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«fche only work extant of our poet. The drama follows in Detail the plot of the Malati-madhava. But the wide Iearni**j8? of Uddanda tended to improve upon Bhavabhuti?s construction* •in various details of development. The plot relates affections of two sets of lovers, Mallika and Maruta, and yantika and Kalakantha. Mandakini answers to as the Yogini that is the means of their ultimate marriage. does Kalindi resemble Avalokita. Uddanda's touches are always original. The Rakshasa scene from the Venisamhax"^-and the soliloquy scene from the Vikramorvasi are amon^ CTddanda's sources of imitation. Apart from the success of the story as a dramatic composition, the language is most ••attractive. The style deserves to be placed in the literature •of the sixth or seventh century. The verses are smooth-* running and the metres are best suited for the occasion and '
character. The speeches abound in apt illustration and pro-werbial generalisation.
Jayadeva was the son of Mahadeva and Sumitra of "Kaundinya Gotra, He was a devotee of Rama and was • deeply versed in the srautas and sastras and had the titles of" >Peeyushavarsha and Pakshadharit. He lived in Vidarbha and studied under Harimisra. He calls himself a great logician, an d from this fact is generally supposed to be the author of Many ex ~ .loka. From an allegorical reference in the introduction to his -drama, he is known to be a contemporary of Appayyadikshit of *the 26 th century. His Prasanna Raghava is a drama in sever* .acts describing the story of Rama. The first act is most amui-rsing, where the demons, Bana and Ravana, are brought in and -ridiculed. The loves of Rama and Sita are depicted and -scene 6f Rama's encounter with Jamadagnya is the graphic of all. The seventh Act introduces a pair of Vidya-elligibility. Not urifrequently his poeticfor centuries had a high appreciation among the pandit classes*atiparinaya is a drama of five acts, describing the* f