The fourth act is peculiar in being almost entirely lyrical. The lovers are wandering near Kailasa, the divine mountain, when Urvaçi, in a fit of jealousy, enters the grove of Kumara, god of war, which is forbidden to all females. In consequence of Bharata's curse, she is instantly transformed into a creeper. The king, beside himself with grief at her loss, seeks her everywhere. He apostrophises various insects, birds, beasts, and even a mountain peak, to tell him where she is. At last he thinks he sees her in the mountain stream:-- The rippling wave is like her frown; the row Of tossing birds her girdle; streaks of foam Her flutt'ring garment as she speeds along; The current, her devious and stumbling gait: 'Tis she turned in her wrath into a stream. Finally, under the influence of a magic stone, which has come into his possession, he clasps a creeper, which is transformed into Urvaçi in his arms. Between the fourth and fifth acts several years elapse. Then Pururavas, by accident, discovers his son Ayus, whom Urvaçi had secretly borne, and had caused to be brought up in a hermitage. Urvaçi must therefore return to heaven. Indra, however, in return for Pururavas' services against the demons, makes a new concession, and allows the nymph to remain with the king for good. There are two recensions of this play also, one of them belonging to Southern India. The doubts long entertained, on the ground of its inferiority and different character, as to whether Malavikagnimitra, or "Malavika and Agnimitra," is really the work of Kalidasa, who is mentioned in the prologue as the author, are hardly justified. The piece has been shown by Weber to agree pretty closely in thought and diction with the two other plays of the poet; and though certainly not equal to the latter in poetic merit, it possesses many beauties. The subject is not heroic or divine, the plot being derived from the ordinary palace life of Indian princes, and thus supplying a peculiarly good picture of the social conditions of the times. The hero is a historical king of the dynasty of the Çungas, who reigned at Vidiça (Bhilsa) in the second century B.C. The play describes the loves of this king Agnimitra and of Malavika, one of the attendants of the queen, who jealously keeps her out of the king's sight on account of her great beauty. The various endeavours of the king to see and converse with Malavika give rise to numerous little intrigues. In the course of these Agnimitra nowhere appears as a despot, but acts with much delicate consideration for the feelings of his spouses. It finally turns out that Malavika is by birth a princess, who had only come to be an attendant at Agnimitra's court through having fallen into the hands of robbers. There being now no objection to her union with the king, all ends happily.