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quity which also presuppose the existence of Venisamhara as a classical drama. Thus Kshiraswamin, a learned commentator on the Amarakosa, who seems to have written his work about the first half of the eleventh century has many a quotation from the Venisamhara. Again, Rajashekhara who is spoken of in the somewhat chatty prelude to the Bala Ramayana (st, 17 and 18), as one admired by Shankaravarman, the Kashmir King, (883-902 A.D. Smith's History, P.344). and as the Guru of Mahendrapala, King of Kanauj, that succeeded his father Mihira Bhoja, about the year 890 A.D.[१] is generally taken as belonging to about 900 A.D.[२] He is the author of four plays, Bala Ramayana being one of them. In this play we find that the poet betrays in his style the influence of many a play of an older date, and the Venisamhara seems to be of the class. The fact that our play is on the same footing with Bhavabhuti's plays in the emulation of that poet, is a proof of the high classicality with which distance of time coupled with special merit must have invested the work. An instance or two of this attempt at imitation on the part of Rajashekhara would not be out of place here. In the Bala Ramayana, Ravan in one of his vociferations is made to express himself thus : 'अराममपलक्ष्मणं भुवनमद्य निर्चानरम् etc.' (Act VIII, 57 ): it is not possible to deny the striking resemblance of this expression to the अकेशवमपाण्डवं भुवनमद्य निःसोमकम् (Act III,34) of the Venisamhara. Again Parashurama's words 'यः कर्ता हरचापदण्डदलने यश्चानुमन्ता ननु । द्रष्टा यश्च परीक्षिता च य इह श्रोता च वक्ताच यः etc.' (Act IV. 57)--one can hardly resist the impression that here we have an echo of 'कृतमनुमतं दृष्टं वा यैरिदं गुरुपातकम् (Act III 24 etc.) of the Venisamhara. I am tempted to add one more thing concerning the relation of the Bala Ramayana to Venisamhara. In the Vishkambhaka to Act I, of the former, which is a dialogue between शुनःशेफ, and राक्षस an aside is put in the mouth of राक्षस, which runs thus : ‘भवतु कोपयाम्येनम् । सुप्तमत्तकुपितानां हि भावज्ञानं द्रष्टव्यम्. Now this appears to me something like a reminiscence with such modification as the context requires of ज्ञेया रहः शङ्कितमालपन्तःसुप्ता रुगार्ता मदि-
