Part IV

. Appendix.

Page 452.

_“__Shall no funereal honours grace_ _The parted lord of Raghu’s race?__”_

“Here are indicated those admirable rites and those funeral prayers which Professor Müller has described in his excellent work, _Die Todtenbestattung bei den Brahmanen_, Sítá laments that the body of Ráma will not be honoured with those rites and prayers, nor will the Bráhman priest while laying the ashes from the pile in the bosom of the earth, pronounce over them those solemn and magnificent words: ‘Go unto the earth, thy mother, the ample, wide, and blessed earth.… And do thou, O Earth, open and receive him as a friend with sweet greeting: enfold him in thy bosom as a mother wraps her child in her robes.’ ” GORRESIO.

Page 462.

_Each glorious sign_ _That stamps the future queen is mine_.

We read in Josephus that Caesar was so well versed in chiromancy that when one day a _soi-disant_ son of Herod had audience of him, he at once detected the impostor because his hand was destitute of all marks of royalty.

Page 466.

_In battle’s wild Gandharva dance_.

“Here the commentator explains: ‘the battle resembled the dance of the Gandharvas,’ in accordance with the notion of the Gandharvas entertained in his day. They were regarded as celestial musicians enlivening with their melodies Indra’s heaven and the banquets of the Gods. But the Gandharvas before becoming celestial musicians in popular tradition, were in the primitive and true signification of the name heroes, spirited and ardent warriors, followers of Indra, and combined the heroical character with their atmospherical deity. Under this aspect the dance of the Gandharvas may be a very different thing from what the commentator means, and may signify the horrid dance of war.” GORRESIO.

The Homeric expression is similar, “to dance a war-dance before Ares.”

Page 470.

_By Anaraṇya’s lips of old._

“The story of Anaraṇya is told in the Uttara Kaṇḍa of the Rámáyaṇa.… Anaraṇya a descendant of Ixváku and King of Ayodhyá, when called upon to fight with Rávaṇa or acknowledge himself conquered, prefers the former alternative; but his army is overcome, and he himself is thrown from his chariot.

When Rávaṇa triumphs over his prostrate foe, the latter says that he has been vanquished not by him but by fate, and that Rávaṇa is only the instrument of his overthrow; and he predicts that Rávaṇa shall one day be slain by his descendant Ráma.” _Sanskrit Texts_, IV., Appendix.

Page 497.

“With regard to the magic image of Sítá made by Indrajit, we may observe that this thoroughly oriental idea is also found in Greece in Homer’s Iliad, where Apollo forms an image of Æneas to save that hero beloved by the Gods: it occurs too in the Æneid of Virgil where Juno forms a fictitious Æneas to save Turnus:

Tum dea nube cava tenuem sine viribus umbram In faciem Æneæ (visu mirabile monstrum) Dardaniis ornat telis; clipeumque jubasque Divini assimulat capitis; dat inania verba; Dat sine mente sonum, gressusque effingit euntis.

(_Æneidos_, lib. X.)” GORRESIO.

Page 489.

_"To Raghu’s son my chariot lend."_

“Analogous to this passage of the Rámáyana, where Indra sends to Ráma his own chariot, his own charioteer, and his own arms, is the passage in the Æneid where Venus descending from heaven brings celestial arms to her son Æneas when he is about to enter the battle:

At Venus æthereos inter dea candida nimbos Dona fereus aderat;… … Arma sub adversa posuit radiantia quercum. Ille, deæ donis et tanto lætus honore, Expleri nequit, atque oculus per singula volvit, Miraturque, interque manus et brachia versat Terribilem cristis galeam flammasque vomentem, Fatiferumque ensem, loricam ex ære rigentem.

(_Æneidos_, lib. VIII)” GORRESIO.

Page 489.

_Agastya came and gently spake._

“The Muni or saint Agastya, author of several Vedic hymns, was celebrated in Indo-Sanskrit tradition for having directed the first brahmanical settlements in the southern regions of India; and the Mahábhárata gives him the credit of having subjected those countries, expelled the Rákshases. and given security to the solitary ascetics, who were settled there. Hence Agastya was regarded in ancient legend as the conqueror and ruler of the southern country. This tradition refers to the earliest migrations made by the Sanskrit Indians towards the south of India. To Agastya are attributed many marvellous mythic deeds which adumbrate and veil ancient events; some of which are alluded to here and there in the Rámáyana.” GORRESIO.

The following is the literal translation of the Canto, text and commentary, from the Calcutta edition:

Having found Ráma weary with fighting and buried in deep thought, and Rávaṇ standing before him ready to engage in battle, the holy Agastya, who had come to see the battle, approached Ráma and spoke to him thus: “O mighty Ráma, listen to the old mystery by which thou wilt conquer all thy foes in the battle. Having daily repeated the Ádityahridaya (the delighter of the mind of the Sun) the holy prayer which destroys all enemies (of him who repeats it) gives victory, removes all sins, sorrows and distress, increases life, and which is the blessing of all blessings, worship the rising and splendid sun who is respected by both the Gods and demons, who gives light to all bodies and who is the rich lord of all the worlds, (To the question why this prayer claims so great reverence; the sage answers) Since yonder(1073) sun is full of glory and all gods reside in him (he being their material cause) and bestows being and the active principle on all creatures by his rays; and since he protects all deities, demons and men with his rays.

He is Brahmá,(1074) Vishṇu,(1075) Śiva,(1076) Skanda,(1077) Prajápati,(1078) Mahendra,(1079) Dhanada,(1080) Kála,(1081) Yáma,(1082) Soma,(1083) Apàm Pati _i.e._ The lord of waters, Pitris,(1084) Vasus,(1085) Sádhyas,(1086) Aśvins,(1087) Maruts,(1088) Manu,(1089) Váyu,(1090) Vahni,(1091) Prajá,(1092) Práṇa,(1093) Ritukartá,(1094) Prabhákara,(1095) (Thou,(1096) art) Aditya,(1097) Savitá,(1098) Súrya,(1099) Khaga,(1100) Púshan,(1101) Gabhastimán,(1102) Śuvarṇasadriśa,(1103) Bhánu,(1104) Hiraṇyaretas,(1105) Divákara,(1106) Haridaśva,(1107) Sahasrárchish,(1108) Saptasapti,(1109) Marichimán,(1110) Timironmathana,(1111) Sambhu,(1112) Twashtá,(1113) Mártanda,(1114) Anśumán,(1115) Hiranyagarbha,(1116) Siśira,(1117) Tapana,(1118) Ahaskara,(1119) Ravi,(1120) Agnigarbha,(1121) Aditiputra,(1122) Sankha,(1123) Siśiranáśana,(1124) Vyomanátha,(1125) Tamobhedí,(1126) Rigyajussámapáraga,(1127) Ghanavríshti,(1128) Apám-Mitra,(1129) Vindhyavíthíplavangama,(1130) Átapí,(1131) Mandalí,(1132) Mrityu (death), Pingala,(1133) Sarvatápana,(1134) Kavi,(1135) Viśva,(1136) Mahátejas,(1137) Rakta,(1138) Sarvabhavodbhava.(1139) The Lord of stars, planets, and other luminous bodies, Viśvabhávana,(1140) Tejasvinám-Tejasvi,(1141) Dwádaśátman:(1142) I salute thee. I salute thee who art the eastern mountain. I salute thee who art the western mountain. I salute thee who art the Lord of all the luminous bodies. I salute thee who art the Lord of days.

I respectfully salute thee who art Jaya,(1143) Jayabhadra,(1144) Haryaśa,(1145) O Thou who hast a thousand rays, I repeatedly salute thee. I repeatedly and respectfully salute thee who art Áditya, I repeatedly salute thee who art Ugra,(1146) Víra,(1147) and Sáranga.(1148) I salute thee who openest the lotuses (or the lotus of the heart). I salute thee who art furious. I salute thee who art the Lord of Brahmá, Śiva and Vishṇu. I salute thee who art the sun, Ádityavarchas,(1149) splendid, Sarvabhaksha,(1150)and Raudravapush.(1151)

I salute thee who destroyest darkness, cold and enemies: whose form is boundless, who art the destroyer of the ungrateful; who art Deva;(1152) who art the Lord of the luminous bodies, and who appearest like the heated gold. I salute thee who art Hari,(1153) Viśvakarman,(1154) the destroyer of darkness, and who art splendid and Lokasákshin.(1155) Yonder sun destroys the whole of the material world and also creates it. Yonder sun dries (all earthly things), destroys them and causes rain with his rays. He wakes when our senses are asleep; and resides within all beings. Yonder sun is Agnihotra(1156) and also the fruit obtained by the performer of Agnihotra. He is identified with the gods, sacrifices, and the fruit of the sacrifices. He is the Lord of all the duties known to the world, if any man, O Rághava, in calamities, miseries, forests and dangers, prays to yonder sun, he is never overwhelmed by distress.

Worship, with close attention Him the God of gods and the Lord of the world; and recite these verses thrice, whereby thou wilt be victorious in the battle. O brave one, thou wilt kill Rávaṇa this very instant.”

Thereupon Agastya having said this went away as he came. The glorious Ráma having heard this became free from sorrow. Rághava whose senses were under control, being pleased, committed the hymn to memory, recited it facing the sun, and obtained great delight. The brave Ráma having sipped water thrice and become pure took his bow, and seeing Rávaṇa, was delighted, and meditated on the sun.

Page 492. Rávan’s Funeral.

“In the funeral ceremonies of India the fire was placed on three sides of the pyre; the _Dakshiṇa_ on the south, the _Gárhapatya_ on the west, and the _Áhavaníya_ on the east. The funeral rites are not described in detail here, and it is therefore difficult to elucidate and explain them. The poem assigns the funeral ceremonies of Aryan Brahmans to the Rákshases, a race different from them in origin and religion, in the same way as Homer sometimes introduces into Troy the rites of the Grecian cult.” GORRESIO.

