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dhara spouse to describe the war ending Havana's death and" Sita's purification and restoration. As usual the pieces conclude-with the journey of the victorious hero and his allies to-Ayodhya in the celestial car of Pushpaka. Compared with some other dramas of the same story, the innovations on the-original are not few. But the poet's imagination has given a* graceful relief to the plot as a whole. His poetry has been/ conceded a high place in the lyrical art. The simplicity and-, naturalness of his language is remarkable, relatively to the deteriorating tendencies of his age.
Sundaramisra lived about the end of the i6th century-and wrote the Abhiramamani in 1599 A. D, — a drama of severe acts describing the whole life of Rama.
Krishnakavi or Seshakrishna, was the son of Nrisimha.. His patron was Todar, the finance minister of Emperor Akbar (1556 — 3605 A.D). His Ramsavadha — a drama in seven acts — describes the events leading to the death of Kamsa at Krishna's-hands. The source of the play is the tenth Skanda of Sri-Bhagavata.
Kavikarnapura was born of the Vaidya family in 1525 A. D.. at Kanchanapura. His Chaitanyachandrodaya dramatises the history of the reformer Chaitanya after the model of the Probodhachandrodaya. His other work — Alankaro-Raustubha* ^—testifies to his rhetorical learning.
Nilakantha has been noticed in detail already as the author of Sivalilarnava Mahakavya* His Nalacharitanatakam is a drama of seven acts describing the history of Nala, The-cts 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