ACT IX., entitled _The Trial_. Fifth day.--Sansthānaka accuses Chārudatta of murdering Vasantasenā for her money. In the course of the trial, it appears that Vasantasenā had spent the night of the storm at Chārudatta's house; that she had left the house the next morning to meet Chārudatta in the park; that there had been a struggle in the park, which apparently ended in the murder of a woman. Chārudatta's friend, Maitreya, enters with the gems which Vasantasenā had left to buy Chārudatta's son a toy cart of gold. These gems fall to the floor during a scuffle between Maitreya and Sansthānaka. In view of Chārudatta's poverty, this seems to establish the motive for the crime, and Chārudatta is condemned to death. ACT X., entitled _The End_. Sixth day.--Two headsmen are conducting Chārudatta to the place of execution. Chārudatta takes his last leave of his son and his friend Maitreya. But Sansthānaka's servant escapes from confinement and betrays the truth; yet he is not believed, owing to the cunning displayed by his master. The headsmen are preparing to execute Chārudatta, when Vasantasenā herself appears upon the scene, accompanied by the Buddhist monk. Her appearance puts a summary end to the proceedings. Then news is brought that Aryaka has killed and supplanted the former king, that he wishes to reward Chārudatta, and that he has by royal edict freed Vasantasenā from the necessity of living as a courtezan. Sansthānaka is brought before Chārudatta for sentence, but is pardoned by the man whom he had so grievously injured. The play ends with the usual Epilogue. FOOTNOTES: [Footnote 2: For an illuminating discussion of these matters, the reader is referred to Sylvain Lévi's admirable work, Le Théâtre Indien, Paris, 1890, pages 196-211.] [Footnote 3: In his Mālatīmādhava, i. 8, he says: "Whoever they may be who now proclaim their contempt for me,--they know something, but this work was not for them. Yet there will arise a man of nature like mine own; for time is endless, and the world is wide." This seems prophetic of John Milton.] [Footnote 4: Prasannarāghava, i. 22.] [Footnote 5: Mahāvīracarita, i. 4.] [Footnote 6: History of Chinese Literature, by H. A. Giles, pages 145-146.] [Footnote 7: Shakuntalā, i. 15.] [Footnote 8: Latter Acts of Rāma, v. 17.] [Footnote 9: _Prakaraṇa._] [Footnote 10: Dhūrtasaṁkula: Daçarūpa, iii. 38.] [Footnote 11: _Sāhityadarpaṇa_, 428.] [Footnote 12: As in Mālatī-mādhava.] [Footnote 13: Daçarūpa, iii. 33.] [Footnote 14: In Kālidāsa's Shakuntalā.] [Footnote 15: In Bhavabhūti's Latter Acts of Rāma.] [Footnote 16: See page 128.] [Footnote 17: Aryaka, Darduraka, Chandanaka, Sharvilaka, and the courtier.] [Footnote 18: See x. 27.] [Footnote 19: See v. 46 and the following stage-direction.] [Footnote 20: In Kālidāsa's play of that name.] [Footnote 21: In Bhavabhūti's Latter Acts of Rāma.] [Footnote 22: See viii. 43.] [Footnote 23: See pages 65-66 and page 174.]