court and the knights of the army assemble to be present at the marriage and to bid adieu to their beloved princess. But more persons are destined to witness the occasion than those present in the room. For Purushothama, now at the end of his subterranean journey, is surprised at the splendour of the scene in a Palace doomed to so near a destruction, and he stays in the adjoining cell to see what it means. Jivaka then commences the proceedings by explaining the dangers of the situation and the necessity for the hurried marriage and the arranged flight of his daughter, and after obtaining the sanction of the assembly, he calls upon Manonmani to throw her bridal garland around the neck of Paladeva. The noble princess, crushed by the weight of her sorrows, now summons up strength to offer herself up as a sacrifice at the altar of Duty, automatically moves out of her screen and advances to Paladeva, when to ! her eyes alight on the figure of Purushothama, who recognizing in Manonmani the image of his own enchanting dreams, has already glided unnoticed to the front ranks of the assembly, sitting spell-bound in pity. Darting with the speed of lighting, Manonmani decks the neck of Purushothama with her garland and swoons away. Attention is now called to the stranger, and confusion follows. But order is soon restored by the commanding personality of Sundara; and Purushothama then introduces Kudila in fetters, explains his business and prepares to retreat with his long-sought bride. All in the assembly, with perhaps the exception of Jivaka, shed tears of joy at the mercy of God; and the play ends with the blessings of the king on his beloved daughter and her miraculously discovered bridegroom.

Such is the outline of the story; but as it is not intended for acting, it has not been thought necessary to exclude altogether such reflections, descriptions and minor incidents and details, as were found auxiliary to the moral and artistic effects of the play. To the spiritually inclined, some of the incidents may appear capable of allegorical interpretation, and the stanza at the end of each act will perhaps be found helpful in that direction. But in these busy times, the charge is apt to be, not that too little of such food for reflection has been introduced, but by far too much, and in partial extenuation of the offence, it can only be said that the pruning knife has not been left idle, and that several pages of manuscript have been bodily discarded, in consideration of the growing size of the