The subject-matter of the later Kavyas, which is derived from the two great epics, becomes more and more mixed up with lyric, erotic, and didactic elements. It is increasingly regarded as a means for the display of elaborate conceits, till at last nothing remains but bombast and verbal jugglery. The Bhatti-kavya, written in Valabhi under King Çridharasena, probably in the seventh century, and ascribed by various commentators to the poet and grammarian Bhartrihari (died 651 A.D.), deals in 22 cantos with the story of Rama, but only with the object of illustrating the forms of Sanskrit grammar. The Kiratarjuniya describes, in eighteen cantos, the combat, first narrated in the Mahabharata, between Çiva, in the guise of a Kirata or mountaineer, and Arjuna. It cannot have been composed later than the sixth century, as its author, Bharavi, is mentioned in an inscription of 634 A.D. The fifteenth canto of this poem contains a number of stanzas illustrating all kinds of verbal tricks like those described in Dandin's Kavyadarça. Thus one stanza (14) contains no consonant but n (excepting a t at the end); [10] while each half-line in a subsequent one (25), if its syllables be read backwards, is identical with the other half. [11] The Çiçupala-vadha, or "Death of Çiçupala," describes, in twenty cantos, how that prince, son of a king of Chedi, and cousin of Krishna, was slain by Vishnu. Having been composed by the poet Magha, it also goes by the name of Magha-kavya. It probably dates from the ninth, and must undoubtedly have been composed before the end of the tenth century. The nineteenth canto is full of metrical puzzles, some of a highly complex character (e.g. 29). It contains an example of a stanza (34) which, if read backwards, is identical with the preceding one read in the ordinary way. At the same time this Kavya is, as a whole, by no means lacking in poetical beauties and striking thoughts. The Naishadhiya (also called Naishadha-charita), in twenty-two cantos, deals with the story of Nala, king of Nishada, the well-known episode of the Mahabharata. It was composed by Çriharsha, who belongs to the latter half of the twelfth century. These six artificial epics are recognised as Mahakavyas, or "Great Poems," and have all been commented on by Mallinatha. The characteristics of this higher class are set forth by Dandin in his Kavyadarça, or "Mirror of Poetry" (i. 14-19). Their subjects must be derived from epic story (itihasa), they should be extensive, and ought to be embellished with descriptions of cities, seas, mountains, seasons, sunrise, weddings, battles fought by the hero, and so forth. An extensive Mahakavya, in fifty cantos, is the Haravijaya, or "Victory of Çiva," by a Kashmirian poet named Ratnakara, who belongs to the ninth century.