There are also in India a great many dramatic pieces, which are really acted, and of which the Tamulians and natives of Malabar are remarkably fond. This taste is carried so far, that the newly-converted Christians represent sometimes, before the doors of the churches, pieces of this kind, in which the actions of the Pagan deities are exhibited. The apostolic vicar and archbishop of _Codungalur_, or _Cranganor_, finds himself, therefore, under the disagreeable necessity of issuing a new order every year against such improper amusements[206]. Some of these dramatic poems are at least 2000 years old; as I could prove from the subject and composition of them. Of this kind is the poem _Sacontala_, which has been translated into English by Sir William Jones[207]. In Malabar there are also other dramatic poems highly esteemed, the most remarkable of which are the _Sharnishta_, _Devayàni_, and _Calàbadì_. Of the latter I shall here insert a few specimens, that the reader may at least see what liberties the Pagan theatrical poets allowed to themselves in their writings. Ingane prasidhamam Dasharha Kshmàpadi Mangalàm guiàm Kashi ràgia Canyaque vèttu Canyaca Calàbadi yennum pèreyullavell Mannidam pucashnoru ciàru saunaryatodu. “King _Dàsharda_ afterwards celebrated in a public manner his marriage with the beautiful _Calàbadi_, the virgin-daughter of king _Káshi_ (or of Benares), who was distinguished not only by her remarkable beauty, but also by her virtue and modesty.” Dhanyànam nrben tande dherma pàriniyày Sannadâmguinmàr mannì tal grehamèvum càlam Càmalilaguel tudarniduvànar ambhiciu Càmini manniyàle viliciu paducave. “When queen _Calàbadi_ entered the apartment of this rich and powerful monarch, and when the king observed that she excelled in beauty all the princesses present, a desire was awaked in him of embracing her as his spouse. He addressed her, therefore, in the words of love, and said:” Sunarì variguedò talpam èruga shubhè Cundahà sini ninde lagna yendidu nèram Ittarum Nrbavaren cionnadu kèttu neram Uttaram pareyàde ninnidu Calàbadi. “Come, O come, thou fortunate, thou beautiful bride! why are thy virtuous cheeks covered with the blushes of modesty?--On these words of the king, _Calàbadi_ began to quiver and shake; and was not able to return him an answer.” Satvaram anagnaven caypidicia-dupiciang Uttama striratnatè punnarnòranandaram Cattum aghni yittu tàbicia lòham pole Matta Càshiniyude gàtram etreyum Ushnam. “The king hastened towards her, laid hold of her hand, and kissed this precious jewel without waiting for her permission. But ah! as iron becomes glowing when it has lain a long time in the fire, so glowing and hot became the body of the bride.” Endedò ninde déham ciuttu ciuttiricunnu Bendham endinennu bhenduràne ciol nì Purna Ciandraguen ninuanga tábam givalicidò Ciurna ceshamam ende vigraham ninne tottàl.