Mr. Muir translates the description of the funeral from the Calcutta edition, as follows: “They formed, with Vedic rites, a funeral pile of faggots of sandal-wood, with _padmaka_ wood, _uśira_ grass, and sandal, and covered with a quilt of deer’s hair. They then performed an unrivalled obsequial ceremony for the Ráxasa prince, placing the sacrificial ground to the S.E. and the fire in the proper situation. They cast the ladle filled with curds and ghee on the shoulder(1157) of the deceased; he (?) placed the car on the feet, and the mortar between the thighs. Having deposited all the wooden vessels, the [upper] and lower fire-wood, and the other pestle, in their proper places, they departed. The Ráxasas having then slain a victim to their prince in the manner prescribed in the Śástras, and enjoined by great rishis, cast [into the fire] the coverlet of the king saturated with ghee. They then, Vibhíshaṇa included, with afflicted hearts, adorned Rávaṇa with perfumes and garlands, and with various vestments, and besprinkled him with fried grain. Vibhíshaṇa having bathed, and having, with his clothes wet, scattered in proper form _tila_ seeds mixed with _darbha_ grass, and moistened with water, applied the fire [to the pile].”

Page 496.

The following is a literal translation of Brahmá’s address to Ráma according to the Calcutta edition, text and commentary:

“O Ráma, how dost thou, being the creator of all the world, best of all those who have profound knowledge of the Upanishads and all-powerful as thou art, suffer Sítá to fall in the fire? How dost thou not know thyself as the best of the gods? Thou art one of the primeval Vasus,(1158) and also their lord and creator. Thou art thyself the lord and first creator of the three worlds. Thou art the eighth (that is Mahádeva) of the Rudras,(1159) and also the fifth(1160) of the Sádhyas.(1161) (The poet describes Ráma as made of the following gods) The Aśvinikumáras (the twin divine physicians of the gods) are thy ears; the sun and the moon are thy eyes; and thou hast been seen in the beginning and at the end of creation. How dost thou neglect the daughter of Videha (Janaka} like a man whose

## actions are directed by the dictates of nature?” Thus addressed by Indra,

Brahmá and the other gods, Ráma the descendant of Raghu, lord of the world and the best of the virtuous, spoke to the chief of the gods. “As I take myself to be a man of the name of Ráma and son of Daśaratha, therefore, sir, please tell me who I am and whence have I come.” “O thou whose might is never failing,” said Brahmá to Kákutstha the foremost of those who thoroughly know Brahmá, “Thou art Náráyaṇa,(1162) almighty, possessed of fortune, and armed with the discus. Thou art the boar(1163) with one tusk; the conqueror of thy past and future foes. Thou art Brahmá true and eternal or undecaying. Thou art Viśvaksena,(1164) having four arms; Thou art Hrishíkeśa,(1165) whose bow is made of horn; Thou art Purusha,(1166) the best of all beings; Thou art one who is never defeated by any body; Thou art the holder of the sword (named Nandaka). Thou art Vishṇu (the pervader of all); blue in colour: of great might; the commander of armies; and lord of villages. Thou art truth. Thou art embodied intelligence, forgiveness, control over the senses, creation, and destruction. Thou art Upendra(1167) and Madhusúdana.(1168) Thou art the creator of Indra, the ruler over all the world, Padmanábha,(1169) and destroyer of enemies in the battle. The divine Rishis call thee shelter of refugees, as well as the giver of shelter. Thou hast a thousand horns,(1170) a hundred heads.(1171) Thou art respected of the respected; and the lord and first creator of the three worlds. Thou art the forefather and shelter of Siddhas,(1172) and Sádhyas.(1173) Thou art sacrifices; Vashaṭkára,(1174) Omkára.(1175) Thou art beyond those who are beyond our senses. There is none who knows who thou art and who knows thy beginning and end. Thou art seen in all material objects, in Bráhmans, in cows, and also in all the quarters, sky and streams. Thou hast a thousand feet, a hundred heads, and a thousand eyes. Thou hast borne the material objects and the earth with the mountains; and at the bottom of the ocean thou art seen the great serpent. O Ráma, Thou hast borne the three worlds, gods, Gandharvas,(1176) and demons. I am, O Ráma, thy heart; the goddess of learning is thy tongue; the gods are the hairs of thy body; the closing of thy eyelids is called the night: and their opening is called the day. The Vedas are thy Sanskáras.(1177) Nothing can exist without thee. The whole world is thy body; the surface of the earth is thy stability.”

O Śrívatsalakshaṇa, fire is thy anger, and the moon is thy favour. In the time of thy incarnation named Vámana, thou didst pervade the three worlds with thy three steps; and Mahendra was made the king of paradise by thee having confined the fearful Bali.(1178) Sítá (thy wife) is Lakshmí; and thou art the God Vishṇu,(1179) Krishṇa,(1180) and Prajápati. To kill Rávaṇ thou hast assumed the form of a man; therefore, O best of the virtuous, thou hast completed this task imposed by us (gods). O Ráma, Rávaṇa has been killed by thee: now being joyful (i.e. having for some time reigned in the kingdom of Ayodhyá,) go to paradise. O glorious Ráma, thy power and thy valour are never failing. The visit to thee and the prayers made to thee are never fruitless. Thy devotees will never be unsuccessful. Thy devotees who obtain thee (thy favour) who art first and best of mankind, shall obtain their desires in this world as well as in the next. They who recite this prayer, founded on the Vedas (or first uttered by the sages), and the old and divine account of (Ráma) shall never suffer defeat.”

Page 503. The Meeting.

The _Bharat-Miláp_ or meeting with Bharat, is the closing scene of the dramatic representation of Ráma’s great victory and triumphant return which takes place annually in October in many of the cities of Northern India. The Rám-Lalá or Play of Ráma, as the great drama is called, is performed in the open air and lasts with one day’s break through fifteen successive days. At Benares there are three nearly simultaneous performances, one provided by H. H. the Maharajah of Benares near his palace at Ramnaggur, one by H. H. the Maharajah of Vizianagram near the Missionary settlement at Sigra and at other places in the city, and one by the leading gentry of the city at Chowká Ghát near the College. The scene especially on the great day when the brothers meet is most interesting: the procession of elephants with their gorgeous howdahs of silver and gold and their magnificently dressed riders with priceless jewels sparkling in their turbans, the enthusiasm of the thousands of spectators who fill the streets and squares, the balconies and the housetops, the flowers that are rained down upon the advancing car, the wild music, the shouting and the joy, make an impression that is not easily forgotten.

_Still on his head, well trained in lore_ _Of duty, Ráma’s shoes he bore._

Ráma’s shoes are here regarded as the emblems of royalty or possession. We may compare the Hebrew “Over Edom will I cast forth my shoe.” A curiously similar passage occurs in LYSCHANDER’S _Chronicon Greenlandiæ Rhythmicon_:

“Han sendte til Irland sin skiden skoe, Og böd den Konge. Som der monne boe, Han skulde dem hæderlig bære Pan Juuledag i sin kongelig Pragt, Og kjende han havde sit Rige og Magt Af Norges og Quernes Herre.”

He sent to Ireland his dirty shoes, And commanded the king who lived there To wear them with honour On Christmas Day in his royal state, And to own that he had his kingdom and power From the Lord of Norway and the Isles. _Notes & Queries, March 30, 1872._

Final Notes.

I end these notes with an extract which I translate from Signor Gorresio’s Preface to the tenth volume of his Rámáyan, and I take this opportunity of again thankfully acknowledging my great obligations to this eminent Śanskritist from whom I have so frequently borrowed. As Mr. Muir has observed, the Bengal recension which Signor Gorresio has most ably edited is throughout an admirable commentary on the genuine Rámáyan of northern India, and I have made constant reference to the faithful and elegant translation which accompanies the text for assistance and confirmation in difficulties:

“Towards the southern extremity and in the island of Lanká (Ceylon) there existed undoubtedly a black and ferocious race, averse to the Aryans and hostile to their mode of worship: their ramifications extended through the islands of the Archipelago, and some traces of them remain in Java to this day.

The Sanskrit-Indians, applying to this race a name expressive of hatred which occurs in the Vedas as the name of hostile, savage and detested beings, called it the Rákshas race: it is against these Rákshases that the expedition of Ráma which the Rámáyan celebrates is directed. The Sanskrit-Indians certainly altered in their traditions the real character of this race: they attributed to it physical and moral qualities not found in human nature; they transformed it into a race of giants; they represented it as monstrous, hideous, truculent, changing forms at will, blood-thirsty and ravenous, just as the Semites represented the races that opposed them as impious, horrible and of monstrous size. But notwithstanding these mythical exaggerations, which are partly due to the genius of the Aryans so prone to magnify everything without measure, the Rámáyan in the course of its epic narration has still preserved and noted here and there some traits and peculiarities of the race which reveal its true character. It represents the Rákshases as black of hue, and compares them with black clouds and masses of black collyrium; it attributes to them curly woolly hair and thick lips, it depicts them as loaded with chains, collars and girdles of gold, and the other bright ornaments which their race has always loved, and in which the kindred races of the Soudan still delight. It describes them as worshippers of matter and force. They are hostile to the religion of the Aryans whose rites and sacrifices they disturb and ruin … Such is the Rákshas race as represented in the Rámáyan; and the war of the Aryan Ráma forms the subject of the epic, a subject certainly real and historical as far as regards its substance, but greatly exaggerated by the ancient myth. In Sanskrit-Indian tradition are found traces of another struggle of the Aryans with the Rákshas races, which preceded the war of Ráma. According to some pauranic legends, Kárttavírya, a descendant of the royal tribe of the Yádavas, contemporary with Parasurama and a little anterior to Ráma, attacked Lanká and took Rávaṇ prisoner. This well shows how ancient and how deeply rooted in the Aryan race is the thought of this war which the Rámáyan celebrates.

