Moreover the final benediction is allotted, not to Arjuna, the hero of the play, but to Vāsava, who appears at the close of the play in a celestial chariot in company with the Apsarases to bestow applause and blessing. Prahlādana wrote other works, of which some verses are preserved in the anthologies, and must have been a man of considerable ability and merit. The Kirātārjunīya [557] is a Vyāyoga based on Bhāravi’s epic by Vatsarāja, who calls himself the minister of Paramardideva of Kālañjara, who reigned from A.D. 1163 to 1203. Vatsarāja is interesting as a good specimen of the poet of decadence; we have from him six plays illustrating each a different type of drama. The Karpūracaritra is a Bhāṇa of orthodox type; the gambler Karpūraka describes in monologue his revelry, gambling, and love. The Hāsyacūḍāmaṇi is a farce in one act which has as its hero an Ācārya of the Bhāgavata school, styled Jñānarāçi, who professes the possession of supernatural knowledge, enabling him to trace lost articles and buried treasure, and who carries out his professions by various tricks and fooleries. He has an irresistible pupil, who is sadly lacking in respect for his teacher, and delights in interpreting literally his remarks. The Kirātārjunīya has no special merit, but is technically interesting; after a Nāndī celebrating Çiva’s consort, the Sūtradhāra enters, immediately followed by the Sthāpaka, who insists on his reciting a further Nāndī of the trident of Çiva, on the score that the play is heroic in sentiment and should be appropriately introduced. This play was produced later than the other five, for it came out under Trailokyavarmadeva, successor of Paramardi. The other three plays, an Īhāmṛga, Ḍima, and Samavakāra will be noticed below. We have also a Vyāyoga by Viçvanātha, the Saugandhikāharaṇa, [558] of about A.D. 1316, which deals with Bhīma’s visit to Kubera’s lake to fetch water-lilies for Draupadī, his struggle first with Hanumant and then with the Yakṣas, and his final victory; the Pāṇḍavas meet at Kubera’s home and Draupadī obtains her desired flowers. Of unknown date is the Dhanaṁjayavijaya [559] of Kāñcana Paṇḍita, son of Nārāyaṇa, which deals with the prowess of Arjuna in the defeat of Duryodhana and the Kauravas when they raid the cattle of Virāṭa, evidently a special favourite of the dramatic authors. The description of the contest in which Arjuna uses magic weapons is given by Indra and a couple of his celestial entourage; the play ends with the giving to Arjuna’s son Uttarā, daughter of the king Virāṭa, in marriage. A manuscript of A.D. 1328 is extant of the Bhīmavikramavyāyoga [560] of Mokṣāditya, while the Nirbhayabhīma [561] of Rāmacandra belongs to the second half of the twelfth century A.D.