APPENDICES

was too long to put on his dress. Then the Gandharvas sent a flash of lighting, and Urvasî saw her husband naked as by daylight. Then she vanished. "I come back," she said, and went. 'Then he bewailed his vanished love in bitter grief.' Her promise to return was fulfilled, but for a moment only, at the Lotos-lake, and Purûravas in vain beseeches her to tarry longer. 'What shall I do with thy p. 547 speech?' is the answer of Urvasî. 'I am gone like the first of the dawns. Purûravas, go home again. I am hard to be caught like the winds.' Her lover is in utter despair; but when he lies down to die, the heart of Urvasî was melted, and she bids him come to her on the last night of the year. On that night only he might be with her; but a son should be born to him. On that day he went up to the golden seats, and there Urvasî told him that the Gandharvas would grant him one wish, and that he must make his choice. 'Choose thou for me,' he said: and she answered, 'Say to them, Let me be one of you.' Cox's Mythology of the Aryan Nations. Vol. I. p. 397 PAGE 324. The sovereign of the Vánar race. "Vánar is one of the most frequently occurring names by which the poem calls the monkeys of Ráma's army. Among the two or three derivations of which the word Vánar is susceptible, one is that which deduces it from [Sanskrit: **} which signifies a wood, and thus Vánar would mean a forester, an inhabitant of the wood. I

a wood, and thus Vánar would mean a forester, an inhabitant of the wood. I have said elsewhere that the monkeys, the Vánars, whom Ráma led to the conquest of Ceylon were fierce woodland tribes who occupied the mountainous regions of the south of India, where their descendants may still be seen. I shall hence forth promiscuously employ the word Vánar to denote those monkeys, those fierce combatants of Ráma's army." GORRESIO. PAGE 326. No change of hue, no pose of limb Gave sign that aught was false in him. Concise, unfaltering, sweet and clear, Without a word to pain the ear, From chest to throat, nor high nor low, His accents came in measured flow. Somewhat similarly in The Squire's Tale: 'He with a manly voice said his message, After the form used in his language, Withouten vice of syllable or of letter. And for his talë shouldë seem the better Accordant to his wordës was his chere, As teacheth art of speech them that it lere. PAGE 329. RÁMA'S ALLIANCE WITH SUGRÍVA. "The literal interpretation of this portion of the Rámáyana is indeed deeply rooted in the mind of the Hindu. He implicitly believes that Ráma is Vishnu, who became incarnate for the purpose of destroying the demon Rávana: that he permitted his wife to be captured by Rávana for the sake of delivering the gods and Bráhmans from the oppressions of the Rákshasa; and that he ultimately assembled an army of monkeys, who were the progeny of the gods, and led them

assembled an army of monkeys, who were the progeny of the gods, and led them against the strong-hold of Rávana at Lanká, and delivered the world from the tyrant Rákshasa, whilst obtaining ample revenge for his own personal wrongs. p. 548 One other point seems to demand consideration, namely, the possibility of such an alliance as that which Ráma is said to have concluded with the monkeys. This possibility will of course be denied by modern critics, but still it is interesting to trace out the circumstances which seem to have led to the acceptance, of such a wild belief by the dreamy and marvel loving Hindi. The south of India swarms with monkeys of curious intelligence and rare physical powers. Their wonderful instinct for organization, their attachment to particular localities, their occasional journeys in large numbers over mountains and across rivers, their obstinate assertion of supposed rights, and the ridiculous caricature which they exhibit of all that is animal and emotional in man, would naturally create a deep impression.... Indeed the habits of monkeys well deserve to be patiently studied; not as they appear in confinement, when much that is revolting in their nature is developed, but as they appear living in freedom amongst the trees of the forest, or in the streets of crowded cities, or precincts of temples. Such a study would not fail to awaken strange ideas; and although the European would not be prepared

