147 depicted as cocky, a bit dumb and disrespectful to his guru. The line, "Sir, what is soul?" was delivered "in dialect" (to use the fashionable term), with heavy emphasis on "soul." The effect of the cela (a black) asking this of his guru (a white) was uproariously funny, even to the Hermit, for it had not been rehearsed that way. Similarly, the scene in which Sandilya recites the sesquipedalian botanical names of the flowers also brought an immediate response, particularly the last item enumerated, ". . . just plain Banana." In this scene, the floral covers were used to good effect, with the actor pointing to different flowers as he named them. The courtesans, wearing colis, provided a charming interlude shortly after their entry. The two songs, "Oh, Love himself is herel" and "Oh, Love is here again I," were "performed" by Vasantasena alone, standing stage left before the curtain which jutted out about three feet. As she mouthed the words, the young lady who had earlier presented her settings of Sanskrit lyrics, sang these songs which she had set to music, accompanying herself on the guitar from behind the curtaino The co-ordination between words and lip movements were worked out fully; the results were as effective as any song presented by a playback singer in Indian films. Several other incidents in the play were particularly well acted. First, as Vasantasena is about to pluck a flower from the hanging floral cover on the backstage curtain, the Servant of Death, kneeling on the higher of the two platforms, delivered both the line, "How is the time to pinch heri" and a firm pinch on the courtesan^ right buttock. Whether Bharata Muni would approve, one cannot be sure; the effect on the audience, in any case, was instantaneous. Another scene, probably the most ingenious bit in the entire production, came when the Hermit injects his soul into Vasantasena^ body. She is lying down flac on the floral platform center stage; the Hermit is seated to the right. On the last word of his line, "With this Yoga, I shall inject myself into the body of this courtesan.," he fell back and simultaneously, she rose up, her voice much lower as she shouts for Sandilya as the Hermit had at the beginning of the play. Similarly, when the Servant of Death puts the courtesan^ soul into the Hermits body, he rose up, his voice an octave higher, minting and feminine as the courtesan was. By this time, Little Lover, Vasantasena^ amour has come on stage. The student acting this part insisted that since he was playing a man-about-town (n^xga^ika) , he must be "high on bhang or somao" When the Hermit, with Vasantasena?s voice and gestures, tries to kiss him, shouting "Little Lover, embrace me!," the courtier became doubly befuddled. The Hermit did succeed in embracing his right kneecap. Little Lover^ complete confusion was carried through to the end of the p-lay after everyone gets back his rightful soul. He announces, "Ah, she has come to her senses I," an ironical statement in view of his own state, and continues, "Sweetest