stately temple, which he furnished with images of Vishnu and his avatars, or incarnations, Pândava, Brahma, Buddha, and the rest.
One of the earliest dramatists of India, Kâlidâsa, many of whose plays possess great literary merit,—though some ascribed to him are manifestly by inferior hands,—may have been, it is thought, one of those who wrote under Vikramâditja's protection. In a play called Maghadûta, he describes his capital of Uggajini with an enthusiasm which suggests it was his own favourite place of residence. His plays contain valuable pictures of the manners of the times. And from these, among other details, it appears it was not only considered an indispensable qualification of a well-bred man, that he should be conversant with the great heroic poems, but that they were commonly in the mouth of the people also. Other details imply the attainment of a degree of civilization and refinement, which it would probably surprise most of us to find existing at this date. His two most meritorious pieces are entitled Abhignana-Shukuntalâ ("The finding of Shukuntalâ"), and Vikramorvashi-Urvashi ("Urvashi won by Heroism.") We have also three hundred short poems by Vikramâditja's brother or by some courtier poet who gave him the honour of the composition; these poems display unusual powers of description and delicacy of sentiment. The first shataka, or hundred poems, is entitled shringâra, containing love-songs;
