however, arrives; the general Rumaṇvant has won a victory over the Kosalas and slain the king. A magician enters and is allowed to display his art, but the spectacle is interrupted by the advent of Vasubhūti and Bābhravya, who also have escaped the shipwreck. They tell their tale of disaster, when another interruption occurs; the harem is on fire; Vāsavadattā, shocked, reveals that Sāgarikā is there; Vatsa rushes to aid her, and emerges with her in chains, for the fire has been no more than a device of the magician. Bābhravya and Vasubhūti recognize in Sāgarikā the princess, and Yaugandharāyaṇa arrives to confess his management of the whole plot and the magician’s device. Vāsavadattā gladly gives the king to Ratnāvalī, since her husband will thus be lord of the earth, and Ratnāvalī is her full cousin. The Priyadarçikā [366] introduces us in a speech by his chamberlain, Vinayavasu, to the king Dṛḍhavarman, whose daughter is destined for wedlock with Vatsa despite the demand for her hand made by the king of Kalin̄ga, who revenges himself during Vatsa’s imprisonment at the court of Pradyota by attacking and driving away Dṛḍhavarman. The maid is carried away by the chamberlain and is received and sheltered by Vindhyaketu, her father’s ally, but he offends Vatsa, is attacked and killed by his general Vijayasena, who brings back as part of the booty the unlucky Priyadarçikā; the king allots her to the harem as attendant on Vāsavadattā with the name Āraṇyikā (Āraṇyakā). In Act II we find the king, who has fallen in love with the maiden, seeking to distract himself with his Vidūṣaka. Āraṇyikā enters, to pluck lotuses, with her friend; she tells her love, which the king overhears; a bee attacks her when her friend leaves her, and in her confusion she runs into the arms of the king. Vatsa rescues her, but retires when her confidante returns. Act III tells that the aged confidante of the queen, Sāṁkṛtyāyanī, has composed a play on the marriage of Vatsa and Vāsavadattā which the queen is to see performed; the rôle of queen is to be played by Āraṇyikā, and Manoramā is to act the part of king, but she and the Vidūṣaka have arranged to let the king take the part. The performance causes anxiety to the queen, so ardent is the love-making, though Sāṁkṛtyāyanī reminds her it is but play-making; she leaves the hall, and finds the Vidūṣaka asleep; rudely wakened, he lets out the secret and the queen refuses to listen to Vatsa’s lame excuses. Act IV reveals Āraṇyikā in prison, the king in despair, and the queen in sorrow, as she has learned from a letter from her mother that Dṛḍhavarman, her aunt’s husband, is in bondage, needing Vatsa’s aid. But Vijayasena brings news of the defeat of the Kalin̄ga king and the re-establishment of Dṛḍhavarman, and the chamberlain of the latter brings his thanks, his one sorrow being his daughter’s loss. Manoramā enters in terror; Āraṇyikā has poisoned herself, Vāsavadattā, filled