The drama shows close agreement with the classical model; the name of the Vidūṣaka is evidence of this, for not only is it connected with a real Brahmin family, but it obeys the rule that the name of that character should indicate a flower, the spring, &c., for it means literally ‘the offspring of the lotus-smelling’. The name of the hetaera does not observe the rule exemplified in the Cārudatta that the hetaera’s name should end in senā, siddhā, or dattā, but, apart from the fact that the authority for the rule is very late, the name was very probably given to the poet by the literary tradition. The fact that the Duṣṭa and the Nāyaka appear by these titles only has a parallel in the Cārudatta and the Buddhist drama of Harṣa, the Nāgānanda, but it is difficult to say whether or not this is a sign of antiquity. The material available in the case of any of the three dramas is too scanty to give us any assurance as to what the practice was regarding the introduction, especially the use of the Nāndī, or verse of benediction. What is certain is that the Pāripārçvika, or assistant of the Sūtradhāra in the later literature, is found apparently as taking part in the opening of the drama, perhaps the Çāriputraprakaraṇa. 3. THE LANGUAGE OF THE DRAMAS In accordance with the later rules we find the Buddha, his disciples, the hero of the hetaera play and Dhānaṁjaya speaking Sanskrit; the same is true of the allegorical characters, and this is also in accord with later practice, for in both Kṛṣṇamiçra and Kavikarṇapūra’s works some of the allegorical characters speak Sanskrit, though others, of more feminine appeal and character, speak Prākrit. One Çramaṇa speaks Sanskrit, another—conceivably an Ājīvika—a Prākrit. The Sanskrit contains some errors, which are obvious Prākritisms, and which it would be unjust to attribute to the author, or authors. Genuine departures from the norm are scanty; the use of ārttha for artha has a precise parallel in the nearly contemporaneous dialect of Mathurā; tuṣṇīm is frequent in Buddhist Sanskrit as well as etymologically correct; krimi is found also in the Buddhacarita where the reading kṛmi would spoil the metre; pratīgṛhīta has many Sanskrit parallels. In pradveṣam where the metre requires pradoṣam Buddhist influence is doubtless present, but yeva and tāva are probably merely errors of the scribe, to whom may be assigned such a monstrosity as paçyemas and Somadattassa. But bhagavāṁ has the support of the practice of the Mahāvastu where stems in mat and vat end thus, and it explains the Sandhi çṛṇvam puṣpā. These are minimal variants; in the main the Sanskrit is excellent and the fragments shows traces of the able versification and style of Açvaghoṣa.