“But,” says an eminent Indianist(1181) whose learning I highly appreciate, “the Rámáyan is an allegorical epic, and no precise and historical value can be assigned to it. Sítá signifies the furrow made by the plough, and under this symbolical aspect has already appeared honoured with worship in the hymns of the Rig-veda; Ráma is the bearer of the plough (this assertion is entirely gratuitous); these two allegorical personages represented agriculture introduced to the southern regions of India by the race of the Kosalas from whom Ráma was descended; the Rákshases on whom he makes war are races of demons and giants who have little or nothing human about them; allegory therefore predominates in the poem, and the exact reality of an historical event must not be looked for in it.” Such is Professor Weber’s opinion. If he means to say that mythical fictions are mingled with real events,

Forsan in alcun vero suo arco percuote,

as Dante says, and I fully concede the point. The interweaving of the myth with the historical truth belongs to the essence, so to speak, of the primitive epopeia. If Sítá is born, as the Rámáyan feigns, from the furrow which King Janak opened when he ploughed the earth, not a whit more real is the origin of Helen and Æneas as related in Homer and Virgil, and if the characters in the Rámáyan exceed human nature, and in a greater degree perhaps than is the case in analogous epics, this springs in part from the nature of the subject and still more from the symbol-loving genius of the orient. Still the characters of the Rámáyan, although they exceed more or less the limits of human nature, act notwithstanding in the course of the poem, speak, feel, rejoice and grieve according to the natural impulse of human passions. But if by saying that the Rámáyan is an allegorical epic, it is meant that its fundamental subject is nothing but allegory, that the war of the Aryan Ráma against the Rákshas race is an allegory, that the conquest of the southern region and of the island of Lanká is an allegory, I do not hesitate to answer that such a presumption cannot be admitted and that the thing is in my opinion impossible. Father Paolíno da S. Bartolommeo,(1182) had already, together with other strange opinions of his own on Indian matters, brought forward a similar idea, that is to say that the exploit of Ráma which is the subject of the Rámáyan was a symbol and represented the course of the sun: thus he imagined that Brahmá was the earth, Vishṇu the water, and that his avatárs were the blessings brought by the fertilizing waters, etc. But such ideas, born at a time when Indo-sanskrit antiquities were enveloped in darkness, have been dissipated by the light of new studies. How could an epic so dear in India to the memory of the people, so deeply rooted for many centuries in the minds of all, so propagated and diffused through all the dialects and languages of those regions, which had become the source of many dramas which are still represented in India, which is itself represented every year with such magnificence and to such crowds of people in the neighbourhood of Ayodhyá, a poem welcomed at its very birth with such favour, as the legend relates, that the recitation of it by the first wandering Rhapsodists has consecrated and made famous all the places celebrated by them, and where Ráma made a shorter or longer stay, how, I ask, could such an epic have been purely allegorical? How, upon a pure invention, upon a simple allegory, could a poem have been composed of about fifty thousand verses, relating with such force and power the events, and giving details with such exactness? On a theme purely allegorical there may easily be composed a short mythical poem, as for example a poem on Proserpine or Psyche: but never an epic so full of traditions and historical memories, so intimately connected with the life of the people, as the Rámáyan.(1183) Excessive readiness to find allegory whenever some traces of symbolism occur, where the myth partly veils the historical reality, may lead and often has led to error. What poetical work of mythical times could stand this mode of trial? could there not be made, or rather has there not been made a work altogether allegorical, out of the Homeric poems? We have all heard of the ingenious idea of the anonymous writer, who in order to prove how easily we may pass beyond the truth in our wish to seek and find allegory everywhere, undertook with keen subtlety to prove that the great personality of Napoleon I. was altogether allegorical and represented the sun. Napoleon was born in an island, his course was from west to east, his twelve marshals were the twelve signs of the zodiac, etc.

I conclude then, that the fundamental theme of the Rámáyan, that is to say the war of the Aryan Ráma against the Rákshases, an Hamitic race settled in the south, ought to be regarded as real and historical as far as regards its substance, although the mythic element intermingled with the true sometimes alters its natural and genuine aspect.

How then did the Indo-Sanskrit epopeia form and complete itself? What elements did it interweave in its progress? How did it embody, how did it clothe the naked and simple primitive datum? We must first of all remember that the Indo-European races possessed the epic genius in the highest degree, and that they alone in the different regions they occupied produced epic poetry … But other causes and particular influences combined to nourish and develop the epic germ of the Sanskrit-Indians. Already in the Rig-veda are found hymns in which the Aryan genius preluded, so to speak, to the future epopeia, in songs that celebrated the heroic deeds of Indra, the combats and the victories of the tutelary Gods of the Aryan races over enemies secret or open, human or superhuman, the exploits and the memories of ancient heroes. More recently, at certain solemn occasions, as the very learned A. Weber remarks, at the solemnity, for example of the Aśvamedha or sacrifice of the horse, the praises of the king who ordained the great rite were sung by bards and minstrels in songs composed for the purpose, the memories of past times were recalled and honourable mention was made of the just and pious kings of old. In the _Bráhmaṇas_, a sort of prose commentaries annexed to the Vedas, are found recorded stories and legends which allude to historical events of the past ages, to ancient memories, and to mythical events. Such popular legends which the _Bráhmaṇas_ undoubtedly gathered from tradition admirably suited the epic tissue with which they were interwoven by successive hands.… Many and various mythico-historical traditions, suitable for epic development, were diffused among the Aryan races, those for example which are related in the four chapters containing the description of the earth, the Descent of the Ganges, etc. The epic genius however sometimes created beings of its own and gave body and life to ideal conceptions. Some of the persons in the Rámáyan must be, in my opinion, either personifications of the forces of nature like those which are described with such vigour in the _Sháhnámah_, or if not exactly created, exaggerated beyond human proportions; others, vedic personages much more ancient than Ráma, were introduced into the epic and woven into its narrations, to bring together men who lived in different and distant ages, as has been the case in times nearer to our own, in the epics, I mean, of the middle ages.

In the introduction I have discussed the antiquity of the Rámáyan; and by means of those critical and inductive proofs which are all that an antiquity without precise historical dates can furnish I have endeavoured to establish with all the certainty that the subject admitted, that the original composition of the Rámáyan is to be assigned to about the twelfth century before the Christian era. Not that I believe that the epic then sprang to life in the form in which we now possess it; I think, and I have elsewhere expressed the opinion, that the poem during the course of its rhapsodical and oral propagation appropriated by way of episodes, traditions, legends and ancient myths.… But as far as regards the epic poem properly so called which celebrates the expedition of Ráma against the Rákshases I think that I have sufficiently shown that its origin and first appearance should be placed about the twelfth century B.C.; nor have I hitherto met with anything to oppose this chronological result, or to oblige me to rectify or reject it.… But an eminent philologist already quoted, deeply versed in these studies, A. Weber, has expressed in some of his writings a totally different opinion; and the authority of his name, if not the number and cogency of his arguments, compels me to say something on the subject. From the fact or rather the assumption that Megasthenes(1184) who lived some time in India has made no mention either of the Mahábhárat or the Rámáyan Professor Weber argues that neither of these poems could have existed at that time; as regards the Rámáyan, the unity of its composition, the chain that binds together its different parts, and its allegorical character, show it, says Professor Weber, to be much more recent than the age to which I have assigned it, near to our own era, and according to him, later than the Mahábhárat. As for Megasthenes it should be observed, that he did not write a history of India, much less a literary history or anything at all resembling one, but a simple description, in great part physical, of India: whence, from his silence on literary matters to draw inferences regarding the history of Sanskrit literature would be the same thing as from the silence of a geologist with respect to the literature of a country whose valleys, mountains, and internal structure he is exploring, to conjecture that such and such a poem or history not mentioned by him did not exist at his time. We have only to look at the fragments of Megasthenes collected and published by Schwanbeck to see what was the nature and scope of his _Indica_.… But only a few fragments of Megasthenes are extant; and to pretend that they should be argument and proof enough to judge the antiquity of a poem is to press the laws of criticism too far. To Professor Weber’s argument as to the more or less recent age of the Rámáyan from the unity of its composition, I will make one sole reply, which is that if unity of composition were really a proof of a more recent age, it would be necessary to reduce by a thousand years at least the age of Homer and bring him down to the age of Augustus and Virgil; for certainly there is much more unity of composition, a greater accord and harmony of parts in the Iliad and the Odyssey than in the Rámáyan. But in the fine arts perfection is no proof of a recent age: while the experience and the continuous labour of successive ages are necessary to extend and perfect the physical or natural sciences, art which is spontaneous in its nature can produce and has produced in remote times works of such perfection as later ages have not been able to equal.”

INDEX OF PRINCIPAL NAMES

Abhijit, 24.

Abhikála, 176.

Abhíra, 444.

Abravanti, 374.

Aditi, 31, 57, 58, 125, 201, 245, 246.

Ádityas, 246, 403.

Agastya, 5, 9, 40, 132, 151, 239, 240, 242, 244, 262, 265, 280, 375, 480, 491, 500.

Ágneya, 178.

Agni, 28, 74, 109, 132, 240, 243, 276.

Agnivarṇa, 82, 220.

Agniketu, 433 note, 459.

Ahalyá, 60, 61, 62.

Ailadhána, 178.

Air, 2, 28, 203.

Airávat, 14, 110, 178, 246, 256, 267, 335, 399, 402, 415, 429, 437, 472.

