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114  The Journal of the Royal Institute of Thailand Volume IV - 2012 In this book, Prince Damrong relates the origins of several types of Thai drama, the development of Thai drama in different periods from the late Ayutthaya period, the Thonburi period, and the Rattanakosin (Bangkok) period, from the reign of King Rama I to King Rama V. The book should be named “Tamnan Lakhon Thai” as he talks about I-nao dance drama only in Part Two (p. 97-116). The rest deals in details with various types of Thai dramas such as Lakhon Nok, Lakhon Nai and Lakhon Jatri. He also describes dance costumes, musical ensemble accompanying the dance, and the tradition in performing each type of drama. Prince Damrong describes the differences between Lakhon Nai and Lakhon Nok as follows: “It was formerly said that Lakhon Nai was performed by women. Only the royal court could own a Lakhon Nai troupe. The Lakhon that was performed for the general public was called Lakhon Nok which was performed by men. Later on, permission was granted by King Rama IV of the Bangkok period for the people outside the court to train women to play Lakhon. From that time on, Lakhon has been performed by women outside the palace. However, the fundamental difference between Lakhon Nai and Lakhon Nok is not that the performers are male or female, but that the singing tunes, the dancing patterns, the stories they play are all different. Lakhon Nai only plays three stories: the Ramakien, Unarud, I-nao, and no others. Formerly, when the royal women troupe performed other stories, these performances were called Lakhon Nok. Even the royal compositions of other stories such as Sang Thong, Khawi, were still called Lakhon Nok. Sunthon Phu mentioned this point in his Sepha composition, the Khun Chang Khun Phaen , in the episode which relates the presentation of Phlai Gnam, : King Phanwasa did not order the release of Khun Phaen from prison because “he was in a trance, composing verses for Lakhon Nok. As he could not think of the words, he was in oblivion. He forgot to do his intended royal duty and retired to his sleeping couch.” Thus, Lakhon Nok performed other dance dramas. The Ramakien, Unarud, I-nao –these three stories were not performed by Lakhon Nok. Though male troupes under the patronage of princes, like Krom Phra Bibidh and Krom Phra Bidaksa, performed I-nao , the performance was called Lakhon Nai. Considering the reasons cited, we can see that the difference between Lakhon Nai and Lakhon Nok Prince Damrongrajanubhab and Thai Literature