The First Two books form rather more than a fourth of the entire composition. The plot of them is borrowed from the First Chapter of the ‘Pancha-tantra,’ and of the ‘Hitopadesha,’ to which, indeed, the Second book of the ‘Anvár-i Suhailí’ is a very proper sequel. The First story of the First book of the ‘Anvár-i Suhailí,’—that of ‘the Merchant and his Sons,’—corresponds to the opening of the Second book of the ‘Hitopadesha,’ and of the First Chapter of the ‘Pancha-tantra:’ the Fifth story of the same, ‘the Ape and the Wedge,’ to the Second fable in both Sanskṛit works; the Seventh story of the Persian, ‘the Jackal and the Drum,’ is the same as the Second in the ‘Pancha-tantra,’ but is not found in the ‘Hitopadesha;’ the Eighth Persian story, ‘the Recluse who was plundered by a Pretended Disciple,’ answers to the Fourth of the First book of the ‘Pancha-tantra,’ and to part of the Sixth fable of the Second book of the ‘Hitopadesha;’ the Eleventh Persian story, ‘the Raven and the Snake,’ agrees with the Eighth of the Second book of the ‘Hitopadesha,’ and the Sixth of the First book of the ‘Pancha-tantra;’ the Twelfth Persian story, ‘the Heron and the Crab,’ corresponds to the Seventh of the First book of the ‘Pancha-tantra,’ and the Seventh of the Fourth book of the ‘Hitopadesha;’ the Fourteenth Persian story, ‘the Lion and the Hare,’ answers to the Ninth fable of the Second book of the ‘Hitopadesha,’ and the Eighth of the First book of the ‘Pancha-tantra,’; the Fifteenth Persian story, that of ‘the Three Fishes,’ cor­responds to the Third fable of the Fourth book of the ‘Hitopadesha,’ and the Fourteenth of the First book of the ‘Pancha-tantra;’ the Nineteenth Persian story, which has been extracted by Sir W. JONES into his ‘Persian Grammar,’ is exceedingly beautiful, and we owe it entirely to Persian taste, as no traces are found of it in Sanskrit; the Twenty-first Persian story, that of ‘the Crow, the Wolf, the Jackal, and the Camel,’ corresponds with the Eleventh fable of the Fourth book of the ‘Hitopadesha,’ and with the Eleventh of the First book of the ‘Pancha-tantra;’ the Twenty-second Persian story, that of ‘the Ṭiṭawa and the Ocean,’ is the Tenth of the Second book of the ‘Hitopadesha,’ and the Twelfth of the First book of the ‘Pancha-tantra;’ the Twenty-third Persian story, that of ‘the Two Geese and the Tortoise,’ is the Second of the Fourth book of the ‘Hitopadesha,’ and the Thirteenth of the First book of the ‘Pancha-tantra;’ the Twenty-fourth Persian story, that of the ‘Monkeys and the Bird that gave them advice,’ is the Second of the Third book of the ‘Hitopadesha,’ and the Eighteenth of the First book of the ‘Pancha-tantra;’ the Twenty-Fifth Persian story, that of ‘Sharp-wit and Light-heart,’ is the Nineteenth of the First book of the ‘Pancha-tantra,’ but is not found in the ‘Hitopadesha;’ the Twenty-eighth Persian story, is the Twenty-first of the First book of the ‘Pancha-tantra.’

In the Second book, the story of Kalílah and Damnah is continued, but as this continuation is not found in the Sanskṛit, so also none of the Persian stories it contains are to be found in that language. The apologue is for the most part laid aside, the First and Second stories being the only instances of it. On the whole it is not inferior to the First book.

The Third book is borrowed from the First of the ‘Hitopadesha’ and the Second of the ‘Pancha-tantra.’ The First Persian story corresponds to the opening of the above mentioned Sanskṛit books, and contains also the Fifth of the First book of the ‘Hitopadesha.’ The Fourth Persian story, ‘of the Woman who wished to barter husked Sesamum for unhusked,’ is the Second of the Second book of the ‘Pancha-tantra’; the Fifth Persian story, that of ‘the Wolf and the Bowstring,’ is the Seventh of the First book of the ‘Hitopadesha,’ and the Third of the Second book of the ‘Pancha-tantra.’

