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174 prison, the king in despair, and the queen in sorrow, as she has learned from a letter from her mother that Dṛḍhavarman, her aunt's husband, is in bondage, needing Vatsa's aid. But Vijayasena brings news of the defeat of the Kalin̄ga king and the re-establishment of Dṛḍhavarman, and the chamberlain of the latter brings his thanks, his one sorrow being his daughter's loss. Manoramā enters in terror; Āraṇyikā has poisoned herself, Vāsavadattā, filled with remorse, has her fetched, as Vatsa can cure her; the chamberlain recognizes his princess, Vatsa's magic arts bring her back to consciousness, and Vāsavadattā recognizes in her her cousin, and grants her hand to the king.

The Nāgānanda, performed at a festival of Indra, perhaps in the autumn, differs from these dramas in its form, for it is a Nāṭaka in five Acts, and in its inspiration; those are variants by Harṣa on the theme of Vatsa's loves, this is the dramatization of a Buddhist legend, the self-sacrifice of Jīmūtavāhana, which was told in the Bṛhatkathā, whence it appears in the later versions of that text and in the Vetālapañcaviṅçati. Jīmūtavāhana is a prince of the Vidyādharas, who hasinduced his father to resign his kingship, and give himself up to a life of calm; he has made the acquaintance of Mitrāvasu, the prince of the Siddhas, who has a sister. She has had a dream in which Gaurī has revealed to her her future husband, and Jīmūtavāhana hidden behind a thicket overhears her confiding this dream to her friend; the Vidūṣaka forces a meeting on the timid lovers, who shyly confess their affection, when an ascetic from the hermitage arrives to take the maiden away. In Act II Malayavatī is love-sick, resting on a stone seat in the garden; a sound makes her move away, when the king enters, equally oppressed, declares his love and paints his fancy. Mitrāvasu comes to offer him his sister's hand; the king declines it, ignorant of whom he loves; she deems herself disdained and seeks to hang herself, but her friends rescue her and call for aid. Jīmūtavāhana appears, and proves that she is his love by showing the picture. The two exchange vows, and the marriage is concluded. In Act III, after a comic interlude, we find them walking in the park in happiness; Jīmūtavāhana is