not fail to awaken strange ideas; and although the European would not be prepared to regard monkeys as sacred animals he might be led to speculate as to their origin by the light of data, which are at present unknown to the naturalist whose observations have been derived from the menagerie alone. Whatever, however, may have been the train of ideas which led the Hindú to regard the monkey as a being half human and half divine, there can be little doubt that in the Rámáyana the monkeys of southern India have been confounded with what may be called the aboriginal people of the country. The origin of this confusion may be easily conjectured. Perchance the aborigines of the country may have been regarded as a superior kind of monkeys; and to this day the features of the Marawars, who are supposed to be the aborigines of the southern part of the Carnatic, are not only different from those of their neighbours, but are of a character calculated to confirm the conjecture. Again, it is probable that the army of aborigines may have been accompanied by outlying bands of monkeys impelled by that magpie-like curiosity and love of plunder which are the peculiar characteristics of the monkey race; and this incident may have given rise to the story that the army was composed of Monkeys." WHEELER'S History of India. Vol. II. pp. 316 ff. THE FALL OF BÁLI, PAGE 342. "As regards the narrative, it certainly seems to refer to some real event

"As regards the narrative, it certainly seems to refer to some real event amongst the aboriginal tribes: namely, the quarrel between an elder and younger brother for the possession of a Ráj; and the subsequent alliance of Ráma with the younger brother. It is somewhat remarkable that Ráma appears to have formed an alliance with the wrong party, for the right of Báli was evidently superior to that of Sugríva; and it is especially worthy of note that Ráma compassed the death of Báli by an act contrary to all the laws of fair fighting. Again, Ráma seems to have tacitly sanctioned the transfer of Tárá from Báli to Sugríva, which was directly opposed to modern rule, although in conformity with the rude customs of a barbarous age; and it is remarkable that to this day the marriage of both widows and divorced women is practised by the Marawars, or aborigines of the southern Carnatic, contrary to the deeply-rooted prejudice which exists against such unions amongst the Hindús at large." WHEELER'S History of India, Vol. II. 324. p. 549 THE VÁNAR HOST, PAGE 370. "The splendid Marutas form the army of Indras, the red-haired monkeys and bears that of Râmas; and the mythical and solar nature of the monkeys and bears of the Râmâyanam manifests itself several times. The king of the monkeys is a sun-god. Thc ancient king was named Bâlin, and was the son of Indras. His younger brother Sugrívas, he who changes his shape at pleasure

Indras. His younger brother Sugrívas, he who changes his shape at pleasure (Kâmarúpas), who, helped by Râmas, usurped his throne, is said to be own child of the sun. Here it is evident that the Vedic antagonism between Indras and Vishnus is reproduced in a zoological and entirely apish form. The old Zeus must give way to the new, the moon to the sun, the evening to the morning sun, the sun of winter to that of spring; the young son betrays and overthrows the old one.... Râmas, who treacherously kills the old king of the monkeys, Bâlin, is the equivalent of Vishnus, who hurls his predecessor Indras from his throne; and Sugrívas, the new king of the monkeys resembles Indras when he promises to find the ravished Sítá, in the same way as Vishnus in one of his incarnations finds again the lost vedás. And there are other indications in the Râmâyanam of opposition between Indras and the monkeys who assist Râmas. The great monkey Hanumant, of the reddish colour of gold, has his jaw broken, Indras having struck him with his thunderbolt and caused him to fall upon a mountain, because, while yet a child, he threw himself off a mountain into the air in order to arrest the course of the sun, whose rays had no effect upon him. (The cloud rises from the mountain and hides the sun, which is unable of itself to disperse it; the tempest comes, and brings flashes of lightning and thunder-bolts, which tear