The Fourth book is the Third and Fourth of the ‘Hitopadesha’ and the Third of the ‘Pancha-tantra.’ The First Persian story corresponds to the opening of the same books in Sanskṛit; the Fourth Persian story, that of ‘the Hare and the Elephants,’ is the Fourth of the Third book of the ‘Hitopadesha,’ and the First of the Third book of the ‘Pancha-tantra’; the Fifth Persian story, of ‘the Pious Cat,’ is the Second of the Third book of the ‘Pancha-tantra’; the Seventh Persian story, of ‘the Pious Man who was cheated out of a Sheep by confederate Rogues,’ is the Third of the Third book of the ‘Pancha-tantra,’ and the Tenth of the Fourth book of the ‘Hitopadesha’; the Eighth Persian story, that of ‘the Merchant’s Wife and the Thief,’ is the Eighth of the Third book of the ‘Pancha-tantra’; the Ninth Persian story, ‘the Thief and the Demon who went to rob the Recluse,’ is the Ninth of the ‘Pancha-tantra’; the Tenth Persian story, ‘the Carpenter and his artful Wife,’ is the Eleventh of the Third book of the ‘Pancha-tantra,’ and the Seventh of the Third book of the ‘Hitopadesha’; the Twelfth Persian story, ‘the Mouse that was changed into a girl,’ is the Twelfth of the Third book of the ‘Pancha-tantra,’ and the Sixth of the Fourth book of the ‘Hitopadesha’; the Thirteenth Persian Story, ‘the Snake and the Frogs,’ is the Fifteenth of the Third book of the ‘Pancha-tantra,’ and the Twelfth of the Fourth book of the ‘Hitopadesha.’

The Fifth book is borrowed from the Fourth of the ‘Pancha-tantra.’ The First Persian story corresponds to the opening of the same book in Sanskrit; the Third Persian story of ‘the Ass without Heart and Ears,’ is the Second of the Fourth book of the ‘Pancha-tantra.’ Though the general plot of this book is borrowed from the Sanskṛit, it differs in all except outline, and is nowise inferior to it, but, on the whole, may be pronounced the very best of all the fourteen books into which the ‘Anvár-i Suhailí’ is divided. The outline is simple, natural, and well preserved; and the stories are vigorous and amusing.

The Sixth book is borrowed from the Fifth book of the ‘Pancha-tantra.’ The First Persian story, of ‘the Devotee and the Ichneumon,’ corresponds to the Second story of the said Sanskrit book; the Second Persian story is the Ninth of the Fifth book of the ‘Pancha-tantra,’ and the Eighth of the Fourth book of the ‘Hitopadesha.’ This is also an excellent book, and decidedly among the best of the fourteen.

The Seventh book is said by Stewart to correspond to the Third book of the ‘Pancha-tantra,’ and I have inserted his remark; but on reference, I cannot find any agreement, and none of the stories are alike.

In the rest of the Books I can trace no connection with the Sanskṛit. The Ninth and the Twelfth are decidedly the dullest and worst written, especially the latter, the plot of which is childish, ridiculous, and unnatural, and full of the most extravagant metaphors and conceits.

It will be seen, from the comparison which has been made, that the first Seven books, forming rather more than two-thirds of the whole work, have been in a greater or less degree borrowed from the Sanskṛit, and chiefly from the ‘Pancha-tantra.’ It is also from the ‘Pancha-tantra’ that translations have been made into most of the vernacular dialects of India, such as Gujaráṭhí, Maráṭhí, Braj-Bháṣhá, Bengálí, etc. It may be here remarked that the ‘Pancha-tantra’ has been generally supposed to be of an age anterior to the ‘Hitopadesha.’ Of course the question does not admit of proof; but on perusing the former book immediately after the latter, it would seem that the ‘Hitopadesha’ is the older of the two, as well from the style as from the greater amplification of the subjects in the ‘Pancha-tantra.’ Be that, however, as it may, it is quite clear that the larger portion of the ‘Anvár-i Suhailí’ has been borrowod from one or other of these Sanskṛit works, and it is unnecessary to proceed to isolated expressions or general reasons for establishing the identity. At the same time it must be acknowledged that many of the stories which are of purely Persian origin, though somewhat different in character, are in no degree inferior to those taken from the the Sanskṛit. Thus the story of ‘the Gardener and the Nightingale,’ the Nineteenth of the First book; that of ‘the Painter and his Mistress,’ the Seventh of the Second book; of ‘the Thief and the Monkey,’ the Second of the Fifth book; of ‘the Farmer’s Wife,’ the Second of the Seventh book; and of ‘the Farmer and the Purse of Gold,’ in the Fourteenth book, are equal to any of the stories in the ‘Hitopadesha’ or ‘Pancha-tantra.’