The ubiquitous Yaugandharāyaṇa, insatiable in seeking his master’s welfare, has planned marriage for him with the daughter of the king of Ceylon, but to attain this end has been difficult; to avoid vexing the queen Vāsavadattā, he has kept her in the dark, and has spread a rumour which he has had conveyed by Bābhravya, the king’s chamberlain, of the death of Vāsavadattā in a fire at Lāvāṇaka. The king of Ceylon then yields the hand of his daughter, and dispatches her in the care of the chamberlain and his minister Vasubhūti to Vatsa, but, wrecked at sea, she is rescued by a merchant of Kauçāmbī, taken there, and handed over to Vāsavadattā who, seeing her beauty, decides to keep her from contact with her inconstant spouse. But fate is adverse; at the spring festival which she celebrates with Vatsa, Sāgarikā, as the princess is called from her rescue from the sea, appears in the queen’s train; hastily sent away, she lingers concealed, watches the ceremony of the worship of the god Kāma, thinking Vatsa is the god in bodily presence, but is undeceived by the eulogy of the herald announcing the advent of evening. In Act II Sāgarikā is presented with her friend Susaṁgatā; she has depicted the prince on a canvas, and Susaṁgatā in raillery adds her beside him; she admits her love, but the confidence is broken by the alarm created by the escape of a monkey from the stables. In its mad rush it breaks the cage in Sāgarikā’s keeping, and the parrot escapes. The king and the Vidūṣaka enter the grove where the bird is, hear it repeat the maidens’ talk, and find the picture. The maidens returning for the picture overhear the confidences of the king and the Vidūṣaka, until Susaṁgatā sallies out and brings the lovers face to face. Their meeting is cut short by the advent of the queen, who sees the picture, realizes the position, and departs without manifesting the deep anger which she feels and which the king vainly seeks to assuage. In Act III the Vidūṣaka proves to have devised a scheme to secure a meeting of the lovers; Sāgarikā dressed as the queen and Susaṁgatā as her attendant are to meet Vatsa, but the plot is overheard, and it is Vāsavadattā herself who keeps the rendezvous; she listens to Vatsa’s declarations of love, and then bitterly reproaches him, rejecting his attempts to excuse himself. Sāgarikā, who had come on the scene too late, hears the king’s plight; weary, she ties a noose to her neck, when she is saved by the advent of the Vidūṣaka and the king, who naturally mistakes her for Vāsavadattā whom he fears his cruelty has driven to suicide. He joyously recognizes his error, but the queen, who, ashamed of her anger, has returned to make friends with her husband, finds the lovers united, and in violent anger carries off the maiden and the Vidūṣaka captive. But in Act IV we find the Vidūṣaka released and forgiven, but Sāgarikā in some prison, the king helpless to aid her. Good news,