or rhetorical composition, is a science comprising various kinds of knowledge. It sets forth the shades of signification in words, appropriateness of expres­sion, and solecisms of language. They hold the Supreme Being to be its author. The meaning underlying a word is said to be four-fold:—(1). ´Sakti (power of a word), is denotation and its conventional relation to the thing designated. (2). Lakshaná (indication),* communicates the applied meaning desired. (3). Gauṇa, (qualitative), illustrates figuratively the thing compared. (4). Vyanjañá (suggestion), is to say one thing and mean another which has no apparent application. As, for example, a woman sent her maid-servant with a message to call her husband who, when she entered his private apartment, used criminal familiarity with her and sent an excuse by her for his not returning. When she took back the message, from the pallor of her face and the obliteration of her marks of sandal-wood and collyrium, and of the colour (from her lips), the wife understood what had really occurred. Though much pained, she showed no signs of it in her speech, but said,—‘You are speaking an untruth; you never went to fetch him, but you went to the banks of the stream and bathed, for the collyrium is no longer round your eyes nor the sandal-wood unguent on your person.” By this delicate irony she discovered her knowledge of what had taken place, and her own distress of mind.*

Some consider the figurative sense (gauṇa), to belong to the second head, and they describe with peculiar force and elaborate detail all that makes for literary ornament and grace of expression. It is held to be the highest form of dramatic poetry, of rhetorical art, and metrical composi­tion.* This science also comprises the Navarasa,* or the nine sentiments, which inspire universal interest. The first is ´Sṛingára-rasa (the erotic passion), that is, the mutual affection of men and women, and all that relates to their union and separation. Secondly, Hásya-rasa, mirth of various kinds. This is produced, they say, by variations in person, speech, action and dress. It is three-fold:—1. Smita, (smile), a slight alteration in the cheek, eye and lip. (2). Vihasita (gentle laugh), in which the mouth is a little open. (3). Apahasita, laughter accompanied by sound of the voice.* Thirdly, Karuṇa-rasa, pity or regret, as at the loss of a friend or property. Fourthly, Raudra, anger. Fifthly, Víra (heroism), the admira­tion produced by acts of munificence, clemency and valour. Sixthly Bhayánaka, terror. Seventhly, Bíbhatsa, aversion. Eighthly, Adbhuta, wonder, as at the sight of any (extraordinary) object. Ninthly, Sánta (quietism), the tranquillity that comes of knowledge and the indifference which regards friend and foe as alike. Of these they make various sub-divisions and illustrate them by delightful examples.*

The relations between the sexes are also considered in this branch of knowledge, and the passion of love amply discussed. In Irán and Ṭúrán, this affection chiefly subsists between men; in Hindustan and Ḥijáz, between men and women. Devotion to the female sex is the character­istic of the Arab, while the native of India includes both sexes alike in his regard.

The Hindus term a heroine (in dramatic poetry), náyika, and three kinds are named. (1). Svíyá, (own wife), a virtuous woman devoted to her husband: from modesty she looks neither to the right hand nor to the left, but only from the corner of her eyes so that her glance is rarely seen: her laugh does not pass beyond her lips and her teeth are not dis­closed: she speaks seldom and never loudly: she rarely loses her tem­per, and if she be provoked to anger, it is restrained within her heart and does not appear in her eyes or manner. (2). Parakíyá, (belonging to another), is one who clandestinely carries on an intrigue with other than her husband. If a married woman she is called Prauḍha; a maiden, Kan­yaká. Other classifications of this kind are carried to an indefinite extent.* Sámányá (courtesan), is the property of none, and is concerned only in making money.

Svíyá is classed under three heads:—(1). Mugdhá, (artless), one who from her childish age and inexperience goes* out-of-doors, and in whom youth begins to grow headstrong, and who may be to some extent conscious of her beauty or otherwise, and shrinks from the embraces of her husband. When she retires to sleep, she regards him furtively and pretends to slumber lest he should enter into conversation but from fear of him sleeps not. The age of such a one ranges from eight to twelve and at times to thirteen. (2). Madhyá (middling or adolescent) is one in whom modesty and love for her husband are combined in an equal degree. She may speak in anger but never thus to her husband. Her age does not exceed thirty-two. (3). Pragalbhá (bold or mature) makes her love and address pleasing to her husband and captivates him by her experienced arts. The age of this kind extends to fifty-two years.