Aja, 82, 220, 465.

Ájas, 270, 271.

Akampan, 265, 266, 468, 481.

Aksha, 6, 420, 469, 471.

Akurvati, 178.

Alaka, 203 note.

Alambúshá, 59, 198, 199.

Alarka, 104, 107.

Amarávatí, 13, 203 note, 286.

Ambarísha, 72, 73, 74, 82, 220.

Amúrtarajas, 46.

Anala, 455 note.

Analá, 245, 246.

Ananta, 373.

Anaraṇya, 81, 219, 470.

Anasúyá, 9, 226, 227, 228.

Andhak, 264.

Andhras, 549.

Anga, 38.

Angad, 342, 348, 350, 352 ff., 363, 364 note, 367, 374, 379 ff, 391, 402, 425 ff., 439, 442, 445, 448, 456, 458, 459, 475, 479 ff, 505.

Angas, 15, 18, 19, 21, 102.

Angiras, 133, 245.

Anjan, 14, 368, 369.

Anjaná, 392.

Anśudhána, 179.

Anśumán, 50, 53, 56, 82, 220.

Anuhláda, 370.

Aparparyat, 178.

Apartála, 175.

Apsarases, 57, 198, 199, 229, 378.

Aptoryám, 24.

Arishta, 424, 425.

Aríshṭanemi, 49, 245, 392.

Arjun, 86.

Arjuna, 518.

Arthasádhak, 14.

Aruṇ, 246,

Arundhatí, 19, 244, 413.

Aryaman, 124.

Áryan, 92.

Asamanj, 50, 53, 82, 138, 220.

Asit, 81, 219.

Aśok, 14, 175.

Aśoka, 6, 10, 101, 205, 278, 296, 297, 300, 318, 321, 357, 403, 444, 452, 456.

Asta, 377, 379 note.

Asurs, 57, 58, 380, 381, 387, 394, 407, 413, 420.

Aśvagríva, 246.

Aśvamedh, 29, 236 note.

Aśvapati, 89, 131, 178, 183.

Aśvatarí, 346.

Aśvin, 371.

Aśvíní, 343.

Aśvins, 28, 36, 60, 62, 163, 246, 339, 343, 403, 490.

Atikáya, 468, 478 ff.

Atirátra, 24.

Atri, 245, 561.

Aurva, 373 note.

Avantí, 374.

Avindhya, 415.

Ayodhyá, 4, 6, 11, 12, 14, 19, 32, 33, 38, 49, 70, 72, 79, 81, 83, 84, 85, 88, 95, 96, _passim_.

Ayomukh, 374.

Ayomukhi, 310.

Báhíka, 176.

Bahuputra, 245.

Bala, 264.

Bálakhilyas, 63, 235, 270, 271, 374.

Bali, 43, 59, 107, 275, 302, 421.

Báli, 5, 9, 29, 318, 324, 328, 329, 333 ff., 344, 356 ff., 362, 364, 366, 367, 379, 380, 391, 404, 412, 420, 440, 442, 448, 456, 458, 475, 478, 500, 503, 505.

Barbars, 66.

Beauty, 26, 29, 58, 88, 283, 455.

Bhadamadrá, 246.

Bhadra, 52.

Bhaga, 124, 243.

Bhagírath, 53, 54, 55, 82, 220, 372.

Bhágírathí, 56.

Bharadvája, 4, 7, 9, 10, 158, 159, 193, 196, 197, 199, 200, 201, 501.

Bharat, 4, 9, 10, 32, 81, 83, 84, 88, 89, 94, 97, _passim_.

Bharatas, 550.

Bháruṇḍa, 178.

Bhásí, 246.

Bhásakarṇa, 420.

Bhava, 78.

Bhímá, 198.

Bhogavatí, 12 note, 267, 375.

Bhrigu, 40, 63, 73, 81, 85, 86, 88, 133, 220.

Brahmá, 6, 7, 10, 19, 25, 26, 33, 38, 39, 42, 46, 48, 54, 56, 59, 61, 63, 65, 67, 68, 74, 75, 77, 81, _passim_.

Brahmadatta, 46, 47.

Brahmádikas, 133 note.

Bhrahmamálas, 548.

Budha, 287.

Buddhist, 219.

Cancer, 109.

Ceylon, 375 note.

Chaitra, 91.

Chaitraratha, 41, 178, 199, 267, 279, 315, 493.

Chakraván, 376.

Champá, 30.

Chaṇḍa, 448.

Chaṇḍála, 69, 70.

Chandra, 464.

Chatushṭom, 24.

Chitrá, 111, 250, 283.

Chitrakúṭa, 4, 9, 160, 161, 197, 200, 201, 202, 209, 235, 236, 317, 416, 501.

Chitraratha, 132.

Cholas, 549.

Chúli, 47.

Chyavan, 81, 220.

Dadhimukh, 426.

Dadhivakra, 364 note.

Daitya, 125, 152, 211, 246, 289, 306, 371, 418.

Daksha, 36, 78, 228, 245, 257, 396.

Dánav, 255, 270, 306, 307, 311, 371, 372, 382, 432, 443, 477.

Daṇḍak, 9, 99, 103, 117, 124, 126, 130, 166, 181, 199, 211, 238, 271, 374.

Daṇḍaká, 5.

Danú, 245, 246, 313.

Dapple skin, 64, 65.

Dardar, 110, 198.

Dardur, 448.

Darímukha, 371.

Daśárṇa, 374.

Dasáratha, 3, 9, 12, 14, 16, 18 ff., 25, 26, 29, 30, 32, 34, 41, 61, 62, 77, 79, 80 ff., 91, 92, 95, _passim_.

Dasyus, 444.

Devamíḍha, 82.

Devántak, 479, 480.

Devarát, 77, 82, 86.

Devasakhá, 378.

Devavatí, 515.

Dhanvantari, 57 note.

Dhanyamáliní, 481.

Dharmabhrit, 240.

Dharmapál, 14.

Dharmáraṇya, 46.

Dharmavardhan, 179.

Dhritaráshṭrí, 246.

Dhrishṭaketu, 82.

Dhrishṭi, 14, 202.

Dhruvasandhi, 81, 219.

Dhúmra, 371, 448.

Dhúmráksha, 433 note, 465, 466.

Dhúmráśva, 60, 481.

Dhundhumár, 81, 171, 219.

Dikshá, 44.

Dilípa, 5 note, 53, 54, 56, 82, 171, 190, 220.

Diti, 58, 59, 245, 246, 323.

Dragon, 101.

Driḍhanetra, 68.

Drishṭi, 202.

Droṇa, 464.

Drumakulya, 444.

Dundubhi, 333, 335, 338.

Durdhar, 420.

Durdharsha, 433 note.

Durjaya, 256 note.

Durmukha, 432, 433 note.

Durvásas, 521.

Dúshaṇ, 5, 250, 254, 255, 256, 258, 259, 261, 264, 265, 267-271, 294, 461, 502.

Dwida, 364 note.

Dwijihva, 474.

Dwivid, 371, 428, 430, 449, 451, 475, 483, 484.

Dwivida, 28.

Dyumatsena, 129.

Ekapádakas, 549.

Ekaśála, 179.

Fame, 26, 283.

Fate, 42, 68, 70, 71, 81, 119, 122, 123, 130, 181, 182, 195, 256, 293, 296, 309, 343, 349, 351, 354, 386, 404, 415, 439, 492.

Fire, 2, 30, 45, 49, 218, 374.

Fortune, 2, 58, 90, 94, 124, 146, 160, 188, 242, 244, 283, 449, 453.

Fire-god, 74, 124, 328.

Gádhi, 40, 48, 63, 64, 67, 68.

Gaja, 364 note, 371, 429, 449, 459.

Gálava, 518.

Gandhamádan, 28, 159, 381, 429, 446, 476.

Gandharva, 199, 256, 258, 259, 278, 285, 351, 396, 425, 437, 441, 454, 466, 468, 491.

Gandharvas, 267, 270, 281, 283, 306, 307, 308, 318, 364, 370, 375, 377, 388, 394, 409, 420, 432, 449, 455, 472.

Gandharví, 246, 265.

Gangá, 7, 9, 37, 38, 45, 48, 49, _passim_.

Garga, 133.

Garuḍ, 28, 29, 53, 246, 271, 373, 453, 465, 470, 475.

Gautam, 60, 61, 62, 505.

Gautama, 236.

Gaváksha, 364 note, 429, 449, 468, 475, 476.

Gavaya, 364 note, 371, 429, 448, 468.

Gaya, 482.

Gayá, 216.

Gáyatrí, 243.

Ghoralohamukhas, 548.

Ghritáchí, 46, 198, 367.

Girivraja, 46, 176.

Glory, 301.

Godávarí, 245, 247, 248, 249, 282, 303, 310, 374, 500.

Gokarna, 54.

Golabh, 351.

Gomatí, 151, 179, 448, 502, 503.

Gopa, 199.

Guha, 4, 9, 152-156, 162, 192, 193, 194, 208, 501.

Guhyakas, 378.

Háhá, 198.

Haihayas, 81, 219.

Hanúmán, 5, 9, 10, 28, 324 ff., 328, 332, 337, 340, 350, 355, 359, 360, 363, 364 note, 368, 371, 374, 378 ff., 392 ff., 411 ff., 424 ff., 449, 456.

Hara, 448.

Harí, 246.

Hárítas, 66.

Haryaśva, 82.

Hástinapura, 176.

Hastiprishṭhak, 179.

Havishyand, 68.

Hayagriva, 346, 376.

Hemá, 198, 382.

Hemachandra, 60.

Heti, 515.

Himálaya, 3, 14, 45, 48, 49, 50, 53, 54, 61, 67, 76, 81, 88.

