in-law of the latter, and Yajnasena had retaliated by throwing into captivity Madhavasena, the personal friend of Agnimitra, when about to repair to Vidisa to visit that monarch. Yajnasena sends to propose an exchange of prisoners, but Agnimitra haughtily rejects the stipulation, and sends orders to his brother-in-law, Virasena, to lead an army immediately against the Raja of Viderbha. This affair being disposed of, he directs his attention to domestic interests, and employs his Vidushaka or confidant, Gotama, to procure him the sight of Malavika. To effect this, Gotama instigates a quarrel between the professors, Ganadas and Haradatta, regarding their respective pre-eminence.

They appeal to the Raja, who, in consideration of Ganadasa's being patronised by the queen, refers the dispute to her. She is induced to consent reluctantly to preside at a trial of skill between the parties, as shown in the respective proficiency of their select scholars. The queen is assisted by a protegé, a Parivrajaka, or female ascetic and woman of superior learning.

The party assembles in the chamber where the performance is to take place, fitted up with the Sangitarachana, or orchestral decorations. The king's object is attained, for Ganadasa brings forward Malavika as the pupil on whom he stakes his credit. Malavika sings an Upanga or prelude, and then executes an air of extraordinary difficulty. Malavika's performance is highly applauded, and, of course, captivates the king and destroys his peace of mind; the Vidushaka detains her until the queen, who has all along suspected the plot, commands her to retire. The warder cries the hour of noon, on which the party breaks up, and the queen, with more housewifery than majesty, hastens away to expedite her royal husband's dinner.

There stands an asoka tree in the garden. The Hindus believe that this tree, when barren, may be induced to put forth flowers by the contact of the foot of a handsome woman. The tree in question does not blossom, and being the favourite of Dharini, she has proposed to try the effect of her own