the tempest comes, and brings flashes of lightning and thunder-bolts, which tear the cloud in pieces.) The whole legend of the monkey Hanumant represents the sun entering into the cloud or darkness, and coming out of it. His father is said to be now the wind, now the elephant of the monkeys (Kapikunjaras), now Kes'arin, the long-haired sun, the sun with a mane, the lion sun (whence his name of Kes'arinak putrah). From this point of view, Hanumant would seem to be the brother of Sugrívas, who is also the offspring of the sun.... All the epic monkeys of the Râmâyanam are described in the twentieth canto of the first book by expressions which very closely resemble those applied in the Vedic hymns to the Marutas, as swift as the tempestuous wind, changing their shape at pleasure, making a noise like clouds, sounding like thunder, battling, hurling mountain-peaks, shaking great uprooted trees, stirring up the deep waters, crushing the earth with their arms, making the clouds fall. Thus Bâlin comes out of the cavern as the sun out of the cloud.... But the legend of the monkey Hanumant presents another curious resemblance to that of Samson. Hanumant is bound with cords by Indrajit, son of Rávanas; he could easily free himself, but does not wish to do so. Rávanas to put him to shame, orders his tail to be burned, because the tail is the part most prized by monkeys.... The tail of Hanumant, which sets fire to the city of the monsters, is probably

The tail of Hanumant, which sets fire to the city of the monsters, is probably a personification of the rays of the morning or spring sun, which sets fire to the eastern heavens, and destroys the abode of tne nocturnal or winter monsters." DE GUBERNATIS, Zoological Mythology, Vol. II. pp. 100 ff. p. 550 "The Jaitwas of Rajputana, a tribe politically reckoned as Rajputs, nevertheless trace their descent from the monkey-god Hanuman, and confirm it by alleging that their princes still bear its evidence in a tail-like prolongation of the spine; a tradition which has probably a real ethnological meaning, pointing out the Jaitwas as of non-Aryan race." * TYLOR'S Primitive Culture, Vol. I. p. 341. PAGE 372. The names of peoples occurring in the following s'lokas are omitted in the metrical translation: 'Go to the Brahmamálas, 1 the Videhas, 2 the Málavas, 3 the Kás'ikos'alas, 4 the Mágadnas, 5 the Pundras, 6 and the Angas, 7 and the land of the weavers of silk, and the land of the mines of silver, and the hills that stretch into the sea, and the towns and the hamlets that are about the top of Mandar, and the Karnaprávaranas, 8 and the Oshthakarnakas, 9 and the Ghoralobamukhas, 10 and the p. 551 swift Ekapádakas 1 and the strong imperishable Eaters of Men, and the Kirátas 2 with stiff hair-tufts, men like gold and fair to look upon: And the Eaters of Raw Fish, and the Kirátas who dwell in islands, and the fierce Tiger-men 3 who live

Fish, and the Kirátas who dwell in islands, and the fierce Tiger-men 3 who live amid the waters.' PAGE 374. 'Go to the Vidarbhas 4 and the Rishtikas 5 and the Mahishikas, 6 and the Matsyas 7 and Kalingas 8 and the Kausikas 9...and the Andhras 10 and the Pundras 11 and the Cholas 12 and the Pandyas 13 and the Keralas. 14 'Go to the p. 552 Mlechchhas 1 and the Pulindas 2 and the S'úrasenas, 3 and the Prasthalas and the Bharatas and Madrakas 4 and the Kámbojas 5 and the Yavanas 6 and the towns of the S'akas 7 and the Varadas. 8 NORTHERN KURUS, PAGE 378. Professor Lassen remarks in the Zeitschrift für die Kunde des Morgenlandes, ii. 62: "At the furthest accessible extremity of the earth appears Harivarsha with the northern Kurus. The region of Hari or Vishnu belongs to the system of mythical geography; but the case is different with the Uttara Kurus. Here there is a real basis of geographical fact; of which fable has only taken advantage, without creating it. The Uttara Kurus were formerly quite independent of the mythical system of dvípas, though they were included in it at an early date." Again the same writer says at p. 65: "That the conception of the Uttara Kurus is based upon an actual country and not on mere invention, is proved (1) by the way in which they are mentioned in the Vedas; (2) by the p. 553 existence of Uttara Kuru in historical times as a real country; and (3) by the