Himaváu, 380.

Hiraṇyakaśipu, 391 note, 407.

Hiraṇyanábha, 500.

Hládini, 55, 178.

Honour, 283.

Hotri, 24.

Hraśvaromá, 82.

Huhú, 198.

Ikshumatí, 80, 176.

Ikshváku, 2, 11, 13, 18, 24, 25, 35, 59, 60, 69, 70, 71, 73, 81, 82, 83, 90, 94, 96, 103, 219, 390.

Ilval, 241.

Indra, 2, 5, 13, 14, 25, 28, 29, 36, 39, 40, 43 ff., 50, 56, _passim_.

Indrajánu, 371 note.

Indrajít, 420, 432, 436, 437, 441, 455, 459 ff., 482, 485.

Indraśatru, 433 note.

Indraśira, 178.

Irávatí, 246.

Jábáli, 505.

Jahnu, 55.

Jáhnaví, 49, 55, 154.

Jamadagni, 85, 86, 87, 119.

Jámbaván, 371, 374, 388, 391, 393, 402, 425, 428, 429, 439, 446, 448, 456, 464, 483, 503.

Jambudvip, 51, 373.

Jambumálí, 418, 419, 420, 459, 460.

Jambuprastha, 179.

Jámbuvatu, 364 note.

Janak, 4, 8, 9, 21, 45, 60, 61, 62, 77-85, 88, 090, _passim_.

Janamejaya, 171.

Janasthán, 225, 251, 254, 255, 264, 265, 271, 281, 282, 294, 295, 298, 308, 404, 439, 454, 463, 474, 493, 500.

Játarúpa, 373.

Jaṭáyu, 5.

Jaṭáyus, 245, 247, 280, 288, 290, 308, 385 ff., 500, 502.

Java, 231.

Jáváli, 20, 80, 174, 217, 218, 219, 222.

Jayá, 36.

Jayanta, 14, 175.

Jumna, 109, 501, 502.

Jupiter, 144.

Justice, 3, 35, 42, 149, 243, 346, 454.

Jyotishṭom, 24.

Kabandha, 5, 9, 310-316, 446, 500.

Kadrú, 246.

Kadrumá, 246.

Kaikasí, 516.

Kaikeyí, 3, 4, 9, 27, 32, 88, 96-103, _passim_.

Kailása, 38, 85, 92, 96, 110, 111, 267, 286, 357, 364, 368, 369, 373, 378, 421, 431.

Kakustha, 35, 37, 82, 109, 110, 123, 137, 142, 147, 149, 151, 153, 192, 208, 211, 220, 311.

Kalá, 378.

Kálak, 246.

Kálaká, 245, 246.

Kálakámuka, 256 note.

Kálamahí, 372.

Kalinda, 178.

Kálindí, 81, 160, 220.

Kalinga, 179.

Kalingas, 549,

Kalmáshapáda, 82, 220.

Káma 37, 38, 42, 283, 286, 296.

Kámboja, 13, 66.

Kámbojas, 66.

Kámpili, 47

Kaṇdu, 118, 380, 440.

Kandarpa, 37, 74, 75, 76, 250, 269.

Kaṇva, 440.

Kanyákubja, 47.

Kapil, 51, 52, 53.

Kapivati, 179.

Kardam, 245.

Karṇaprávaraṇas, 548.

Kártikeya, 243.

Kárttavírya, 518.

Káśi, 21, 102.

Kásíkosalas, 548.

Kaśyap, 15, 16, 20, 30, 57-59, 80, 81, 86, 87, 91, 92, 118, 219, 215, passim.

Kátyáyan, 505.

Kátyáyana, 80, 174.

Kauśalyá, 3, 23, 27, 30, 31, 79, 84, 88, 93, 94, 97, 98, 100, _passim_.

Kauśámbí, 46.

Kauśikas, 549.

Kauśikí, 48, 372.

Káverí, 375.

Kaustubha, 58.

Kávya, 40.

Kekaya, 21, 84, 88, 90, 137, 139, 174, 175.

Kerala, 190.

Keralas, 549.

Kesarí, 371.

Keśini, 49, 50.

Khara, 9, 225, 250 ff., 281, 288, 290, 294, 295, 433, 446, 451, 461, 477, 493.

Kinnars, 270, 306, 308, 318, 321, 373, 425.

Kimpurushas, 28 note.

Kirátas, 66, 549.

Kírtirát, 82.

Kirtirátha, 82.

Kishkindhá, 5, 333, 334, 336, 338, 339, 351, 357, 362, 369, 385, 449, 464, 500.

Kośal, 11, 102, 273, 307, 359, 418.

Kośala, 151, 173.

Krathan, 448.

Kratu, 245.

Krauncha, 310, 378, 476.

Kraunchi, 246.

Kriśáśva, 36, 41, 43.

Krishṇa, 497.

Krishṇagiri, 448.

Krishṇveni, 374.

Krita, 57, 395.

Krodhavaśá, 245, 246.

Kshatriyas, 246, 346.

Kukshi, 81, 219.

Kulingá, 176.

Kumbha, 484.

Kumbhakarṇa, 10, 250, 399, 411, 435 ff., 441, 470 ff.

Kúmuda, 364 note, 448.

Kunjar, 375, 392.

Kuru(s), North, 198, 203, 315.

Kurujángal, 176.

Kuśa, 10, 46, 48, 63, 526.

Kuśadhwaj, 80, 82, 88.

Kuśámba, 46.

Kuśanábha, 46, 47, 48, 63.

Kuśáśva, 60.

Kuśik, 33, 35, 36, 38, 44, 56, 62, 63, 68, 70 ff., 83.

Kuṭíká, 179.

Kuṭikoshṭiká, 179.

Kuvera, 23, 88, 109, 110, 111, 112, 198, 199, 204, 232, 267, 378, 422, 431, 432, 483.

Lakshmaṇ, 4, 8, 11, 32, 36, 38, 40, 41, 44, 45, 56, 61, 79, 80, 82-84, 88, 91, 94, 97, 98, _passim_.

Lakshmí, 88, 116, 146, 227, 400, 453, 462, 497.

Lamba, 397.

Lanká, 5, 10, 265, 267, 284, 286, 293, 295-297, 367, 387, 397, 411, 423 ff., 439, 456 ff.

Lankaṭankaṭá, 515.

Lava, 10, 526.

Lohitya, 179.

Lokapálas, 485.

Lomapád, 15, 16, 18, 19, 21, 30.

Mádhaví, 520.

Madhu, 26, 51, 57, 87, 95.

Madhúka, 245.

Madhushyand, 68, 74.

Madrakas, 550.

Magadh, 46, 102.

Mágadnas, 548.

Maghá, 83.

Mahábír, 82.

Mahábala, 433 note.

Mahábhárat, 520, 524, 551, 554.

Mahádeva, 61, 515.

Mahákapála, 256 note, 260.

Mahámáli, 256 note.

Mahándhrak, 82.

Mahápadma, 14, 52.

Mahápáráśva, 433, 436, 455, 478, 480, 487.

Mahárath, 68.

Maháromá, 82.

Maháruṇ, 368.

Maháśaila, 368.

Mahendra, 28, 59, 86, 87, 88, 140, 167, 213, 243, 244, 307, 336, 344, 364, 368, 370, 375, 490, 531, 554.

Maheśwar, 369, 498.

Mahí, 372.

Máhishmatí, 518.

Mahishikas, 549.

Mahodar, 433 note, 450, 455, 474, 478 ff.

Mahodaya, 46, 70, 71, 488.

Maináka, 10, 394, 500 note.

Mainda, 28, 364 note, 371, 428, 430, 439, 449, 451, 458, 482, 483.

Makaráksha, 485 note.

Malaja, 39.

Málavas, 548.

Malaya, 198, 324, 328, 375, 379, 430.

Málí, 515, 516.

Máliní, 175, 539.

Malyaván, 454, 455.

Mályavat, 515, 516.

Mánas, 38.

Mandakarṇi, 240.

Mandákiní, 200, 201, 203, 209, 234, 235, 304, 322, 416 note.

Mandalí, 556.

Mandar, 57, 163, 285, 362, 368, 372, 399, 402, 421, 485, 491, 493, 525.

Mandarí, 444.

Mándhátá, 81, 219, 347, 518.

Mándavi, 84.

Máṇḍavya, 226 note.

Mandehas, 373.

Mandodarí, 402, 492, 500, 516.

Mandra, 14.

Maṇibhadra, 441.

Manthará, 40, 96, 97, 99, 187.

Manu, 11, 12, 13, 81, 103, 151, 179, 219, 245, 246, 347, 490, 505, 537, 555.

Marícha, 58.

Márícha, 5, 9, 35, 39, 40, 44, 266, 271-280, 298.

Maríchi, 81, 91, 219, 245.

Maríchipas, 270, 271.

Márkaṇḍeya, 80, 174.

Mars, 93, 144, 339, 404, 445, 467, 489.

Maru, 82, 220.

Maruts, 25, 54, 59, 403, 517, 547, 555.

Máshas, 270, 271.

Mátali, 109, 142, 489, 491, 493.

Matanga, 14, 246, 315, 316, 317, 318, 319, 336, 337, 380.

Mátangí, 246.

Mátariśva, 389.

Matsya, 102, 523, 537, 549.

Maya, 293, 382, 432, 488.

Máyá, 293, 521.

Máyáví, 333, 334, 379.

Meghamáli, 256 note.

Meghanáda, 10.

Mekhal, 374.

Mená, 49, 394 note.

Menaká, 74.

Mercury, 144, 339, 467.

Meru, 4, 49, 92, 109, 110, 142, 182, 232, 236, 254, 291, 315, 368, 370, 377, 380, 418, 493.

