Of the type Īhāmṛga we have a specimen by Vatsarāja in the Rukmiṇīharaṇa, which in four Acts deals with the success of Kṛṣṇa in depriving Çiçupāla of Cedi of Rukmiṇī, his promised bride. The play opens with a dialogue between the Sūtradhāra who enters, after a Nāndī in a couple of stanzas has been pronounced, and the Sthāpaka, which tells us that the play was performed at moonrise during the festival of Cakrasvāmin. The action of the play is languid, and the author has had trouble to spread it out over four Acts; the characters are conventional; Rukmiṇī the heroine is a nonentity, and neither Çiçupāla nor Rukmin, the objects of Kṛṣṇa’s enmity, has any distinct characterization. Kṛṣṇa goes into a state of trance on the stage in Act IV to produce the presence of Tārkṣya to enable him to complete his victory. The female character, Subuddhi, uses Sanskrit in lieu of Prākrit. Other dramas of this type [562] are the late Vīravijaya of Kṛṣṇamiçra, and the Sarvavinodanāṭaka of Kṛṣṇa Avadhūta Ghaṭikāçata Mahākavi. To Vatsarāja also we owe a specimen of the Ḍima, the Tripuradāha in four Acts, which describes the destruction of the capital of Tripurāsura by Çiva. The idea of writing such a piece was doubtless given by the mention of a work of this name in the Nāṭyaçāstra, and the play is extremely insipid; the numerous figures who crowd the stage are lifeless, and the celestial weapons which overcome the Asuras lack reality; the convenances are duly observed; Kumāra in the full flight of his triumph is stayed by his father’s commands, and Çukra delightedly records this act of courtesy on the part of the god, despite his anger with the Dānavas. The play closes with the homage paid by the gods and the seers alike to Maheça, who is bashful, and the benediction is pronounced by Indra, not by the hero of the drama. Other Ḍimas are late; thus we have one by the ubiquitous Ghanaçyāma, the Kṛṣṇavijaya of Ven̄kaṭavarada, and the Manmathonmathana [563] of Rāma, a drama of 1820.