existence of Uttara Kuru in historical times as a real country; and (3) by the way in which the legend makes mention of that region as the home of primitive customs. To begin with the last point the Mahabharata speaks as follows of the freer mode of life which women led in the early world, Book I. verses 4719-22: 'Women were formerly unconfined and roved about at their pleasure, independent. Though in their youthful innocence they abandoned their husbands, they were guilty of no offence; for such was the rule in early times. This ancient custom is even now the law for creatures born as brutes, which are free from lust and anger. This custom is supported by authority and is observed by great rishia, and it is still practiced among the northern Kurus.' "The idea which is here conveyed is that of the continuance in one part of the world of that original blessedness which prevailed in the golden age. To afford a conception of the happy condition of the southern Kurus it is said in another place M.-Bh, i. 4346. "The southern Kurus vied in happiness with the northern Kurus and with the divine rishis and bards." Professor Lassen goes on to say: "Ptolemy (vi. 16.) is also acquainted with Uttara Kuru. He speaks of a mountain, a people, and a city called Ottorakorra. Most of the other ancient authors who elsewhere mention this name, have it from him. It is a part of the country which he calls Serica; according to him

it from him. It is a part of the country which he calls Serica; according to him the city lies twelve degrees west from the metropolis of Sera, and the mountain extends from thence far to the eastward. As Ptolemy has misplaeed the whole of eastern Asia beyond the Ganges, the relative position which he assigns will guide us better that the absolute one, which removes Oitorakorra so far to the east that a correction is inevitable. According to my opinion the Ottorakorra of Ptolemy must be sought for to the east of Kashgar." Lassen also thinks that Magasthenes had the Uttara Kurus in view when he referred to the Hyperboreans who were fabled by Indian writers to live a thousand years. In his Indian antiquities, (Ind. Alterthumskunde, i. 511, 512. and note,) the same writer concludes that though the passages above cited relative to the Uttara Kurus indicate a belief in the existence of a really existing country of that name in the far north, yet that the descriptions there given are to be taken as pictures of an ideal paradise, and not as founded on any recollections of the northern origin of the Kurus. It is probable, he thinks, that some such reminiscences originally existed, and still survived in the Vedic era, though there is no trace of their existence in latter times." Muia's Santkrit Texts, Vol. II. pp. 336, 337. PAGE 428. Trust to these mighty Vanars. The corresponding passage in the Bengal recension has "these silvans in

The corresponding passage in the Bengal recension has "these silvans in the forms of monkeys, vanaran kapirupinah." "Here it manifestly appears," says Gorresio, "that these hosts of combatants whom Rama led to the coitqnest of Lanka (Ceylon) the kingdom and seat of the Hamitic race, and whom the poem calls monkeys, were in fact as I have elsewhere observed, inhabitants of the mountainous and southen regions of India, who were wild-looking and not altogether unlike monkeys. They were perhaps the remote ancestors of the Malay races." p. 554 PAGE 481. "Art thou not he who slew of old The Serpent-Gods, and stormed their hold." All these exploits of Rávan are detailed in the Uttarakánda, and epitomized in the Appendix. PAGE 434. Within the consecrated hall. The Bráhman householder ought to maintain three sacred fires, the Gárhapatya, the Akavaniya and the Dakshina. These three fires were made use of in many Brahmanical solemnities, for example in funeral rites when the three fires were arranged in prescribed order. PAGE 436. Fair Punjikasthalá I met. "I have not noticed in the Uttara Kánda any story about the daughter of Varuna, but the commentator on the text (VI 60, 11) explains the allusion to her thus: "The daughter of Varuna was Punjikasthalí. On her account, a curse of Brahmá, involving the penalty of death, [was pronounced} on the rape of women." MUIR, Sanskrit Texts, Part IV. Appendix.