Meruśavarṇi, 382.

Mina, 32.

Miśrakeśí, 199.

Mithi, 82.

Míthilá, 9 note, 21, 45, 60, 61, 78, 81, 83, 84, 85.

Mitraghna, 459.

Mlechchhas, 66, 537, 550.

Modesty, 26.

Moon, 30, 42, 58, 109 ff., 124, 218, 227, 243, 276, 367, 413, 414, 488.

Mriga, 14.

Mrigamandá, 246.

Mrigí, 246.

Mudgalya, 174.

Nábhág, 82, 220.

Nágadantá, 198.

Nágas, 12, 55, 66, 68, 145, 270, 273, 395, 409, 413, 420, 427, 518.

Nahush, 82, 95, 171, 190, 220, 307.

Nairrit, 430.

Nala, 10, 340, 364 note, 428, 444, 445, 448, 449, 468, 475, 483.

Nalá, 246.

Naliní, 55, 203, 204, 267, 436.

Namuchi, 39, 261, 264, 275, 336.

Nandá, 415.

Nandan, 26, 175, 200, 267, 279, 315, 316, 426.

Nandi, 249, 421.

Nandigráma, 4, 6, 9, 224, 502, 503.

Nandíśvara, 471.

Nandivardhan, 82.

Nárad, 1, 2, 8, 9, 124, 199, 543.

Narak, 479.

Narántak, 479.

Náráyaṇ, 25, 26, 95, 393, 474, 497, 516, 517, 522, 535, 559.

Narmadá, 374, 448, 518.

Nikumbha, 432, 433 note, 437, 459, 484.

Níla, 28, 340, 352, 360, 364 note, 371, 374, 428, 429, 430, 446, 448, 449, 456, 458, 459, 469, 472, 475, 482.

Nimi, 77, 82.

Niśakar, 389, 390.

Nishádas, 4, 152, 192, 196, 271, 501, 537.

Ocean, 10, 95, 144, 285, 286, 336, 346, 387.

Oshṭhakarṇakas, 548.

Pahlavas, 66.

Páka, 252, 297, 498.

Pampá, 5, 9, 235, 293, 314-321, 327.

Panas, 371, 428, 448, 464.

Panasa, 455 note.

Panchajan, 376.

Panchála, 176, 539.

Panchápsaras, 240.

Panchavaṭa, 9.

Panchavaṭí, 244, 245, 247.

Páṇḍyas, 375, 549.

Paráśara, 517.

Paraśuráma, 119 note, 523, 531.

Paravíráksha, 256 note.

Páriyátra, 376, 448.

Parjanya, 112, 174, 261, 448.

Párvati, 249 note, 515, 542.

Paulastya, 472.

Paulomí, 29, 370.

Pávaní, 55.

Phálguní, 83.

Pináka, 67.

Pitris, 550.

Prabháva, 363.

Prachetas, 1, 245.

Praghas, 420, 459, 460.

Prágvaṭ, 179.

Prahasta, 399, 418, 419, 421, 422, 432 ff., 441, 451, 452, 455, 456, 471, 481.

Praheti, 515.

Prahláda, 391.

Prajangha, 459, 460.

Prajápati, 133 note, 554, 560.

Pralamba, 175.

Pramátha, 256 note.

Pramathí, 260, 448.

Pramati, 455 note.

Prasenajit, 81, 219.

Praśravaṇ, 304, 357, 380, 383, 415, 426.

Prasthalas, 550.

Praśuśśruka, 82, 220.

Pratindhak, 82.

Pravargya, 22.

Prayág, 158, 159, 196.

Prithu, 81, 219.

Prithuśyáma, 256 note.

Proshṭhapadá, 32.

Pulah, 245.

Pulastya, 35, 245, 254, 268, 288, 408, 515.

Pulindas, 550.

Puloma, 370.

Punarvasu, 93.

Puṇḍaríká, 199.

Puṇḍras, 548, 549.

Punjikasthalá, 436, 552.

Puranda, 522.

Purandara, 384, 522.

Purúravas, 286, 544, 545.

Purusha, 256 note, 559.

Purushádak, 82, 220.

Purushottam, 498, 517.

Púshá, 124.

Pushpak, 10, 80, 286, 499, 519.

Pushya, 32, 90, 92, 94, 96, 98, 109, 126.

Rabhasa, 433 note.

Rághava, 5 note.

Raghu, 5, 9, 22, 32 ff., 50, 56, 61, _passim_.

Raghunandana, 522.

Ráhu, 93, 223, 261, 272, 303, 351, 480.

Rain, Lord of, 92, 222.

Rájagriha, 174, 175.

Ráma, _passim_.

Rámáyana, 8 note, 10, 11, 541, 542.

Rambhá, 75, 232, 448.

Ramaṇá, 199.

Raśmiketu, 433 note, 459.

Rávaṇ, 5, 9, 10, 25, 26, 32, 35, _passim_.

Reṇuká, 63, 119.

Richíka, 48, 73, 86.

Right, 42, 68.

Riksharajas, 386, 442.

Rikshaván, 448.

Rishabh, 373, 375, 429, 446, 476, 483.

Rishṭikas, 549.

Rishyamúka, 9, 314, 315, 316, 318 ff., 332, 335, 339, 340, 353, 380, 500.

Rishyaśring, 15-24, 29, 30.

Rohiṇí, 4, 112, 223, 227, 246, 251, 282, 287, 367, 404, 413, 445.

Rohitas, 376, 558.

Rudhiráśana, 256 note.

Rudra, 49, 57, 67, 77, 78, 162, 249, 257, 264, 283, 296, 378, 413, 483.

Rudras, 246, 558.

Rukmiṇí, 517.

Rumá, 346, 349, 350, 363, 366, 367, 371, 385, 403.

Ruman, 371.

Sachí, 29, 202, 234, 238, 276, 286, 297, 370, 408, 415, 494, 519, 522.

Sádhyas, 490, 555, 558, 559.

Sagar, 11, 50 ff., 82, 119, 137, 171, 441.

Sahadeva, 60.

Sahya, 429, 430.

Śaivya, 104, 107, 171, 533.

Śakas, 66, 550.

Śakra, 75, 234, 307, 313, 336, 344, 448, 464.

Śálmalí, 176, 539.

Śályakartan, 178.

Śáman, 186, 326, 359.

Śambar, 479.

Śambara, 99, 100.

Sampáti, 5, 9, 246, 364 note, 385, 387 ff., 412, 455 note, 459, 460, 464.

Samprakshálas, 235.

Sanatkumár, 15, 16.

Sandhyá, 515.

Sanháras, 36.

Sanhráda, 474.

Śaniśchar, 283.

Śankan, 82.

Śankar, 57, 335.

Sánkáśyá, 80, 81, 82, 83.

Śankha, 555.

Śankhan, 220, 432.

Sanrochan, 448.

Śanśray, 245.

Śántá, 16, 19, 29, 30, 31.

Śarabh, 364 note, 439, 476.

Śarabhanga, 9, 233, 234, 235, 236, 265, 502.

Śaradaṇḍá, 176, 539.

Saramá, 452, 453.

Sáraṇ, 446, 447, 455.

Sarandib, 375 note.

Sáranga, 556.

Sarasvatí, 178, 372, 516, 522.

Śárdúla, 441, 449, 450.

Śárdúlí, 246.

Sarjú, 11, 20, 22, 36, 37, 38, 50, _passim_.

Sárvabhauma, 429.

Sarvartírtha, 179.

Śaśivindhus, 81, 219.

Śatabali, 371, 377, 379, 380.

Śatadrú, 178, 539.

Śatahradá, 231.

Śatánanda, 62, 63, 77, 79, 80, 81, 84.

Śatrughna, 32, 83, 84, 88, 89, 97, _passim_.

Śatrunjay, 504.

Satyaván, 129.

Satyavatí, 48.

Sávitrí, 129, 227.

Śavarí, 315, 316, 317.

Saumanas, 373.

Sávarṇí, 377.

Seven Rishis, 23.

Śesha, 245.

Siddhárth, 14, 137, 138, 175.

Siddhas, 28 note, 540, 559.

Śíghraga, 82, 220.

Śilá, 178.

Śilávahá, 178.

Sindhu, 13, 21, 55, 102, 372, 376, 443.

Sinhiká, 10, 396.

Śiśir(a), 372, 555.

Sítá, 4 ff., 55, 78, 79, 83, 84, 88, 93, _passim_.

Śiva, 4, 36, 42, 54, 55, 57, 67, 78, 82, 85, 86, 109, 110, 205, 523, 524, 543, 554.

Skanda, 554.

Soma, 52, 58, 198, 267, 378, 554.

Somadatta, 60.

Somadá, 47.

Somagiri, 376, 378.

Śoṇa, 45, 48, 372.

Śringavera, 4, 192, 196, 223, 501, 502.

Srinjay, 60.

Srutakírti, 84.

Stháṇu, 25, 37, 245.

Stháṇumatí, 179.

Sthúláksha, 256 note, 260.

Sthúlaśiras, 313.

Subáhu, 364 note.

Suchakshu, 55.

Suchandra, 60.

Śuchi, 238.

Sudámá, 178.

Sudáman, 81, 176.

Sudarśan, 82, 83, 220, 373, 378, 448.

Sudarśandwíp, 374.

Sudhanvá, 82.

Sudhriti, 82.

Śúdras, 6, 13, 246.

Sugríva, 5, 6, 9, 28, 29, 314, 316, 318, 324 ff., 337, 339, 344, 346 ff., 371, 375 ff., 412, 414, 422, 424, 430, 439 ff., 446, 450, 519, 545.

Śuka, 442, 446, 447, 455 ff.

Sukeśa, 515, 516.

Suketu, 39, 82.

