changed with the times. The aim of these is no longer to explain sacrificial symbols or ceremonial rituals, but to elucidate ^^e intricate theories involved in the sutras of various depart-ments of learning. Their language in general shows no resemblance to the language of the romances. Both of these are derived from the same sources. But the cause of such a wide difference in their nature is that the fancies of rhetoricians interfered with the style and composition of the romances most, but not with that of the Bhashyas. The tone of the latter is serious and scientific, whereas that of the former is levitous and recreative. So we can look to the Bhashyas for fto poetic or rhetorical beauties. They are stuffed with substance and technicality; in other words they are vastu-pradhana. Now we •come to the, literary prose proper — the result of poetic art and rhetorical embellishment.
_ . • •• --
SECTION I. The Romances.
The advent of Harichandra makes a transition in the laistory of Sanskrit prose. This transition is very transparent and the change is very distinct. A prose, purely wordly, not •colored with the least religious tint, and a mode of narration which has now switched itself to a new rail, vfz. the romantic
? —these are the work of Harichandra.
(
1
Of Harichandra himself, only his name has ttyrvi^ftl to us.
i
i But the Oriental Manuscripts' UfalQr °* d*6 Madras
,v has a Champukavya by the name of J^q^kara-ch^m
?) slug to be the work of one Harichafldnt, That it is a work appears both from the name of thft author and * subject of the plot. No floubt the language is naturaless. With some medications at least, prose came forward for some time but retracted its steps back to its original form. The Bhashya litieratere therefore strongly resembles the Brahmanas but with a few varMfcm. tke temts of the Bhashyas have