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37THET-81978 He (the Kāpālika) breathes life into a corpse which takes a sword in its hand but Mitrañanda by a magic formula induces it to strike the Kāpalika who suddenly disappears. Next, Makaranda has to establish before yuvarāja Lakşmipati his claim to his own carawan, which a certain Naradatta claims (wrongfully). The dispute is settled by the arrival of Vajrasvāmin and Mitrāņanda. Finally husband and wife are united at the residence of the Siddha King. The story of Kaumudi and Mitrāņanda forms the main plot whereas that of Sumitrā and Makaranda, the byplot.
In the āmukha (=prastāvanā, Introduction) to his Kaumudi. Mitrānanda we are told that he is a pupil of the great Hemacandra; he is proficient in writing a hundred prabandhas (literary compositions) he is always and ever diligent in writing poetical works, he has composed the prakarana type of drama, called Kaumudimitrāņanda; it is a treasure of a thousand Kurūhalas (curiocities; Kusūhalawhat excites curiocity, anything pleasing or interesting, Kurūhala); it excites-evokes-stimulates-enkindles all kinds of sentiments-rasasand feelings-bhāvas; and adds that it is his (Rāmacandra's) second rūpaka (dvitiyam rūpakam); (Satyahariscandra being his ādirūpakafirst rūpakaļ.... there are episodes and incidents in plenty that would, one after another, excite the curiocities of the (trained) audience; of course, it is for the Stage-director (Sutradhāra) to decide whether is overflowing with rasas and whether there are many situations and episodes that would excite feelings. In reply to the assistant's (nața) statement the Stage Director says:
What to say (=there is no need to say anything) about the prakaruna overflowing with rasas.
Are there not many great poets, Murāri and others like him, who are ever deligent in composing plays-dramatic poems-that are sweet on account of their skillfulness in new and novel (and striking) modes of speech ? But I doubt if there is any other poet than Rāmacandra who is capable and skilled in creating various rasas to their highest-point, which are the very life and soul - the essence - of dramatic works. Moreover, “The dramatic compositions (of other poets), like sugarcane, progressively deminish in rasa (1 Sentiment 2 Juice); but Ramacandra's dramatic poem
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