inferiority and different character, as to whether Mālavikāgnimitra, or "Mālavikā and Agnimitra," is really the work of Kālidāsa, who is mentioned in the prologue as the author, are hardly justified. The piece has been shown by Weber to agree pretty closely in thought and diction with the two other plays of the poet; and though certainly not equal to the latter in poetic merit, it possesses many beauties. The subject is not heroic or divine, the plot being derived from the ordinary palace life of Indian princes, and thus supplying a peculiarly good picture of the social conditions of the times. The hero is a historical king of the dynasty of the Çungas, who reigned at Vidiçā (Bhilsa) in the second century B.C. The play describes the loves of this king Agnimitra and of Mālavikā, one of the attendants of the queen, who jealously keeps her out of the king's sight on account of her great beauty. The various endeavours of the king to see and converse with Mālavikā give rise to numerous little intrigues. In the course of these Agnimitra nowhere appears as a despot, but acts with much delicate consideration for the feelings of his spouses. It finally turns out that Mālavikā is by birth a princess, who had only come to be an attendant at Agnimitra's court through having fallen into the hands of robbers. There being now no objection to her union with the king, all ends happily.
While Kālidāsa stands highest in poetical refinement, in tenderness, and depth of feeling, the author of the Mṛicchakaṭika, or "Clay Cart," is pre-eminent among Indian playwrights for the distinctively dramatic qualities of vigour, life, and action, no less than sharpness of characterisation, being thus allied in genius to Shakespeare. This play is also marked by originality and good sense. Attributed to a king named Çūdraka, who is
