braid of hair," is a play in six acts, deriving its plot from the Mahābhārata. Its action turns on the incident of Draupadī being dragged by the hair of her head into the assembly by one of the brothers of Duryodhana. Its age is known from its author having been the grantee of a copperplate dated 840 A.D. Though not conspicuous for poetic merit, it has long been a great favourite in India owing to its express partiality for the cult of Kṛishṇa.
To about 900 A.D. belongs the poet Rājaçekhara, the distinguishing feature of whose dramas are lightness and grace of diction. Four of his plays have survived, and are entitled Viddha-çālabhanjikā, Karpūra-manjarī, Bāla-rāmāyaṇa, and Prachaṇḍa-pāṇḍava or Bāla-bhārata.
The poet Kshemīçvara, who probably lived in the tenth century A.D. at Kānyakubja under King Mahīpāla, is the author of a play named Chaṇḍakauçika, or "The Angry Kauçika."
In the eleventh century Dāmodara Miçra composed the Hanuman-nāṭaka, "The Play of Hanumat," also called Mahā-nāṭaka, or "The Great Play." According to tradition, he lived at the court of Bhoja, king of Mālava, who resided at Dhārā (now Dhār) and Ujjayinī (Ujjain) in the early part of the eleventh century. It is a piece of little merit, dealing with the story of Rāma in connection with his ally Hanumat, the monkey chief. It consists of fourteen acts, lacking coherence, and producing the impression of fragments patched together.
Kṛishṇa Miçra's Prabodha-chandrodaya, or "Rise of the Moon of Knowledge," a play in six acts, dating from about the end of the eleventh century, deserves special attention as one of the most remarkable products of Indian literature. Though an allegorical piece of theologico-philosophical purport, in which practically only
