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is free-flowing and has many of the melodious touches
of Bhoja in it.	.	.
Krishnadatta was a brahmin of Mithila. He was a •devotee of Krishna. Educated in the Northern universities, he was patronised by King Purushottamadeva of Orissa-(1478-1503 A. D.) His Puranjaya Charita—a drama in five acts—is founded on the story as related in the Bhagavata Purana. His .Kuvalayasviya—a drama in seven acts—is founded on the story of a Vedic student falling in love with a maiden Madalasa. .She is carried away to the nether world whence she is rescued •by a-prince of Kasi and restored to her lover* The scenes -are well-laid and the descriptions are fanciful. The poet however shows his close intimacy with the dramatic literature •of his day,
Rupa Goswamin appears to be a very strange author. He has left no traces of his own life and what is more deplorable is that even his name does not appear in the prologues or colophons of his works. He was a devotee of Krishna and •dwelt ttear the precincts of modern Muttra. He was a disciple of Chaitanya qf the latter half of the I5th century A. D. His Vidagdha-madhava has the date of its composition Samvaf 1589. This authentic evidence assigns Rupa to the first half of the l6th century. It is a drama of seven acts describing ithe amorous intrigues of Radha and Krishna. It is more a poem than a drama and follows closely the idyl of Jayadeva on the same subject. His Danakelikaumudi belongs to the Bhana class of dramatic composition with its self-same hero Krishna. Rupa is a true poet and his verse is always of an ^unstrained construction* Long compounds do not mar the effect of easy intelligibility. Not urifrequently his poetic