; s4
I written ; (3) that4 Sri Harsha' was not as a matter
• j • of fact indebted to Kalidasa for his plots, but to
; i ! certain accounts and traditions about historical
Mi personages, which were afterwards embodied in the
i • ;. Brihatkatha of Gunadhya and that his .plays follow
I i a certain order of sequence and had their origin
• j i in connection with certain popular historical
M characters; (c) that Kalidasa in his Malavikagni-
! mitra and nowhere else makes reference to poets
M before him, and that the manner of such reference,
i j I i. coupled with his allusion to the tales of Udayaoa
M ! in his Meghaduta, can have meaning only whet*
j ! t taken as applying to writers whom he was in some
M way tryttg to excel;
I ;. 1 i • „ (ii) That Bhasa is mentioned by a long list of eminent
j i i writers as one of the greatest of Sanskrit poets, as
I \\I a dramatist of the highest reputation and as the
i author of the Ratnavali, Priyadarsika and Naga-
!;• nanda and a host of other plays ;
I (iii) That by * Sri Harsha' is meant Sri Harsha Vikra-
\ I • maditya of Ujjain, not Harsha Vardhana of Kanotaj^
and that it is by identifying the former with th« : latter that scholars have fallen into the great error
\;. of ascribing the plays in question either to Bairxa or
j to some other poet of Harsha Vardhana's court ;
(iv) That this Sri Harsha must have lived in the 6th century B.C. as borne out by a host of references to him in our ancient works;
• * '<•')•• ;•••!$) That the style of f Sri Harsha1 is exceedingly easy* Sowing and musical. In vain is our search therein
I ! fct verbal squibbles, the empty though high-soutKi~
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