and chariots, were certainly introduced, and as the intercourse between the inhabitants of heaven and earth was very frequent, it is not improbable that there may have been aërial contrivances to represent the chariots of celestial beings, as on the Greek stage. It is plain, however, from the frequent occurrence of the word náṭayitwá, '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.

RULES FOR THE PRONUNCIATION OF

THE PROPER NAMES.

OBSERVE, that in order to secure the correct pronunciation of the title of this Drama, 'Śakuntala' has been spelt 'Sakoontala,' the u of Sakuntalá 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. Ś 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.

MATHAVYA, the jester, friend, and companion of the King. KANWA, chief of the hermits, foster-father of SAKOONTALá. Śárngarava, › two Bráhmans, belonging to the hermitage of ŚÁRADWATA,

KANWA.

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 SAKOONTALA.

KASYAPA, a divine sage, progenitor of men and gods, son of

MARÍCHI, and grandson of BRAHMá.

SAKOONTALA, daughter of the sage VIśwÁMITRA and the

nymph MENAKÁ, foster-child of the hermit KANWA. PRIYAMVADA and ANASUYA, female attendants, companions of SAKOONTALA.

GAUTAMÍ, a holy matron, Superior of the female inhabi

tants of the hermitage.

VASUMATI, the Queen of DUSHYANTA.

SÁNUMATÍ, a nymph, friend of ŚAKOONTALA.

TARALIKÁ, personal attendant of the Queen.

CHATURIKÁ, personal attendant of the King.

VETRAVATÍ, female warder or doorkeeper.

PARABHṚITIKA and MADHUKARIKÁ, maidens in charge of

the royal gardens.

SUVRATÁ, a nurse.

ADITI, wife of KASYAPA; granddaughter of BRAHMA

through her father DAKSHA.

CHARIOTEER, FISHERMAN, OFFICERS, AND HERMITS.

SAKOONTALÁ;

OR,

THE LOST RING.

PROLOGUE.

BENEDICTION.

Isa preserve you! he who is revealed
In these eight forms 2 by man perceptible-
Water, of all creation's works the first;
The Fire that bears on high the sacrifice
Presented with solemnity to heaven;
The Priest, the holy offerer of gifts;
The Sun and Moon, those two majestic orbs,
Eternal marshallers of day and night;
The subtle Ether, vehicle of sound,

Diffused throughout the boundless universe;
The Earth, by sages called 'The place of birth
Of all material essences and things';

And Air, which giveth life to all that breathe.

B