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Rh speaking to them; as usual the queen, Rājyaçrī, the Royal Fortune, with her companion, Raudratā, Harshness, intervenes, and the king vainly craves pardon. In Act III Puṇyaketu overcomes the obstacle to the match by a clever device; he stations one of his servants behind the image of the goddess to which the queen goes to seek the boon of the disfigurement of her rival, and thus, through apparent divine intervention, the queen is taught that by marriage with Kṛpāsundarī alone can the king overcome Confusion, and is induced to beg Discrimination for the hand of his daughter. Discrimination consents, but insists that to please his daughter the seven vices must be banished, and the practice of confiscating the property of those dying without heirs shall be abolished, terms to which the queen consents. The king also agrees, and the Act ends in his action in forgoing the property of a millionaire believed dead, who, however, opportunely turns up with a new bride in an aerial car.

In Act IV we have the fulfilment of the pledge to banish the seven vices. It first tells of the meeting of the Fortune of the City with that of the Country; the former persuades the latter to accept the tenets of Jainism. Then appears Kṛpāsundarī who is annoyed by the noises of hunting and fishing, but consoled by the appearance of the police officer, who proceeds to the business of banishing vices. Gambling, Flesh-eating, Drinking, Slaughter, Theft, and Adultery must depart, despite the plea that the king's predecessors permitted them, and that they bring revenues to the State; Concubinage may remain if she will. In Act V the king, armed by Hemacandra with his Yogaçāstra, which is his armour, and the Vītarāgastuti, which serves to make him invisible, inspects the strong places of Confusion, and finally rendering himself visible does battle with the adversary and wins a great victory. He restores Discrimination to his capital, and pronounces a benediction in which praise of the Jina and of Hemacandra blend with the desire of close union with Kṛpā and Discrimination, and the hope that 'my fame, allied with the moon, may prevail to dispel the darkness of Confusion'.

The play is certainly not without merits; in the main it is written in simple Sanskrit, free from the artifices which disfigure more pretentious plays, and it has also the merit of bringing vividly before us the activities of Jainism in its regulation of