ezea may be the companion of a num or woman; he is on familiar, yet dependent terms, with his associate, and though somewhat' the me parasite of the ()reek esenedy, yet not rendered contemptible; if a female, sLe is courtesan. The ride.szoka is lac humble companion of a prince or a man of ramie; he is lively, rounsimus W 11.y. and. according to the definition of his attributes, be is to excite mirth by being ridiculous ia person, age, and attire. lie is, curiously enough, always a Brah man. The plays have eight, or, accordh.g to some, nine rare, or ellan.eu risjo: flavors: these mane are love, iniran, tenderness, terecuess, heroism, terror, tesgust, wonder, and tranvillitv; and tau again consist of conditions with numerous Ill v bi uLlS nd sub The manner according to which the form of speech is regulated, is another peculiarity of the Hindu drama. Only the hero and the principal iiersonages speak' Sanskrit. MIL rare excep.tons—atad the inferior oersooagss speak Preeteit, the various, higher or inferior, idioms of that language being :adapted to their higher or inferior ehrtraeier. Sc- Tee oldest known Sanssrit stramat is the .11r'ultehlta kat' t, or Clay Cart." by king S'Ildraka. which, in the opinion of IL IL \\ ilson who translated it is has Select Specimens of the Theater of the Iloalns—was writer in the 1st c. ttac. or other dramas may here he mentioned Ablojniiicas'ak,:tutala (see S'AKUN TA LI) ;111d Vikta rievrCas'i, by liallidasa (q.v.). to whom also the doting. „1/astacasiyainairra is attributed; Al lotiouldhsca, Nahaelowe4arita. and Ufia•araitere.'azaser, by lihavablieti; Reintiefai, by S"rilinrslia; Muds r •ahosa, by Vis fikhadatta; ilanimnano t aka, fabled to have been composed by the monkey Ila.lumat (q.v.); and Anarghar gharet, by Mureri. A drama of a peculiar nature is the Pralvalcachandrodaya, by lir'isLl`itmis'trn, who iu the opinion of Goldstficker, expressed in the preface to his translation of this drama, lived at the end of the 12th century. Its leading personages are all of a transcendental kind; such es the supreme spirit, faith in Vishnu, volition, organ of imagination, opinion, devOtion, quietude, friendship, etc., on the one side; and error, egotism, hypo crisy. love, voluptuousness, auger, avariciousness, etc. on the other; mid its object, is to represest the victory of the former over the hitter. The general dullness of the play is relieved by :a number of sectarian worshipers, who appear on the scene, each eulogizing the truth of his own and ridiculing that of his antagonist. That this drama, which would bailie the patience of a European audience, was :acted before kites Eicti var man. who: with his whole assembly, was very eager to see ii" the poet relates in the prelude to it. An imitation of this drama is the Chaitanrchandrodaya, by linvikarn'at punt. For the translation of several of these dramas, and an account of others, see II. H. Wilson's Select Specimens of the Theater of the Hindus (2 vols., London. 1834 (f.) Fables and Narratices.—Fables. as such. occur, and are referred to. its entiv as in the great epic poems; but the oldest collection of fables is the Penehafontra (q.v.); and after it. the Thereetirs'a (q.v.). These works ore considered by the Hindus to beloter to the class palled eiteastra, or works on conduct and polity, since the morals airmen from the fable4, and expressed in sententious verses, with winch they are interwoven, are the object for which these collections were made. A (Efferent class of writings are the ghost-stories, merely composed fur amusement, such as the I or the 25 tales of the vampire; and the gokosaptati, or the 70 tales of the parrot; and the Sin luisanaderitriss' tti, or the :12 tales of the statues on the the throne of V iranmaditvn. A work of a higher order is the V•ikeelsdhei, the Grand Tale," or Kathiitotritsiigara, "tire Oeemi for the Rivers of Tales," by Somadeva of Cashmere. Among narratives of the romance clam the most eelelmded are the Dets'okumarochoritra, or the •` Adven tures of the Ten Pritices," by Dan'al'in, who lived ubont the middle of the 11th c., edited, with an elaborate preface, by II. 11. Wilson; Kettlambari, by Vfinableitta; and the V erndrttii, by Subandlin, a etitienleeconnt of which work is given by Fitzedward Hall, in the prance to his edition of it (Caleuttn. 18.19).