MUIR, Sanskrit Texts, 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 p. 555 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

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 Anaranya'a lips of old. "The story of Anaranya is told in the Uttara Kanda of the Rámáyana....' Anaranya a descendant of Ixváku and King of Ayodhyá, when called upon to fight with Rávana or acknowledge himself conquered, prefers the former alternative; but his army is overcome, and he himself is thrown from his chariot. When Rávana triumphs over his prostrate foe, the latter says that he has been vanquished not by him but by fate, and that Rávana is only the instrument of his overthrow; and he predicts that Rávana 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 Aeneas to save that hero beloved by the Gods: it occurs too in the Aeneid of Virgil where Juno forms a fictitious Aeneas to save Turnus: Tum dea nube cava tenuem sine viribus umbram

Tum dea nube cava tenuem sine viribus umbram In faciem Aeneae (visu mirabile monstrum) Dardaniis ornat telis; clipeumque jubasque Divini assimulat capitis; dat inania verba; Dat sine mente sonum, gressusque effingit euntis. (Aeneidos, 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 Aeneid where Venus descending from heaven brings celestial arms to her son Aeneas when he is about to enter the battle: At Venus aethereos inter dea candida nimbos Dona fereus aderat;... ... Arma sub adversa posuit radiantia quercu. Ille, deae donis et tanto laetus honore, Expleri nequit, atque oculos per singula volvit, Miraturque, interque manus et brachia versat Terribilem cristis galeam flammasque vomentem, Fatiferumque ensem, loriam ex aere rigentcm. (Aeneidos, lib. VIII)" GORRESIO. p. 556 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.

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 mvthic 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 Rávan 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 * 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

principle on all creatures by his rays; and since he protects all deities, demons and men with his rays. He is Brahmá, 1 Vishnu, 2 Siva, 3 Skanda, 4 Prajápati, 5 Mahendra, 6 Dhanada, 7 Kála, 8 Yama, 9 Soma, 10 Apàm Pati i.e. The lord of waters, Pitris, 11 Vasus, 12 p. 557 Sádhyas, 1 Asvins, 2 Maruts, 3 Manu, 4 Váyu, 5 Vahni, 6 Prajá, 7 Prána, 8 Ritukartá, 9 Prabhákara, 10 (Thou, 11 art) Aditya, 12 Savitá, 13 Súrya, 14 Khaga, 15 Púshan, 16 Gabhastimán, 17 Suvarnasadris'a, 18 Bhánu, 19 Hiranyaretas, 20 Divákara, 21 Haridas'va, 22 Sahasrárchish, 23 Saptasapti, 24 Marichimán, 25 Timironmathana, 26 Sambhu, 27 Twashtá, 28 Mártanda, 29 Ans'umán, 30 Hiranyagarbha, 31 Sis'ira, 32 Tapana, 33 Ahaskara, 34 Ravi, 35 Agnigarbha, 36 Aditiputra, 37 Sankha, 38 Sis'iranás'ana, 39 Vyomanátha, 40 Tamobhedí, 41 Rigyajussámapáraga, 42 Ghana-* p. 558 vríshti. 1 Apám-Mitra, 2 Vindhyavíthíplavangama, 3 A'tapí, 4 Mandalí, 5 Mrityu (death), Pingala, 6 Sarvatápana, 7 Kavi, 8 Vis'va, 9 Mahátejas, 10 Rakta, 11 Sarvabhavodbhava. 12 The Lord of stars, planets, and other luminous bodies, Vis'vabhávana, 13 Tejasvinám-Tejasvi, 14 Dwádas'átman: 15 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, 16 Jayabhadra, 17 Haryas'va, 18 O