Sukí, 246.

Śukra, 124, 210, 279, 384, 429.

Sumáli, 515, 516.

Sumágadhí, 46.

Sumantra, 15, 16, 19, 21, 80, 92, _passim_.

Sumati, 49, 50, 59, 60.

Sumitrá, 27, 30, 32, 88, 94, _passim_.

Sun, 93, 109, 110, 124, 243.

Sunábha, 425.

Śunahśepha, 72, 73, 74

Sunda, 35, 39.

Sunetra, 364 note.

Suparṇa, 53, 125, 231, 343, 349, 388.

Supárśva, 388.

Supátala, 364 note.

Suptaghna, 433 note.

Surá, 58.

Surabhí, 183, 246.

Surapati, 522.

Suras, 58.

Surasá, 246, 395.

Suráshṭra, 21, 102, 376.

Súrasenas, 550.

Śúrpaṇakhá, 5, 9, 249 ff., 267 ff., 288, 502.

Súrya, 555.

Súryáksha, 364 note.

Súryaśatru, 433 note.

Súryaván, 375.

Susandhi, 81, 219.

Susheṇ, 28, 351, 364 note, 376, 379, 380.

Sutanu, 199.

Sutíkshṇa, 9, 234, 236, 237, 240, 241.

Suváhu, 35, 44, 45, 146.

Suvarat, 220.

Suvela, 450, 456, 457.

Suvíra, 21, 102.

Suyajǹa, 20, 132.

Svayambhu, 394.

Svayamprabhá, 382.

Śvetáraṇya, 264.

Swarga, 54, 101, 202, 493.

Swarṇaromá, 82.

Śweta, 448.

Śyáma, 160.

Syandiká, 151.

Śyenagámí, 256 note, 260.

Śyení, 246.

Táḍaká, 38, 39, 40, 41.

Táḍakeya, 266.

Taittiríya, 132.

Takshak, 432.

Takshaka, 267.

Tálajanghas, 81, 219.

Tamasá, 7, 147, 148, 149.

Támrá, 245, 246.

Támraparṇí, 375.

Tapan, 459, 555.

Tára, 364 note, 379 ff.

Tárá, 9, 336, 349 ff., 355, 359, 362, 363, 366, 367, 369, 371, 385, 403, 449, 546.

Tárak, 430.

Tárkshya, 214.

Ten-necked, 250.

Thirty-three Gods, 51.

Thousand-eyed, 41, 59, 60, 74, 75, 76, 86, 90, 112, 252, 297, 504.

Three-eyed God, 86.

Thunderer, 234.

Titan, 58, 67, 72, 79, 109, 114, 124.

Toraṇ, 179.

Town-Destroyer, 59, 60.

Trident, 68.

Trident-wielding, 54, 57.

Trijaṭ, 133.

Trijaṭá, 410, 463.

Trikúṭa, 456, 457, 500, 515.

Triṇavindu, 515.

Trípathagá, 56.

Tripur, 306.

Tripura, 85, 86.

Triśanku, 68-72, 81, 144, 219, 429.

Triśirá, 9.

Triśirás, 256 note, 260, 261, 264, 267, 271, 478, 479, 480, 502.

Tumburu, 198, 199, 232.

Uchchaihśravas, 58, 522.

Udayagiri, 379 note.

Udávasu, 82.

Ujjiháná, 179.

Ukthya, 24.

Umá, 49, 54, 205, 249 note, 471, 542, 543.

Upasad, 22.

Upasunda, 35.

Upendra, 74, 559.

Urmilá, 47, 83, 84, 88, 228.

Urvaśí, 286, 544, 545.

Uśanas, 382.

Utkal, 374.

Uttániká, 179, 539.

Váhli, 13.

Váhlíka, 376.

Vahni, 555.

Vaidyut, 375.

Vaijayanta, 99, 179, 522.

Vaikhánasas, 270, 271, 374.

Vainateya, 388.

Vaiśravaṇ, 265, 285, 378, 414, 515.

Vaiśyas, 246.

Vaitaraṇí, 293.

Vajra, 376.

Vajradanshṭra, 432, 433 note, 466, 467.

Válmíki, 1, 7-11, 161, 519, 542.

Vámadeva, 14, 79, 80, 91, 174, 222, 505.

Vámana, 14, 523.

Váṇa, 81, 219.

Vanáyu, 13.

Vangas, 102.

Varadas, 550.

Varuṇ, 1 note, 28, 42, 67, 88, 109, 124, 228, 243, 272, 293, 338, 377, 383, 448, 471, 518.

Varáśya, 256 note.

Varútha, 179.

Vásav, 92.

Vásava, 236, 522.

Vaśishṭha, 14, 15, 19-22, 25, 32, _passim_.

Vásudeva, 51, 52.

Vásuki, 57, 267, 375, 432, 518, 522.

Vasus, 14, 46, 246, 283, 377, 403, 522, 554.

Vasvaukasárá, 203.

Vátápi, 241, 280.

Váyu, 59, 243, 369, 427, 428, 555.

Vedas, 1 note, 3, 12, 22, 70, 89, 109, 125, 147, 184, 229, 559.

Vedaśrutí, 151.

Vedavatí, 470, 517.

Vegadarśí, 429, 446, 483.

Veṇá, 448, 537.

Vibháṇḍak, 15, 16, 17, 18, 25.

Vibhíshaṇ, 6, 10, 250, 273, 415, 422, 423, 433 ff., 449 ff., 472, 483, 487 ff., 516.

Vibudh, 82.

Vidarbha, 46, 49.

Vidarbhas, 549.

Videha, 79 ff., 129, 130, 142, 166, 195, 227.

Videhan, 9, 79, 95, 104, 119, 125, _passim_.

Videhas, 548.

Vidyádharí, 203 note.

Vidyujjihva, 450.

Vidyunmáli, 364 note.

Vidyutkeśa, 515.

Vihangama, 256 note.

Vijay, 14, 36, 175, 505.

Vikaṭá, 409.

Vikrit, 245.

Vikukshi, 81, 219.

Vinata, 179, 379, 380, 388, 448.

Vinatá, 53, 125, 246.

Vindhya, 14, 51, 242, 364, 370, 374, 380.

Vindu, 55.

Vipáśá, 176, 539.

Vírabáhu, 364 note.

Virádha, 5, 9, 229, 232, 404, 446, 502.

Viráj, 124.

Viramatsya, 178.

Virochan, 40, 43.

Virtue, 223, 272.

Virúpáksha, 52, 420, 433, 459, 460, 487.

Viśákhás, 144, 430.

Viśálá, 56, 57, 59, 60, 62.

Vishṇu, 1 note, 2, 3, 25, 32, 40, _passim_.

Viśravas, 35, 309, 408, 515, 516.

Viśváchi, 198.

Viśvajit, 24.

Viśvakarmá, 28, 42, 198, 376, 387, 444, 445, 448, 499, 500, 515, 556.

Viśvámitra, 9, 32 ff., 39, 41, 44, 45, _passim_.

Viśvarúpa, 353.

Viśvas, 377.

Viśvávasu, 198.

Viśvedevas, 162.

Vitardan, 474.

Vivasvat, 81, 171, 219, 245, 386, 532.

Vraṇa, 444.

Vrihadratha, 82.

Vrihaspati, 28, 31, 95, 124, 210, 307, 464, 517.

Vritra, 125, 264, 288, 387, 487, 491, 536.

Vulture-king, 9.

War-god, 124, 476.

Wind, 30, 218.

Wind-god, 10, 36, 42, 68, 325, 326, 379, 392 ff., 417 ff., 449, 470, 478, 481, 488, 502, 503.

Yavadwípa, 372.

Yajnakopa, 433 note, 459.

Yajush, 326.

Yajnaśatru, 256 note.

Yaksha, 236 note, 306, 318, 363, 375, 394, 420, 422, 425, 431, 454, 458, 468.

Yáma, 68, 71, 112, 117, 124, 140, 166, 171, 241, 248, 262, 275, 287, 313, 343 ff., 432, 437, 449, 472, 475, 496, 518, 554.

Yamuná, 158, 159, 160, 178, 214, 223, 372.

Yámun, 372.

Yavanas, 66, 550.

Yayáti, 82, 95, 107, 119, 163, 186, 307, 344.

Yudhájit, 84, 88, 180, 190.

Yúpáksha, 420, 472.

Yuvanáśva, 81, 219.

FOOTNOTES

1 The MSS. vary very considerably in these stanzas of invocation: many lines are generally prefixed in which not only the poet, but those who play the chief parts in the poem are panegyrized. It is self-apparent that they are not by the author of the Rámáyan himself.

2 “Válmíki was the son of Varuṇa, the regent of the waters, one of whose names is Prachetas. According to the _Adhyátmá Rámáyaṇa_, the sage, although a Bráhman by birth, associated with foresters and robbers. Attacking on one occasion the seven Rishis, they expostulated with him successfully, and taught him the _mantra_ of Ráma reversed, or _Mará, Mará_, in the inaudible repetition of which he remained immovable for thousands of years, so that when the sages returned to the same spot they found him still there, converted into a _valmík_ or ant-hill, by the nests of the termites, whence his name of Válmíki.”

WILSON. _Specimens of the Hindu Theatre, Vol. I. p. 313_.

“Válmíki is said to have lived a solitary life in the woods: he is called both a _muni_ and a _rishi_. The former word properly signifies an anchorite or hermit; the latter has reference chiefly to wisdom. The two words are frequently used promiscuously, and may both be rendered by the Latin _vates_ in its earliest meaning of _seer_: Válmíki was both poet and seer, as he is said to have sung the exploits of Ráma by the aid of divining insight rather than of knowledge naturally acquired.” SCHLEGEL.

