Vatsarāja is also responsible for a Samavakāra, the Samudramathana, in three Acts, which again owes its existence doubtless to the naming of a work with a kindred title in the Nāṭyaçāstra as the model of a Samavakāra. Here again we find after a Nāndī of two stanzas the Sūtradhāra and the Sthāpaka engaged in conversation. The former and his eleven brothers seek simultaneously to attain wealth; how is this possible? The Sthāpaka suggests either homage to Paramardi or to the ocean, a statement duly caught up by a voice behind the stage, which asserts that from the ocean comes the fulfilment of wishes, followed by the entry of Padmaka. The play is based on the legend of the churning of the ocean by the gods and demons with its sequel, the winning by Viṣṇu of Lakṣmī and the gaining of other desired objects by the participators in the enterprise. The treatment fails to rise above the commonplace; Lakṣmī appears in Act I with Lajjā and Dhṛti, her companions, in the normal occupation of gazing on a picture of her beloved, who later appears also on the scene. The artificiality of the type is proved by the absence of other dramas of this kind. The An̄ka, or one-Act play, is represented by very few specimens. The term is often applied to denote a play within a play, in the Bālarāmāyaṇa the name Prekṣaṇaka is applied generally to such plays. The same name is also given to the Unmattarāghava [564] of Bhāskara Kavi, of unknown date, though the Vidyāraṇya mentioned in it may be Sāyaṇa or his contemporary. The play is a stupid imitation of Act IV of the Vikramorvaçī; while Rāma and Lakṣmaṇa pursue the golden gazelle, Sītā, by the curse of Durvāsas, is changed into a gazelle herself; Rāma returns and wanders miserably in search of her, but finally wins her by the help of Agastya. The term Prekṣaṇaka is also applied to the Kṛṣṇābhyudaya of Lokanātha Bhaṭṭa, written for the raintime procession of the Lord of Hastigiri, Viṣṇu, in Kāñcī. A number of modern plays, which may be styled An̄kas, are also known, while the Çarmiṣṭhāyayāti in the Sāhityadarpaṇa may be identical with the work of that name by Kṛṣṇa Kavi. [565]