turesque scenery and in the representation of human emotions, and is perhaps entitled to even a higher place than his rival as a poet."*

The Mudra Rakshasa† is again different from either of its predecessors, and with this we must conclude our notices of Hindu dramas. The plot is a series of political intrigues without a single love-scene, and almost without the introduction of a woman. Much variety is nevertheless contrived one of the spies goes about with a scroll inscribed with figures of Yama, about whom he sings verses, and calls his performance a Yama show, in virtue of which he gains admission to the houses of rich men, and exhibits in the courts where the women and children reside. Another spy, or secret messenger, disguises himself as a snakecatcher, holds the following conversation with the passengers in the street, fronting the house of the man with whom he wants to communicate :

"Scene before Rakshasa's house.

Enter VIRADHA, an agent of Rakshasa, disguised as a snake-catcher. Viradha. Those who are skilled in charms and potent signs may handle fearlessly the fiercest snakes.

Passenger. Hola! what and who are you?

Viradha. A snake-catcher, your Honour; my name is Jirnavisha. What say you, you would touch my snakes? What may your profession be, pray? Oh, I see, a servant of the Prince,-you had better not meddle with snakes. A snake-catcher unskilled in charms and antidotes, a man mounted on a furious elephant without a goad, and a servant of the King appointed to a high station and proud of his success, these three are on the eve of destruction. Oh! he is off. Second Passenger. What have you got in your basket, fellow ? Viradha. Tame snakes, your Honour, by which I get my living. + Ibid., vol. ii. p. 127.

* Hindu Theatre, vol. ii. p. 122.

Would you wish to see them? I will exhibit them here, in the court of this house, as this is not a convenient spot.

Second Passenger. This, you blockhead, is the house of Rakshasa, the Prince's minister; there is no admittance for us here. Viradha. Then go your way, Sir: by the authority of my occupation I shall make bold to enter. So, I have got rid of him." Viradha then changes his language from the Prakrit vernacular to Sanskrit, and makes a long soliloquy.

When Rakshasa is informed that a snake-catcher is anxious to see him, he feels his left eye throb, which is an unlucky omen, and he desires that the man may receive a donation and be sent away. A servant goes therefore to the snake-catcher and says,—

"Servant. Here is for your pains; for not seeing,-not for seeing. Viradha. Inform the minister that besides exhibiting snakes I am a poet, . . . and give him this."

The verses show that he is the bearer of

him an immediate audience.

news, and procure

We will allude but to one more drama,-Retnavali, or the Necklace. It is considerably later than any of those yet mentioned, and shows a more complicated mythology. The Benediction alludes to Siva thus:- "May that presentation of the flowery offering, made by the mountaingoddess to her mighty lord, preserve you! May Siva ever be your trust! Prosperity attend illustrious Brahmans!"

In the conduct of the plot, and also in the style of the language, there is a marked imitation of the celebrated Kalidasa, but more extravagance. At the commencement the Queen and her damsels celebrate the festival of Kamadeva, "the flower-armed God," "the lord of Reti." He is supposed to be abiding in an Asoka-tree, and the Queen, standing near this tree, presents to his image gifts of san

dal, saffron, and flowers; and as soon as the worship of the divinity is concluded, she, according to prescribed usage, offers similar adoration to her husband. Amongst other incidents a great sage is mentioned as having arrived from a hill-temple consecrated to Siva in Berar: his sanctity has conferred upon him gifts of magic, and he teaches the King the craft of making flowers blossom at any season; but the most striking scene is one in which a magician from Ougein exhibits his art in the presence of the King, Queen, and Court. He comes forward laughing and waving a bunch

of peacock's feathers, saying,—

What are

"Reverence to Indra, who lends our art his name! your Majesty's commands? would you see the moon brought down upon earth, a mountain in mid-air, a fire in the ocean, or night at noon? . . . What need of many words? By the force of my master's spells I will place before your eyes the person whom in your heart you are most anxious to behold."

After the King has said, "Now, Sir, display your power," he waves his plume and cries,

Hari, Hara, Brahmá, chiefs of the Gods! and thou their mighty monarch, Indra, with the host of heavenly spirits

joicing and dancing in the heavens !

.

appear re

[The King and Queen look up and rise from their seats. King. Most wonderful!

Queen. Extraordinary indeed!

King. See, love! that is Brahmá throned upon the lotus; that Sankara, with the crescent moon, his glittering crest; that, Hari, the destroyer of the demon race, in whose four hands the bow, the sword, the mace, and the shell are borne. There, mounted on his stately elephant, appears the King of Swerga; around them countless spirits dance merrily in mid-air, sporting with the lovely nymphs of heaven, whose anklets ring responsive to the measure."

The spectacle is interrupted by the arrival of ministers

from Ceylon, and the magician is dismissed; but whilst the King is giving audience to his newly-arrived guests, a cry arises that

66

"The inner apartments are on fire. The flames spread over the roof of gold; they wind around with clouds of smoke . and fill the female train with fear."

The King rushes into the flames to rescue a maiden whom he loves; but he no sooner releases her from her imprisonment than the flames disappear, and the palace stands unharmed, and the semblance of fire is found to have been the work of the magician, who possessed similar skill to that displayed in the presence of the King of Prasenajit, at Kosala.

CHAPTER IV.

"When at length four weary months have fled,

Vishnu rises from his Serpent-bed."*. -Old Indian Poetry.

WHEN historical data are notoriously slight and scattered, students can do little more than rehearse and make summaries. A muster-roll of the kings, whose unpronounceable names appear on coins, could teach but little, for it would be too hard a lesson for the memory; but a slight outline of the facts beaten out from Archæology may be traced and retraced with advantage, so often as fresh facts appear.

* The Serpent-couch is the mythological snake Ananta, whose thousand heads formed a canopy over Vishnu during his four months' sleep,-supposed to allude to the four months of the periodical rains. (See Wilson.)