The order of plays here adopted is in precise harmony with the development in a harmonious manner of Kālidāsa’s dramatic art. The Mālavikāgnimitra is essentially a work of youthful promise and some achievement; [323] the theme is one less banal probably in Kālidāsa’s time than it became later when every Nāṭikā was based on an analogous plot, and there is some skill in the manner in which the events are interlaced; the Vidūṣaka’s stratagems to secure his master the sight of his beloved are amusing, and, though Agnimitra appears mainly as a love-sick hero, the reports of battles and victories reminds us adequately of his kingly functions and high importance. The most effective characterization, however, is reserved for the two queens, Dhāriṇī and Irāvatī: the grace and dignity, and finally the magnanimity of the former, despite just cause for anger, are set off effectively against the passionate impetuosity of the latter, which leads her to constant eavesdropping, and to an outbreak against the king, forgetful of his rank and rights. The heroine is herself but faintly presented, but her friend Kauçikī, who has been driven by a series of misfortunes to enter the religious life, is a noble figure; she comforts and distracts the mind of Dhāriṇī; she is an authority on the dance and on the cure for snake bite, and alone among the women she speaks Sanskrit. The Vidūṣaka is an essential element in the drama, and he plays rather the part of a friend and confidant of the king than his jester; without his skilled aid Agnimitra would have languished in vain for his inamorata. But on the other hand he contributes comparatively little to the comic side of the drama.