I respectfully salute thee who art Jaya, 16 Jayabhadra, 17 Haryas'va, 18 O Thou who hast a thousand rays, I repeatedly salute thee. I repeatedly and respectfully salute thee who art A'ditya, I repeatedly salute thee who art Ugra, 19 Víra, 20 and Sáranga. 21 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, S'iva and Vishnu. I salute thee who art the sun, A'dityavarchas, 22 splendid, Sarvabhaksha, 23 and Raudravapush. 24 I salute thee who destroyest darkness, cold and enemies: whose form is boundless, who art the destroyer of the ungrateful; who art Deva; 25 who art the Lord of the luminous bodies, and who appearest like the heated gold. I salute thee who art Hari, 26 Vis'vakarman, 27 the destroyer of darkness, and who art splendid and Lokasákshin. 28 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. Youder sun is Agnihotra 29 and also the fruit obtained by the p. 559 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.

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 Rávana 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 Rávana, was delighted, and meditated on the sun. PAGE 490. His horses poured their burning tears. I have omitted the Canto from which this line is taken because it describes signs and portents similar to those which have occurred in preceding books. But the weeping of the horses is new and is too Homeric to be passed by unnoticed. I borrow the following extract from De Quincey: "The old Homeric superstition which connects horses by the closest sympathy, and even by prescience, with their masters--that superstition which Virgil has borrowed from Homer in his beautiful episode of Mezentins (Rhaebe diu, res si qua diu mortalibus ulla est, Viximus)-- still lingers unbroken in Crete. Horses foresee the fates of riders who are doomed, and express their prescience by weeping in a human fashion. The horses of

and express their prescience by weeping in a human fashion. The horses of Achilles weep in "Iliad" xvii, on seeing Automedon their beloved driver prostrate on the ground. With this view of the horse's capacity, it is singular, that in Crete this animal by preference should be called το αλογου, the brute, or irrational creature. But the word ἱππος has, by some accident, been lost in the modern Greek. As an instance both of the disparaging name, and of the ennobling superstition, take the following stanza from a Cretan ballad of 1825, written in the modern Greek:-- "Ωντεν εκαβαλλικευε, Εκλαιε τ᾽ αλογο του. Και τοτεσα το εγνωρισε Πωσ ειναι ὁ θανατος του" "Upon which he mounted, and his horse wept; and then he saw clearly how this should bode his death." Under the same old Cretan faith, Homer in "Iliad" xvii. 437, says:-- "Δάκρυα δέ σφι Θερμὰ κατὰ βλεφάρων χαμάδις ῥέε μυρομένοιῖν Ἡνιόχοιο ποθῃ". "Tears, scalding tears, trickled to the ground from the eyelids of them (the horses), fretting through grief for the loss of their charioteer." DE QUINCEY. Homer and the Homeridae. p. 560 PAGE 492. RÁVAN'S FUNERAL. "In the funeral ceremonies of India the fire was placed on three sides of the pyre; the Dakshina 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

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, us'ira 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 1 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 S'ástras, and enjoined by great rishis, cast [into the fire] the coverlet of the king saturated with ghee. They then, Vibhíshana included, with afflicted hearts, adorned Rávana with perfumes and garlands, and with various vestments, and besprinkled him with fried grain. Vibhíshana having bathed, and having, with his clothes wet, scattered in proper form tila seeds mixed with darbha grass, and moistened with water, applied the

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 Sitá to fall in the fire? How dost thou not know thyself as the best of the gods? Thou art one of the primeval Vasus, 2 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, 3 and also the fifth 4 of the Sádhyas. 5 (The poet describes Ráma as made of the following gods) The As'vinikumáras (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 p. 561 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 Das'aratha, therefore, sir, please tell me who I am and whence have I come." "O thou whose might is never failing," said Brahmá

