Note 16 — X MURĀRI, RĀJAÇEKHARA, THEIR PREDECESSORS AND SUCCESSORS

We learn also from Dhanika of two further dramas, of unknown authorship and date; they are mentioned16 as illustrating the two kinds of Prakaraṇa as a dramatic form, the basis of distinction being whether the heroine is the wife of the hero and therefore a lady of good family or whether she is a courtesan. Of the latter class we have an example in the Taran̄gadatta, and of the former in the Puṣpadūṣitaka; the latter name occurs in the slightly altered form of Puṣpabhūṣita in the Sāhityadarpaṇa. As an example of the Samavakāra the Daçarūpa17 mentions the Samudramanthana, a title doubtless as well as the description of the drama in question.