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social life of our own days, Such a device must certainly facilitate the adaptation of the Indian drama to the modern stage. Another step has been laudably adopted—the translation and adaptation of foreign plays into Sanskrit* Among these must be mentioned the Vasantika-swapnam of Mr. R. Krishnamachariar, which reproduces the story of the Mid-summer Night's Dream of Shakespeare. The language is lucid and simple, but the omission of the original division into scenes has not facilitated representa-tion. Still the acts are not too long, so as to make us feel a tediousness in the dramatic construction. But as regards the practicability of the theatrical representation of the Indian dramas, there is nothing highly in its favour. They are fit for the hall not for the stage. They are superior literary compositions, not histrionic entertainments. They require a scholar for their appreciation, not the mob. The most ancient however of the Indian dramas are eminently fitted for representation, while the later suffer under the same disabilities as we have noticed in the case of the artificial poems. The same gradual deterioration in the style of the dramatic writings is observable and Sudraka Bhavabhutui and Murari are apply chosen to illustrate it*
The a Victorian Age>J of English Literature is essential-Jy an age .of prose-fiction* Unfortunately this remark cannot find a parallel illustration from the whole of Sanskrit literature* The catalogue of prose romances is very thin and the very few works, that have come down to as, all belong to the later or artificial period. The ground-work, however, of this romance composition was uncons*