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 Náráyana, 1 almighty, possessed of fortune, and armed with the discus. Thou art the boar 2 with one tusk; the conqueror of thy past and future foes. Thou art Brahmá true and eternal or undecaying. Thou art Vis'vaksena, 3 having four arms; Thou art Hrishíkes'a, 4 whose bow is made of horn; Thou art Purusha, 5 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 Vishnu (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 6 and Madhusúdana. 7 Thou art the creator of Indra, the ruler over all the world, Padmanábha. 8 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, 9 a hundred heads. 10 Thou art respected of the respected; and the lord and first creator of the three worlds. Thou art the forefather and shelter of Siddhas, 11 and Sádhyas. 12 Thou all sacrifices; Vashfatkára, 13 Omkára. 14 Thou art beyond those who are beyond our senses. There is none who knows who thou art and who knows thy beginning and end.

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, 15 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. 16 Nothing can exist without thee. The whole world is thy body; the surface of the earth is thy stability. p. 562 O S'rívatsalakshana, 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. 1 Sitá (thy wife) is Lakshmí; and thou art the God Vishnu, 2 Krishna, 3 and Prajápati. To kill Rávan 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, Rávana has been killed by thee: now being joyful (e. i. having for some time reigned in the kingdom of Ayodhyá,) go to paradise. O glorious

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." THE MEETING, PAGE 503. 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

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." p. 563 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. I end these notes with an extract which I translate from Signor Gorreslo's Preface to the tenth volume of his Rámáyan, and I take this opportunity of again thankfully acknowledging my great obligations to this eminent S'anskritist from

thankfully acknowledging my great obligations to this eminent S'anskritist 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

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 tha Yádavas, contemporary with Parasurama and a little anterior to Ráma, attacked

Yádavas, contemporary with Parasurama and a little anterior to Ráma, attacked Lanká and took Rávan prisoner. This well shows how ancient and how deeply rooted in the Aryan race is the thought of this war which the Rámáyan celebrates. p. 564 "But," says an eminent Indianist 1 whose learning I highly appreciate, "the Rámáyan if 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

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 Aeneas 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, 2 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, Vishnu the water, and that his avatárs were the

that Brahmá was the earth, Vishnu 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 region, 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 p. 565 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

of traditions and historical memories, so intimately connected with the life of the people, as the Rámáyan. 1 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

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 As'vamedha of sacrifice of the horse, the praises of the king who ordained the great rite were sung by bards and ministrels 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 Bráhmanas, 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 Bráhmanas undoubtedly gathered from tradition admirably suited the epic tissue with which they were interwoven by successive

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 p. 566 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 certainy 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

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 1 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

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 p. 567 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

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." 516:1 The Academy, Vol. III., No 43, contains an able and interesting notice of this work from the pen of the Professor of Sanskrit in the University of Cambridge: 'The Uttarakánda.' Mr. Cowell remarks, 'bears the same relation to the Rámáyana, as the Cyclic poems to the Iliad. Just as the Cypria of Stasinus, the Aethiopis of Arctinus, and the little Iliad of Lesches completed the story of the p. 517 Iliad, and not only added the series of events which preceded and followed it, but also founded episodes of their own on isolated allusions in Homer, so the Uttarakánda is intended to complete the Rámáyana, and at the same time to supplement it by intervening episodes to explain casual allusions or isolated incidents which occur in it. Thus the early history of the giant Rávana and his family fills nearly forty Chapters, and we have a full account of his wars with

