In comparison with the Greek and the modern drama, Nature occupies a much more important place in Sanskrit plays. The characters are surrounded by Nature, with which they are in constant communion. The mango and other trees, creepers, lotuses, and pale-red trumpet-flowers, gazelles, flamingoes, bright-hued parrots, and Indian cuckoos, in the midst of which they move, are often addressed by them and form an essential part of their lives. Hence the influence of Nature on the minds of lovers is much dwelt on. Prominent everywhere in classical Sanskrit poetry, these elements of Nature luxuriate most of all in the drama. The finest of Kalidasa's works are, it cannot be denied, defective as stage-plays. The very delicacy of the sentiment, combined with a certain want of action, renders them incapable of producing a powerful effect on an audience. The best representatives of the romantic drama of India are Çakuntala and Vikramorvaçi. Dealing with the love adventures of two famous kings of ancient epic legend, they represent scenes far removed from reality, in which heaven and earth are not separated, and men, demigods, nymphs, and saints are intermingled. Malavikagnimitra, on the other hand, not concerned with the heroic or divine, is a palace-and-harem drama, a story of contemporary love and intrigue. The plot of Çakuntala is derived from the first book of the Mahabharata. The hero is Dushyanta, a celebrated king of ancient days, the heroine, Çakuntala, the daughter of a celestial nymph, Menaka, and of the sage Viçvamitra; while their son, Bharata, became the founder of a famous race. The piece consists of seven acts, and belongs to the class of drama by native writers on poetics styled nataka, or "the play." In this the plot must be taken from mythology or history, the characters must be heroic or divine; it should be written in elaborate style, and full of noble sentiments, with five acts at least, and not more than ten. After the prelude, in which an actress sings a charming lyric on the beauties of summer-time, King Dushyanta appears pursuing a gazelle in the sacred grove of the sage Kanva. Here he catches sight of Çakuntala, who, accompanied by her two maiden friends, is engaged in watering her favourite trees. Struck by her beauty, he exclaims-- Her lip is ruddy as an opening bud. Her graceful arms resemble tender shoots: Attractive as the bloom upon the tree, The glow of youth is spread on all her limbs. Seizing an opportunity of addressing her, he soon feels that it is impossible for him to return to his capital-- My limbs move forward, while my heart flies back, Like silken standard borne against the breeze.