2nd century), anthology of single verse poems Ananda-vardhana's now-lost God of Five Arrows at Play, poem Sarvasena's Hari-vijaya (late 4th century), epic Pravarasena II's Ravana-vaho (early 5th century), epic Palitta's Tarangavati (probably 1st or 2nd century), fictional romance Palitta's Rasikaprakāśana or Brilliance of the Connoisseurs Vakpati's Gaudavaho (c. 8th century) Haribhadra's Samaraditya-charitra (c. 8th century), fictional romance Uddyotana's Kuvalaya-mala (779 CE), fictional romance Kautuhala's Lilavati or Kouhala's Lilavai (c. 8th century), fictional romance Madhuka's Haramekhalā or Hara's Belt (10th century), a compendium covering a wide range of topics, such as casting love spells and treating snakebites Jineshvara's Treasury of Gatha-Jewels (1194), anthology of verses Addahamana's Sandesha-rasaka (13th century), a message poem; the author states that his family came from "the land of the Muslims", which suggests that Addahamana is the Prakrit variant of 'Abd ur-Rahman. Some 19th-20th century European scholars, such as Hermann Jacobi and Ernst Leumann, made a distinction between Jain and non-Jain Prakrit literature. Jacobi used the term "Jain Prakrit" (or "Jain Maharashtri", as he called it) to denote the language of relatively late and relatively more Sanskrit-influenced narrative literature, as opposed to the earlier Prakrit court poetry. Later scholars used the term "Jain Prakrit" for any variety of Prakrit used by Jain authors, including the one used in early texts such as Tarangavati and Vasudeva-Hindi (Wanderings of Vasudeva). However, the works written by Jain authors do not necessarily belong to an exclusively Jain history, and do not show any specific literary features resulting from their belief in Jainism. Therefore, the division of Prakrit literature into Jain and non-Jain categories is no longer considered tenable. List of Prakrits The languages that have been labeled "Prakrit" in modern times include the following: Not all of these languages were actually called "Prakrit" in the ancient period. Dramatic Prakrits Dramatic Prakrits were those that were used in dramas and other literature. Whenever dialogue was written in a Prakrit, the reader would also be provided with a Sanskrit translation. The phrase "Dramatic Prakrits" often refers to three most prominent of them: Shauraseni Prakrit, Magadhi Prakrit, and Maharashtri Prakrit. However, there were a slew of other less commonly used Prakrits that also fall into this category. These include Prachya, Bahliki, Dakshinatya, Shakari, Chandali, Shabari, Abhiri, Dramili, and Odri. There was a strict structure to the use of these different Prakrits in dramas. Characters each spoke a different Prakrit based on their role and