Act VI reveals Rākṣasa in the capital deeply soliloquizing on the failure of all his ends, and the fate of his friend. A spy of Candragupta’s approaches him, and passes himself off as one seeking death, in despair for Candanadāsa’s fate, on which Candragupta’s mind is relentlessly set. He warns Rākṣasa that he may not attempt a rescue, for, when they fear one, the executioners slay the victim out of hand, and Rākṣasa sees that nothing save self-sacrifice is left for him. The net is now firmly cast; Act VII sees Candanadāsa led out to death, his wife and child beside him, a scene manifestly imitated from the Mṛcchakaṭikā; the wife is determined to die also, but Rākṣasa intervenes; Cāṇakya and Candragupta come on the scene, and Rākṣasa decides to accept the office of minister pressed on him by both, when thus alone he can save, not his own life, but that of Candanadāsa and his friends. They, indeed, are in sore case, for Malayaketu’s massacre of the kings has broken the host into fragments, and the apparent rebels have taken the moment to capture him and his court. As minister, Rākṣasa is permitted to free Malayaketu and restore his lands, Candanadāsa is rewarded, and a general amnesty approved. The interest in the action never flags; the characters of Cāṇakya and Rākṣasa are excellent foils. Each in his own way is admirable; Cāṇakya in his undying and just hatred of the Nandas, and Rākṣasa in his unsparing devotion to their cause, his noble desire to save Candanadāsa, and his fine submission, for the sake of others, to a yoke he had purposed never to bear. The maxims of politics in which both delight may amuse us; they are essentially the Indian views of polity and give the play a contact with reality which Professor Lévi [427] wrongly denies; the plots and counterplots of both ministers are the type in which Indian polity has ever delighted. The minor figures are all interesting; Siddhārthaka and Samiddhārthaka, gentlemen who even disguise themselves as Caṇḍālas in the last Act, so that they may serve Cāṇakya’s aims; Nipuṇaka, whose cleverness in finding the seal justifies the name he bears; the disguised Virādhaka, the honest Çakaṭadāsa, the noble Candanadāsa and his wife, the one female figure in the play. The kings Candragupta and Malayaketu represent the contrast of ripe intelligence with youthful ardour, and the weak petulance of one who does not know men’s worth, and who rashly and cruelly slays his allies on the faith of treachery. Bhāgurāyaṇa, who is the false friend deluding Malayaketu in Candragupta’s interest, is a carefully drawn figure; he dislikes the work, but dismisses his repulsion as essentially the result of dependence which forbids a man to judge between right and wrong.