Altogether, Ratnavali is an agreeable play, with well-drawn characters and many poetical beauties. Of the latter the following lines, in which the king describes the pale light in the east heralding the rise of the moon, may serve as a specimen:-- Our minds intent upon the festival, We saw not that the twilight passed away: Behold, the east proclaims the lord of night Still hidden by the mountain where he rises, Even as a maiden by her pale face shows That in her inmost heart a lover dwells. Another play of considerable merit attributed to Çriharsha is Nagananda. It is a sensational piece with a Buddhistic colouring, the hero being a Buddhist and Buddha being praised in the introductory benediction. For this reason its author was probably different from that of Ratnavali, and may have been Dhavaka, who, like Bana, is known to have lived at the court of Çriharsha. The dramatist Bhavabhuti was a Brahman of the Taittiriya school of the Yajurveda and belonged, as we learn from his prologues, to Vidarbha (now Berar) in Southern India. He knew the city of Ujjayini well, and probably spent at least a part of his life there. His patron was King Yaçovarman of Kanyakubja (Kanauj), who ruled during the first half of the eighth century. Three plays by this poet, all abounding in poetic beauties, have come down to us. They contrast in two or three respects with the works of the earlier dramatists. The absence of the character of the jester is characteristic of them, the comic and witty element entering into them only to a slight extent. While other Indian poets dwell on the delicate and mild beauties of Nature, Bhavabhuti loves to depict her grand and sublime aspects, doubtless owing to the influence on his mind of the southern mountains of his native land. He is, moreover, skilful not only in drawing characters inspired by tender and noble sentiment, but in giving effective expression to depth and force of passion.