family fills nearly forty Chapters, and we have a full account of his wars with the gods and His conquest of Lanká, which all happened long before the action of the poem commences, just as the Cypria narrated the birth and earlv history of Helen, and the two expeditions of the Greeks against Troy; and the latter chapters continue the history of the hero Ráma after his triumphant return to his paternal kingdom, and the poem closes with his death and that of his brothers, and the founding by their descendants of various kingdoms in different parts of India.' 518:1 Muir, Sanskrit Texts, Part IV., pp. 414 ff. 519:1 MUIR, Sanskrit Texts, Part IV, 391, 392. 520:1 See Academy, III., 43. 521:1 Academy, Vol. III., No. 43. 522:1 E. B. Cowell. Academy, No. 48. The story of Sítá's banishment will be found roughly translated from the Raghurans'a, in the Additional Notes. 522:2 E. B. Cowell. Academy, Vol, III, No. 48. 523:1 Muir, Sanskrit Texts, Part IV., Appendix. 545:1 Ghí: clarified butter. Gur: molasses. 545:2 Haridwar (Anglicè Hurdwar) where the Ganges enters the plain country. 550:* Campbell in 'Journ. As. Soc. Bengal,' 1866, Part ii, p. 182; Latham, 'Descr. Eth.' Vol. ii. p. 456; Tod,'Annals of Rajasthan,' Vol. i. p. 114. 550:1 Said by the commentator to be an eastern people between the Himálayan and Vindhyan chains. 550:2 Videha was a district in the province of Behar, the ancient Mithilá or the

550:2 Videha was a district in the province of Behar, the ancient Mithilá or the modern Tirhoot. 550:3 The people of Malwa. 550:4 "The Kás'ikos'alas are a central nation in the Váyu Purána. The Rámáyana places them in the east. The combination indicates the country between Benares and Oude.... Kos'ala is a name variously applied. Its earliest and most celebrated application is to the country on the banks of the Sarayú, the kingdom of Ráma, of which Ayodhyá was the capital.... In the Mahábhárata we have one Kos'ala in the east and another in the south, besides the Prák-Kos'alas and Uttara Kos'alas in the east and north. The Puránas place the Kos'alas amongst the people on the back of Vindhya; and it would appear from the Váyu that Kus'a the son of Ráma transferred his kingdom to a more central position; he ruled over Kos'ala at his capital of Kús'asthali of Kus'avatí, built upon the Vindhyan precipices." WILSON'S Vishnu Púrana, Vol. II. pp. 157, 172. 550:5 The people of south Behar. 550:6 The Pundras are said to be the inhabitants of the western provinces of Bengal. "In the Aitareyabráhmana, VII. 18, it is said that the elder sons of Vis'vamitra were cursed to become progenitors of most abject races, such as Andhras, Pundras, S'abaras, Pulindas, and Mútibas." WILSON'S Vishnu Purána Vol. II. 170. 550:7 Anga is the country about Bhagulpore, of which Champá was the capital. 550:8 A fabulous people, 'men who use their ears as a covering.' So Sir John Maundevile

550:8 A fabulous people, 'men who use their ears as a covering.' So Sir John Maundevile says: "And in another Yle ben folk that han gret Eres and long, that hangen down to here knees,' and Pliny, lib, iv. c. 13: "In quibus nuda alioquin corpora praegrandes ipsorum aures tota contegunt." Strabo calls them ἐνωτόκοιτοι'. Isidore calls them Panotii. 550:9 'Those whose ears hang down to their lips.' 550:10 'The Iron-faces.' 551:1 'The One-footed.' "In that Contree," says Sir Jhon Maundevile, "ben folk, that han but o foot and thei gon so fast that it is marvaylle: and the foot is so large that it schadeweth alle the Body azen the Sonne, when thei wole lye and rest hem." So Pliny, Natural History, lib. vii. c. 2: speaks of Hominumn gens...singulis cruribus, mirae pernicitatis ad saltum; eosdemque Sciopodas vocari, quod in majori aestu, humi jacentes resupini, umbrâ se pedum protegant." These epithets are, as Professor Wilson remarks, "exaggerations of national ugliness, or allusions to peculiar customs, which were not literally intended, although they may have furnished the Mandevilles of ancient and modern times." Vishnu Purána, Vol. II. p. 162. 551:2 The Kirrhadae of Arrian: a general name for savage tribes living in woods and mountains 551:3 Said by the commentator to be half tigers half men. 551:4 The kingdom seems to have corresponded with the greater part of Berar and Khandesh.