(9.) Chronic:ex.—Historical works, in the European sense of the word, do not exist in Sanskrit literature. The same causes which have clouded all Hindu chronology, and even, at recent periods of Ilincln history, have transformed historical facts into myths, seem to have rendered the Hindu mind indifferent to the research and the recording of hisorri•nt truth. The only approach to historical works is found in some chronicles, though these. idso, are not devoid of fictitious narrtutivcs. The most renoened among them is the iltijntarongin'i (q.v.), or the Chronicle of Caslunere. by Kellum. A =dem • work of at similar kind, hut of 11111C11 smaller extent, is the or the chronicle of a series of royal families who reigned in Bengal. It was composed in the middle of the lest century 4. Seientifie Li/teat/errs—(a.) Philosophy. See the articles SAxkurA, Yoos., VstsEsides, "Siliseiles'A. VEDANTA.
(b.) Gra mmar.—That a scientific study of grammar was cultivated at a very early period of Hindu literature is borne out by the testimony of the oldest glossator on the Vedas, \risks (q.v.). The oldest extant work, however, on Sanskrit grammar is pos terror to the work of Illska; it is the grammar of Pan'ini (q.v.), which was criticized by liCuyilyana (q.v.) iu the Viirttikas, these, again, being commented on and criticized by Patanjali in the Maliabkdshya. (See PIN'txt, where some of • the principal later works connected with his system are mentioned.) That the FitgVahria.r (see VEDA) did not precede the grammar of Pilnlini,,has been shown by Goldstficker in his 111s It011 in Sanskrit Literature, etc.- Of authors of gl,,minars, not following the teel:Mcal system of the principal ore Hemachandra, a Jaina (q.v.) writer, and Vcpadeva, who probably lived about six centuries ago, and is especially esteemed in Bengal.
(c.) consists of glossaries of and term which may be vaguely rendered by "roots," or "radicals," though it does not imply to the Hindu grammarian ale idea of a linguistic of commentaries on these tdossaries. The oldest known glossary of Vedic words—nouns and verbs—is the Airukta Zq.v.) of Yilska. Renowned glossaries of classical words are the Ainarakosha, by Amantsinha, who is is probably not later than the 3d c. after Christ; the Athiciliclnaratnamciki, by Hahlyudha ; the llaimakoslia, by Hemachandra; and the Vawaprakasa, by Mahes'wara. (For other works of this class, see Wilson's Dictionary, preface to 1st ed. 1819; and Colcbrooke's Miscellaneous Essays, vol. i. p. 50, ff.) The glossaries of are called Dhionpatluts. The oldest was probably composed by Ptiu'ini himself; and is the groundwork of the existing works of this name, though the latter contain numerous addi tions of later forms. The chief commentary on the Dhcitupat'ha is that by the celebrated 3h1dhavachtlrya (q. v.).
(d.) prosody admits three sorts of meter: one governed by the acm ber of syllables, and which is mostly uniform, or monoschematic, in profane poetry, but not so in various passages of the Vedas; the other regulated by feet equivalent to two long syllables, or to four short; and the third regulated by the proportion of syllable instants, without noticing the number of feet. Some Sfltras (q.v) connected with the Vedas contain rules on the Vedic meters; but the principal work on Vedic as well as profane prosody is the Chhandah's'cistra, by Pingala, which has been commented on by various writers, the most conspicuous of whom is HalfiyudbabliatTa. A sl:ort treatise on prosody, which only exhibits the most common sorts of meter, the S'rutabodha, is attributed, but probably wrongly, to Ktilidilisa (q.v.).
(e.) Art of is treated in works on dramaturgy, and works on the poetical art in general. The oldest work on the dramatic art is the Sidra of Bliarata; a later one is the Das'ariipa by Dhananjaya, Some of the principal works of the latter category are the Eavyapras'a, by llamurat'a, the Eiryeidars'a, by Dau'd'in, and the hailyadar pan'a, by Vis'wanatha Kavirfija. Several other works of this class are especially con cerned in the explanation of figures of speech.