3 Literally, _Kokila_, the Koïl, or Indian Cuckoo. Schlegel translates “luscinium.”

4 Comparison with the Ganges is implied, that river being called the purifier of the world.

5 “This name may have been given to the father of Válmíki allegorically. If we look at the derivation of the word (_pra_, before, and _chetas_, mind) it is as if the poet were called the son of Prometheus, the Forethinker.” SCHLEGEL.

6 Called in Sanskrit also _Bála-Káṇḍa_, and in Hindí _Bál-Káṇḍ_, _i.e._ the Book describing Ráma’s childhood, _bála_ meaning a boy up to his sixteenth year.

7 A divine saint, son of Brahmá. He is the eloquent messenger of the Gods, a musician of exquisite skill, and the inventor of the _víṇá_ or Indian lute. He bears a strong resemblance to Hermes or Mercury.

8 This mystic syllable, said to typify the supreme Deity, the Gods collectively, the Vedas, the three spheres of the world, the three holy fires, the three steps of Vishṇu etc., prefaces the prayers and most venerated writings of the Hindus.

9 This colloquy is supposed to have taken place about sixteen years after Ráma’s return from his wanderings and occupation of his ancestral throne.

10 Called also Śrí and Lakshmí, the consort of Vishṇu, the Queen of Beauty as well as the Dea Fortuna. Her birth “from the full-flushed wave” is described in Canto XLV of this Book.

11 One of the most prominent objects of worship in the Rig-veda, Indra was superseded in later times by the more popular deities Vishṇu and Śiva. He is the God of the firmament, and answers in many respects to the Jupiter Pluvius of the Romans. See _Additional Notes_.

12 The second God of the Trimúrti or Indian Trinity. Derived from the root _viś_ to penetrate, the meaning of the name appears to be _he who penetrates or pervades all things_. An embodiment of the preserving power of nature, he is worshipped as a Saviour who has nine times been incarnate for the good of the world and will descend on earth once more. See _Additional Notes_ and Muir’s Sanskrit Texts _passim_.

13 In Sanskrit _devarshi_. Rishi is the general appellation of sages, and another word is frequently prefixed to distinguish the degrees. A _Brahmarshi_ is a theologian or Bráhmanical sage; a Rájarshi is a royal sage or sainted king; a _Devarshi_ is a divine or deified sage or saint.

_ 14 Trikálajǹa_. Literally _knower of the three times_. Both Schlegel and Gorresio quote Homer’s.

Ὅς ἤδη τ’ ἐόντα, τά τ’ ἐσσόμενα, πρό τ’ ἐόντα.

“That sacred seer, whose comprehensive view, The past, the present, and the future knew.”

The Bombay edition reads _trilokajǹa,_ _who knows the three worlds_ (earth, air and heaven.) “It is by _tapas_ (austere fervour) that rishis of subdued souls, subsisting on roots, fruits and air, obtain a vision of the three worlds with all things moving and stationary.” MANU, XI. 236.

15 Son of Manu, the first king of Kośala and founder of the solar dynasty or family of the Children of the Sun, the God of that luminary being the father of Manu.

16 The Indians paid great attention to the art of physiognomy and believed that character and fortune could be foretold not from the face only but from marks upon the neck and hands. Three lines under the chin like those at the mouth of a conch (_Śańkha_) were regarded as a peculiarly auspicious sign indicating, as did also the mark of Vishṇu’s discus on the hand, one born to be a _chakravartin_ or universal emperor. In the palmistry of Europe the line of fortune, as well as the line of life, is in the hand. Cardan says that marks on the nails and teeth also show what is to happen to us: “Sunt etiam in nobis vestigia quædam futurorum eventuum in unguibus atque etiam in dentibus.” Though the palmy days of Indian chiromancy have passed away, the art is still to some extent studied and believed in.

17 Long arms were regarded as a sign of heroic strength.

18 “Veda means originally knowing or knowledge, and this name is given by the Bráhmans not to one work, but to the whole body of their most ancient sacred literature. Veda is the same word which appears in the Greek οίδα, I know, and in the English wise, wisdom, to wit. The name of Veda is commonly given to four collections of hymns, which are respectively known by the names of Rig-veda, Yajur-veda, Sáma-veda, and Atharva-veda.”

“As the language of the Veda, the Sanskrit, is the most ancient type of the English of the present day, (Sanskrit and English are but varieties of one and the same language,) so its thoughts and feelings contain in reality the first roots and germs of that intellectual growth which by an unbroken chain connects our own generation with the ancestors of the Aryan race,—with those very people who at the rising and setting of the sun listened with trembling hearts to the songs of the Veda, that told them of bright powers above, and of a life to come after the sun of their own lives had set in the clouds of the evening. These men were the true ancestors of our race, and the Veda is the oldest book we have in which to study the first beginnings of our language, and of all that is embodied in language. We are by nature Aryan, Indo-European, not Semitic: our spiritual kith and kin are to be found in India, Persia, Greece, Italy, Germany: not in Mesopotamia, Egypt, or Palestine.”

_Chips from a German Workshop_, Vol. I. pp. 8. 4.

19 As with the ancient Persians and Scythians, Indian princes were carefully instructed in archery which stands for military science in general, of which, among Hindu heroes, it was the most important branch.

20 Chief of the three queens of Daśaratha and mother of Ráma.

21 From _hima_ snow, (Greek χειμ-ών, Latin hiems) and _álaya_ abode, the Mansion of snow.

22 The moon (_Soma_, _Indu_, _Chandra_ _etc._) is masculine with the Indians as with the Germans.

23 Kuvera, the Indian Plutus, or God of Wealth.

24 The events here briefly mentioned will be related fully in the course of the poem. The first four cantos are introductory, and are evidently the work of a later hand than Valmiki’s.

25 “Chandra, or the Moon, is fabled to have been married to the twenty-seven daughters of the patriarch Daksha, or Aśviní and the rest, who are in fact personifications of the Lunar Asterisms. His favourite amongst them was Rohiṇí to whom he so wholly devoted himself as to neglect the rest. They complained to their father, and Daksha repeatedly interposed, till, finding his remonstrances vain, he denounced a curse upon his son-in-law, in consequence of which he remained childless and became affected by consumption. The wives of Chandra having interceded in his behalf with their father, Daksha modified an imprecation which he could not recall, and pronounced that the decay should be periodical only, not permanent, and that it should alternate with periods of recovery. Hence the successive wane and increase of the Moon. _Padma_, _Puráṇa_, _Swarga-Khaṇḍa,_ Sec. II. _Rohiṇí_ in Astronomy is the fourth lunar mansion, containing five stars, the principal of which is Aldebaran.” WILSON, _Specimens of the Hindu Theatre. Vol. I. p._ 234.

The Bengal recension has a different reading:

“Shone with her husband like the light Attendant on the Lord of Night.”

26 The garb prescribed for ascetics by Manu.

27 “Mount Meru, situated like Kailása in the lofty regions to the north of the Himálayas, is celebrated in the traditions and myths of India. Meru and Kailása are the two Indian Olympi. Perhaps they were held in such veneration because the Sanskrit-speaking Indians remembered the ancient home where they dwelt with the other primitive peoples of their family before they descended to occupy the vast plains which extend between the Indus and the Ganges.” GORRESIO.

28 The third God of the Indian Triad, the God of destruction and reproduction. See _Additional Notes_.

29 The epithet _dwija_, or _twice-born_, is usually appropriate to Bráhmans, but is applicable to the three higher castes. Investiture with the sacred thread and initiation of the neophyte into certain religious mysteries are regarded as his regeneration or second birth.

30 His shoes to be a memorial of the absent heir and to maintain his right. Kálidása (Raghuvaṅśa, XII. 17.) says that they were to be _adhidevate_ or guardian deities of the kingdom.

31 Jaṭáyu, a semi-divine bird, the friend of Ráma, who fought in defence of Sítá.

32 Raghu was one of the most celebrated ancestors of Ráma whose commonest appellation is, therefore, Rághava or descendant of Raghu. Kálidása in the _Raghuraṇśa_ makes him the son of Dilípa and great-grandfather of Ráma. See _Idylls from the Sanskrit_, “Aja” and “Dilípa.”

33 Dundhubi.

34 Literally _ten yojanas_. The yojana is a measure of uncertain length variously reckoned as equal to nine miles, five, and a little less.

35 Ceylon.

36 The Jonesia Aśoka is a most beautiful tree bearing a profusion of red blossoms.

_ 37 Brahmá_, the Creator, is usually regarded as the first God of the Indian Trinity, although, as Kálidása says:

“Of Brahmá, Vishṇu, Śiva, each may be First, second, third, amid the blessed Three.”

Brahmá had guaranteed Rávaṇ’s life against all enemies except man.

38 Ocean personified.

39 The rocks lying between Ceylon and the mainland are still called Ráma’s Bridge by the Hindus.

40 “The Bráhmans, with a system rather cosmogonical than chronological, divide the present mundane period into four ages or _yugas_ as they call them: the Krita, the Tretá, the Dwápara, and the Kali. The Krita, called also the Deva-yuga or that of the Gods, is the age of truth, the perfect age, the Tretá is the age of the three sacred fires, domestic and sacrificial; the Dwápara is the age of doubt; the Kali, the present age, is the age of evil.” GORRESIO.

41 The ancient kings of India enjoyed lives of more than patriarchal length as will appear in the course of the poem.

42 Śúdras, men of the fourth and lowest pure caste, were not allowed to read the poem, but might hear it recited.

43 The three _ślokes_ or distichs which these twelve lines represent are evidently a still later and very awkward addition to the introduction.

44 There are several rivers in India of this name, now corrupted into _Tonse_. The river here spoken of is that which falls into the Ganges a little below Allahabad.

45 “In