67
evidence has been preserved to test the merit of the tradition. Danciin and Bana had already recognised the greatness of Bhasa. in the field of letters. Modern theories identify his personality with that of Dhavaka or Ghatakarpara. The three beautiful dramas ascribed to King Harsha and the two musical lyrics in the name of Ghatakarpara are consequently argued to be the production of his mighty poetic intellect. Apart from the real value of these theories, his dramatic genius is unquestionable. Orthodox tradition ascribes twenty-four dramas to his authorship, not one of which has seen the light of the modern press. If as these theories premise he were of the most humiliating trade of a washerman, this may sufficiently account for his oblivion. At least the names of three of his works we have known on reliable authority. The Uda.£ta-raghava develops the eminent side of the character of Rama. The Svapna-vasavadatta occupies itself with the story of Uday ana's marriage with Vasavadatta, The Kiranavali is said to be a natika in the mode of the Ratnavali. From the rare quotations from these works in later works on rhetoric, we can safely form an estimate of Bhasa's poetry. His work is one of natural sweetness. His dramas, as Bana says, were orderly and principled. Variety of character pleased him most. Indeed in originality of conception and versatility of imagery, he was a worttiy fore-runner "of him, who had found an immortal place among the nine gems of the learned assembly of the renowned Vikramaditya.
Next in the list of dramatists comes Kalidasa, the greatest of all. But it is to be regretted that his greatness has not been concurrent with a correct history of his own life or writings.' If any part of Indian chronology is unsettled, it is the age of Kalidasa, whereinto the brightest light ofs enjoined quite in the