“ It is true that not a solitary fragment of poetry is attributed to an author of that name. "About a dozen unprinted collections, in which some five hundred names of authors are adduced, have been diligently explored in quest of Dhávaka, but without success.” [3] But Brahmanical memory might easily drop a Buddhist poet, or retain only a confused idea of his works. In this way the brief legend preserved in the Kávya-prakáśa may be light as to the poet's name, but the commentators may be wrong in their mention of the Ratnávalí instead of the Nágánanda. ”

“ There can be no doubt, I think, that the King Śrí Harsha Deva of our two plays is a different person from the Śrí Harsha who wrote the Naishadha and the Khandana-Khanda-Khádya, as the latter, in the closing verses of both works, speaks of himself as the dependant of the king of Kanouj, and boasts of the allowance of betel granted him at the court. ”

“ The appearance of the goddess Gaurí is a curious feature of the drama, and seems to point to that gradual mixture of Buddhist with Śaiva notions, which we find fully developed int he Tantras of Nepal. There female Śaiva deities, such as Durgá, Mahákálí, &c., are continually invoked to grant protection to the Buddhist worshipper. Wilson supposes that the Tantras were introduced into Nepal between the seventh and twelfth centuries, but Burnouf has pointed out some traces of Śaiva influence even in the "Lotus de la bonne Loi," and other "developed Sútras." ”