PRA CRIT POETRY. 451 



age of Ma'lati daughter of the first with Ma'd'hava 

 son of the latter. The king having indicated an in- 

 tention to propose a match, between BHu'i{ivAsu'*s 

 daughter, and his own favourite Nandana, who was 

 both old and ugly, the minister is apprehensive of 

 giving offence to the king by refusing the match ; and 

 the two friends concert a plan with an old priestess,, who 

 has their confidence, to throw the young people in 

 each other's way, and to connive at a stolen marriage. 

 In pursuance of this scheme, Ma'd'hava is sent to 

 finish his studies at the city of the FaJ??idva/i' under the 

 care of the old priestess Camandaci. By her con- 

 trivance, and witli the aid of Ma'lati's foster sister 

 Lavangica', the young people meet and become 

 mutually enamoured. It is at this period ot the story, 

 immediately after their fi,rst interview, that the phiy 

 opens. The first scene, which is between the old 

 priestess and her female pupil Aval6cit a, in a very 

 natural manner introduces an intimation of the pre- 

 vious events, and prepares the appearance of other 

 characters, and particularly a former pupil of the same 

 priestess named Saudamini, who has now arrived at 

 supernatural power by religious austerities ; a circum- 

 stance which her successor Avalocit a has learnt 

 from Capa LAcuN dala' the female pupil of a tremen- 

 dous magician Aghoraghanta who frequents the 

 temple of the dreadful goddess near the cemeiery ot 

 the city. 



' The business of the play commences ; and Ma'- 

 d'hava, his companion Macaranda, and servant 

 Calahansa appear upon the scene. Ma'd'ava re- 

 lates the circumstances of the interview with Ma'lati, 

 and acknowledges himself deeply smitten. His atten- 

 dant produces a picture which Ma latj had drawn of 

 Ma d'hav.a, and which had come into his hands from 

 one of her female attendants. In return Ma d'hava 

 delineates the likeness of Ma'lati on the same tablet 



Gg 2 



