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fables. Many of these legends belong to the Vinaya Pitaka, as they '(l continually bring in some reference to a point °^ discipline." As regards the time of their composition, we only say this, that words not found in the lexicons of simha and Hemachandra occur in them.
CH AFTER X. RHETORIC, METRIC AND DRAMATURGY".
The fundamental principle, on which all rhetorical precejpts are based and the highest tribunal in human nature to all Sanskrit rhetoricians appeal, when involved in intricacies, is the peculiar intellectual pleasure enjoyed erudite men of heart (s&hridaya-hridaya-aklada). When merit of a poet's work is in question, the standard of determination will be how far it conduces to that peculiar intellectual pleasure Ckarnatkarp. Thus this latter wo:rct expresses the whole philosophy of Sanskrit Rhetoric.
The comman name generally given of works on Sansk.ri"t Rhetoric is Alankara Sastra. Obviously the title implies the bare treatment of the figures of speech. But the subject-matter of .rhetorical works comprises a wider sphere. Til is apparent inconsistency is reconciled by saying that (Alankam T means *beauty? We have recourse to Bhava-vyuipa^-i^ Therefore Alankara-sastra signifies works which treat of things • thai-go to constitute the beauty or blemish of a Kavya. Kavy^a literature is the chief arena for the display of the genius of Sanskrit rhetoricians. The relation between poetry arid rhetoric is the same as exists between language and grammar „..skrit, it gives us a specimen of an 'Unaffected composition, yet not without a naked pathos of its •cWfa. Faults there are of grammatical construction, but they are found only in the speeches. These may either be ascribed .to the ignorance of the transcribers or may be said to have had -a purpose—to give a truistic appearance to the character of the