however, from the frequent occurrence of the word nátayitwá, 'gesticulating,' 'acting,' that much had to be supplied by the imagination of the spectator, assisted by the gesticulations of the actors.

For further information relative to the dramatic system of the Hindús, the reader is referred to the notes appended to the present translation. It is hoped that they will be found sufficient to explain every allusion that might otherwise be unintelligible to the English reader.

MONIER MONIER-WILLIAMS.

FOOTNOTES:

[Footnote 1: In the Aihole Inscription (edited by Dr. Fleet) of the Western Chálukya King Pulike[S']in II, dated [S']aka 556=A.D. 634-35, actual mention is made of Kálidása and Bháravi by name, and Professor Kielhorn has informed me that he found a verse from the Raghu-van[S']a quoted in an inscription dated A.D. 602.]

[Footnote 2: As to the other two, the most celebrated, called
Vikramorva[S']í, has been excellently translated by Professors H.H.
Wilson and E.B. Cowell, and the Málavikágnimitra, by Professor Weber,
the eminent Orientalist of Berlin.]

[Footnote 3: The following is an extract from, the Bombay Times of February 3, 1855. It is given literatim, and the orthographical errors and mutilation of the story prove that in those days a good and complete version of India's most celebrated drama was not obtainable.

'HINDU DRAMA. 'SATURDAY, 3D FEBRUARY 1855.

'An outline of the play to be performed at the Theatre this night.

'After a short discourse between the Sutradhar (the chief actor) and the Vidúshaka (the clown), Surswati (the Goddess of learning) will appear. Sutradhar will call his wife (Nati), and they will determine on performing the play of Shakuntala. They both will sing songs together, after which Nati will go away. The play will then regularly commence. Dushanta Rajah will appear in the Court, and order his Pradhan (the Minister) to make preparations for a hunting excursion. The Rajah, sitting in his carriage, will pursue a stag, the stag will disappear, upon which Dushanta will ask his coachman the cause thereof, this being known, the Rajah in his carriage will proceed farther, when they will see the stag again, upon which he will aim an arrow at the stag. The stag will run and reach the retirement of Waikhanas Rushi. The sage will come out of his hut and remonstrate with the Rajah against his killing the harmless animal. The Rajah will obey the injunctions of the sage, who will pronounce benedictions upon him. According to the Rushi's instructions, he will prepare to proceed to the residence of another sage named Kunwa. Bidding each other farewell, the Rushi will go to procure material for his religious ceremonies. After reaching Kunwa's place, and commanding his coachman to groom the horses, the Rajah will walk forth to the sage's hut. Observing on his way thither Shakuntala with her fellow mates watering the trees, he will hide himself behind a tree. Shakuntala will praise to her mates the beauty of the Keshar tree. Charmed with overhearing her discourse, Dushanta will try to find out her descent. Shakuntala will be very much teased by a Bhramar (fly) hovering about her face. The Rajah will then come forward and ask the cause of the disturbed state of her mind. After a mutual exchange of polite respect they all take their seats beneath a shady tree, Dushanta will inform her of his country and descent, whereupon they will all go to the Rushi's hut.

'Here there is a pause. A pleasing farce will then be performed.'

I have already stated that the '[S']akoontalá' in the words of my own translation has been since performed at Bombay and recently at Trivandrum, the capital of Travancore (see Preface to this edition, p. vii, &c).]

[Footnote 4: Rogers' Italy, note to line 23.]

[Footnote 5: The admirable Essay by Professor H.H. Wilson, prefixed to his Hindú Theatre, is the principal source of the information which I have here given.]

[Footnote 6: Wilson's Hindú Theatre, p. xii.]

RULES FOR THE PRONUNCIATION OF THE PROPER NAMES.

Observe, that in order to secure the correct pronunciation of the title of this Drama, 'Sakuntalá' has been spelt '[S']akoontalá,' the u of [S']akuntalá being pronounced like the u in the English word rule.

The vowel a must invariably be pronounced with a dull sound, like the a in organ, or the u in gun, sun. Dushyanta must therefore be pronounced as if written Dooshyunta. The long vowel á is pronounced like the a in last, cart; i like the i in pin, sin; í like the i in marine; e like the e in prey; o like the o in so; ai like the ai in aisle; au like au in the German word haus, or like the ou in our.

The consonants are generally pronounced as in English, but g has always the sound of g in gun, give, never of g in gin. S with the accent over it (s), has the sound of s in sure, or of the last s in session.

* * * * *

PERSONS REPRESENTED.

* * * * *

DUSHYANTA, King of India.

MÁ[T.]HAVYA, the jester, friend, and companion of the King.

KANWA, chief of the hermits, foster-father of [S']AKOONTALÁ.

[S']ÁRNGARAVA,} } two Bráhmans, belonging to the hermitage of KANWA. [S']ÁRADWATA, }

MITRÁVASU, brother-in-law of the King, and superintendent of the city police.

JÁNUKA and SÚCHAKA, two constables.

VÁTÁYANA, the chamberlain or attendant on the women's apartments.

SOMARÁTA, the domestic priest.

KARABHAKA, a messenger of the queen-mother.

RAIVATIKA, the warder or doorkeeper.

MÁTALI, charioteer of Indra.

SARVA-DAMANA, afterwards BHARATA, a little boy, son
              of DUSHYANTA by [S']AKOONTALÁ.

KA[S']YAPA, a divine sage, progenitor of men and gods, son of
              MARÍCHI, and grandson of BRAHMÁ.

[S']AKOONTALÁ, daughter of the sage VI[S']WÁMITRA and the
              nymph MENAKÁ, foster-child of the hermit KANWA.

PRIYAMVADÁ and ANASÚYÁ, female attendants, companions
              of [S']AKOONTALÁ.

GAUTAMÍ, a holy matron, Superior of the female inhabitants
              of the hermitage.

VASUMATÍ, the Queen of DUSHYANTA.

SÁNUMATÍ, a nymph, friend of [S']AKOONTALÁ.

TARALIKÁ, personal attendant of the Queen.

CHATURIKÁ, personal attendant of the King.

VETRAVATÍ, female warder or doorkeeper.

PARABHRITIKÁ} and

MADHUKARIKÁ,} maidens in charge