The Uttara-rama-charita, or "The Later Fortunes of Rama," is a romantic piece containing many fine passages. Owing to lack of action, however, it is rather a dramatic poem than a play. The description of the tender love of Rama and Sita, purified by sorrow, exhibits more genuine pathos than appears perhaps in any other Indian drama. The play begins with the banishment of Sita and ends with her restoration, after twelve years of grievous solitude, to the throne of Ayodhya amid popular acclamations. Her two sons, born after her banishment and reared in the wilderness by the sage Valmiki, without any knowledge of their royal descent, furnish a striking parallel to the two princes Guiderius and Arviragus who are brought up by the hermit Belarius in Shakespeare's Cymbeline. The scene in which their meeting with their father Rama is described reaches a high degree of poetic merit. Among the works of other dramatists, Viçakhadatta's Mudra-rakshasa, or "Rakshasa and the Seal," deserves special mention because of its unique character. For, unlike all the other dramas hitherto described, it is a play of political intrigue, composed, moreover, with much dramatic talent, being full of life, action, and sustained interest. Nothing more definite can be said as to its date than that it was probably written not later than about 800 A.D. The action of the piece takes place in the time of Chandragupta, who, soon after Alexander's invasion of India, founded a new dynasty at Pataliputra by deposing the last king of the Nanda line. Rakshasa, the minister of the latter, refusing to recognise the usurper, endeavours to be avenged on him for the ruin of his late master. The plot turns on the efforts of the Brahman Chanakya, the minister of Chandragupta, to win over the noble Rakshasa to his master's cause. In this he is ultimately successful. Bhatta Narayana's Venisamhara, or "Binding of the braid of hair," is a play in six acts, deriving its plot from the Mahabharata. Its action turns on the incident of Draupadi being dragged by the hair of her head into the assembly by one of the brothers of Duryodhana. Its age is known from its author having been the grantee of a copperplate dated 840 A.D. Though not conspicuous for poetic merit, it has long been a great favourite in India owing to its express partiality for the cult of Krishna. To about 900 A.D. belongs the poet Rajaçekhara, the distinguishing feature of whose dramas are lightness and grace of diction. Four of his plays have survived, and are entitled Viddha-çalabhanjika, Karpura-manjari, Bala-ramayana, and Prachanda-pandava or Bala-bharata. The poet Kshemiçvara, who probably lived in the tenth century A.D. at Kanyakubja under King Mahipala, is the author of a play named Chandakauçika, or "The Angry Kauçika."