The history of this play is curious. It is preserved in two recensions, one in nine or ten Acts redacted by Madhusūdana and one in fourteen by Dāmodaramiçra. The stories given by the commentator Mohanadāsa and the Bhojaprabandha, agree in effect that the play was put together by order of Bhoja from fragments found on rocks, which were fished out of the sea; the tradition was that Hanumant himself wrote the work, which, therefore, is called Hanumannāṭaka, but that to please Vālmīki, who recognized that it would eclipse his great epic, the generous ape permitted his rival to cast into the sea the drama which he had inscribed on the rocks. This certainly suggests that some old matter was embodied in the play, and this view has been strengthened by the fact that Ānandavardhana cites three verses out of the play, but without giving any source, as also do Rājaçekhara in the Kāvyamīmāṅsā and Dhanika in his Daçarūpāvaloka, so that the evidence is not of much worth, for the work, as we have it, plagiarizes shamelessly from the dramas of Bhavabhūti, Murāri, and Rājaçekhara, and even from Jayadeva’s Prasannarāghava, unless we are to suppose that in the latter case the borrowing is the other way. The question which is the earlier of the two recensions is unsolved; the one with fewer Acts has 730 as opposed to 581 verses, and of these about 300 are in common. [572] There is a brief benediction, but no prologue, and narrative follows down to the arrival of Rāma at Mithilā for the winning of Sītā by breaking the bow of Çiva; this part of the action is given in a dialogue between Sītā, Janaka, Rāma, and others. More narrative leads up to a scene with Paraçurāma, then narrative follow to Sītā’s marriage. Act II is undramatic, being a highly flavoured description of Sītā’s love passages with Rāma. Act III again is mainly descriptive, carrying the story down to the departure of Rāma and Lakṣmaṇa in chase of Mārīca in deer shape. Act IV carries the story down to Rāma’s return to the deserted hut; in Act V Rāma seeks Sītā and sends Hanumant to Lan̄kā; in the next Act Hanumant consoles Sītā and returns; in Act VII the host of apes crosses the ocean; in Act VIII, which is much more dramatic than usual, we have An̄gada’s mission to Rāvaṇa; and the rest of the Acts drag out the wearisome details of the conflict, often in so imperfect a manner as to be unintelligible without knowledge of the Rāmāyaṇa and the earlier dramas. The two versions generally correspond, but not with any precision in detail.