The last two are further subdivided into three classes. (1). Dhírá (constant). If her husband pay attention to another woman, though fired by jealousy, she becomes more assiduous in her devotion and service and by this means makes him ashamed of his conduct. (2). Adhírá (capricious). Such a one takes no notice of his infidelity and holds her peace, but she will address him cheerfully so as to cover him with confusion and say:— “It is strange that while you are wakeful, my eyes glance love and while you are drunk with wine, my heart is in agitation.” (3). Dhírá Adhírá, is one who unites both these dispositions and sighs to show that she understands. Some add a conversation after the manner above indicated.*

Svíyá is also of two kinds. (1). Jyeshṭhá (pre-eminent, eldest), is one who is preferred by her husband above all women. (2). Kanisṭhá (inferior, youngest) is one for whom her husband's affection is less strong.

Parakíyá is of five kinds. (1). Guptá (guarded) covers her conduct, and skilfully conceals her past indiscretions and her future designs, feign­ing plausible excuses. If for instance she has been scratched by her lover's nail, she will say “I cannot sleep in this room:—a cat chases a mouse, and in the scramble gives me this scratch.” (2). Vidagdhá (adroit or artful). By her persuasive speech she acquires influence and her winning manners secure it. (3). Lakshitá (notorious), shows her affection openly and without fear. (4). Kulaṭá (unchaste), has many lovers and retains the affections of each without pecuniary considerations. (5). Anuśayáná (regretting), is one who from timidity does not keep her assignation and is fearful lest her lover come and not find her.

They also class women under eight heads:—(1). Proshita-bhartṛiká is one whose husband is abroad, and she is distressed at his absence from her, or he is on the point of setting out and she is disquieted by her fears. Other opinions subdivide this, making nine classes. (2). Khaṇḍitá is one who is disconsolate at being betrayed by her husband or lover. (3). Kalahántaritá is one who has quarrelled with her lover and is penitent and wishes to appease him. (4). Vipra-labdhá goes to an assignation but is disappointed at not finding her lover. (5). Utká* is discon­solate at her lover's not coming, and seeks the cause thereof. (6). Vásaka­sajjá is joyful at the coming of her lover, and is dressed in her ornaments to receive him. (7). Svádhína-patiká, (independent—having her own way), is a woman whose lover is obedient to her wishes. (8). Abhisáriká, is one who invites her lover, or herself goes to him.

Another classification of women is of three kinds:—(1). Uttamá (best), is one who is in love with her husband though he show her no affection. (2). Adhamá (worst), opposite of the above. (3). Madhyamá (intermediate), is sometimes united in harmony and affection with her husband and at times is unfriendly and estranged.

A further division is four-fold:—(1). Padminí, is incomparable for her beauty and good disposition, and is tall of stature. Her limbs are perfectly proportioned; her voice soft, her speech gracious though reserved, and her breath fragrant as the rose. She is chaste and obedient to her husband. (2). Chitriṇí, is somewhat inferior to the former; is neither stout nor thin, has a slender waist and a full bust. (3). ´San­khiní, is fat and short, constantly quarrelling with her husband and has a violent temper. (4). Hastiní, is repulsive in appearance and manners.

All these are treated at length, with the particular classes of men that are suited to each. Mána signifies indignation in a woman at mis­conduct on the part of her husband. It is of four kinds:—(1). Laghu, (trifling), when she gives herself airs at the least caress or endearment of her husband or lover. (2). Madhya (middling), is when she is estranged by some slight provocation. (3). Guru (weighty), when after much fond* entreaty on his part, she lays aside her wayward humour. (4). Rasábhasa (simulated sentiment), is when she refuses reconciliation.

The lover or hero (in a drama) is called Náyaka. These also are named suitably to the heroines, but are restricted to three:—(1). Pati (lord or husband), chooses in wedlock only a Hindu woman. (2). Upa­pati,* (<Greek>). (3). Vaishayika, a sensualist.

Each of these is subdivided into four kinds:—(1). Anukúla, (faith­ful), is attached to one woman only. (2). Dakshiṇa (impartial), pays his addresses to many, and adroitly secures the favours of all. (3). Dhṛishta, (cool or impudent), is one whom the heroine in her indignation repels while he caresses and flatters her the more. (4). ´Saṭha, (perfidious), by cunning and simulating affection wins her heart (though attached to another.)*

In the treatment of love-episodes, the greatest art is shown in the situations of the hero and heroine and the dramas abound with the most felicitous passages.

Sakhi is the term for the usual female confidante on whose faithful service the heroine relies. Her advice and devotion are of the greatest comfort. She jests and amuses her mistress and never fails her in the time of need. She arranges her ornaments and assists in tiring her. By her persuasive representations she removes the misunderstandings between hus­band and wife and effects a reconciliation. She is ever ready with her counsel and good offices, and is entrusted with messages. Such a female is called dúti; if a man, dúta. She is conversant with all the mysteries of union and separation and is an expert in matters connected with love and rivalry.

In this art the manners and bearing of the hero and the heroine* are set-forth with much variety of exposition, and illustrated by delightful examples. The works on this subject should be consulted by those who are interested in its study.