that sacred stream, man is purified permanently from sin and error. It possesses in a pre-eminent degree the virtue of many tiraths: he who worships there with pure intent, performs a most meritorious act. As the king reclined upon his couch of kusa grass, the gods came and blessed him: "Build a fort upon my holy mountain, then reign for twenty generations." When he heard the gracious words that proceeded from the mouth of the gods, he set heart, tongue and body to work at the foundation of the city. He had a fort built in four courts, with a splendid gate to each, with frowning towers of vast dimensions. Then he collected for the fort, stores of all eight metals, with guns and men to look after them, and placed the stores in order, hallowing the work with prayer. Then he cleared the ground from blocks of stone and dressed it, and set up an enormous figure of a lion lastly gave alms in great profusion, for alms-giving brings with it a blessing. There still remain 14 stanzas to the end of the canto, but I think it unnecessary to translate them, since they are nothing but an enumeration of the grain, live-stock and other stores, including balls and powder for the guns above mentioned, which were stowed away in the fort. This mention of fire-arms is certainly curious: Sir H. Elliot in his Bibliographical Index quotes from the Kanauj-khand three passages of five or six lines each, in which the words átish, zambúr and top occur, and says "it appears to me evident that the passages where these are mentioned are spurious and interpolated, to accommodate the poem to the knowledge of subsequent ages." He adds, however, that the verses in other respects have anything but a modern ring, and the same may be said of the lines with which my translation concludes. I had expected to find a large intermixture of Persian words in these poems; since some scholars who condemn the pedantic use of pure Hindi in modern composition, have defended their practice by the example of Chand, the father of vernacular literature. However, in the canto now translated, I have detected only eight foreign words; viz. jahán, the world; záhir, manifest: both occurring in one line; sher, a lion; sahm, fear, in a doubtful passage: and báz, a hawk; jurra, a hawk, kadd, size and khiyál, thought, all of which come close together at the end of the canto. Later on in the poem, Persian words may be rather more frequent. As for my translation, I have done my best to keep close to the original; but a poem, like the Prithiráj-ráyasa, intended expressly for recitation, and composed in a ballad metre with many words thrown in more for sound than sense, scarcely admits of literal rendering. The narrative too is occasionally very abrupt in its transitions, briefly alluding to events which require to be known in detail before the ambiguous allusions can be interpreted; while the language is of a most archaic type and the text exceedingly corrupt. The necessary result of all these circumstances is, that my rendering of several passages is little more than conjectural. The few lines to which I have been unable to attach any definite meaning, and which I have therefore reproduced in their original form, are probably more or less corrupt. I hope some scholar will exercise his ingenuity, and favour the Society with a translation both of them and of the longer continuous passage with which I now conclude this paper. छत्रसाल संकेस सुदुर्जनवीर है । 'चल सज्ञ तिन दास जव करे जुद्द चाखिपेल । बज्ञ । List of some of the more unusual words, Sanscrit, Prakrit and Provincial, occurring in the canto translated. Chhaná, Prakrit, for sávaka, the young of any animal. Uttamáng, Sanscrit compound, the head. Sandha, a palace, S. Chhanhani, for akshauhiní, an army. Fiya, or biya, a particle of asseveration: see Varamchi's Prakrita Prakásá, ix. 3. Báḍav, a Brahman, S. Pánwari, sandals. Nakkat, putting on one side? from nakk, a S. root, given in the dictionaries without any authoritative reference for its meaning. Aghát, a crashing sound. Thá for tum: tháko for tumhárá. Bhá, for main, I. Rauran, for tumhárá. Vatt, Prakrit, for vartá, original of modern bát, a word. Puhumi, for prithivi, the earth. Kumudvant, epithet of the moon. Gulak, an ear-ring. Sukra-más, the month Jeth, S. Bámá, a woman, S. Chhonip, a king. Chhandna, for chhorna, to leave. Mádhav, the month Baisakh, S. Payán, for pavan, wind. Bhindapál, a kind of spear, S. Pánwar, low, mean. Ankár, for ahamkára, conceit. Dwait, doubt, S. Náh, for náth, a lord. Bard, a bull. Gurj, for burj? a bastion. Jindám, for jandrá? a pitch-fork or rake. S'rag, for asrij, sangins. Note on the Chandel Rájás of Mahoba. In the second canto of the poem the descent of Parmál the last Chandel king of Mahoba is traced up to Hemavati through 20 generations, which was the number specified in the prophecy. The line stands as follows: 1. Hemavati and the moon god; 2. Chandrabrahma. He founds Kalinjar and Khajinpur with 85 temples and 101 lakes marries Chandrávali; settles at Mahoba; 3. Bár-brahma: he builds Bárigarh; 4. Pár-brahma; 5. Rúp-chandra-brahma; 6. Braj-brahma; 7. Rúp-bel-brahma 8. Mán-brahma; 9. Jag-brahma; 10. Gyán-brahma; 11. Suján-brahma; 12. Jay-satyan-brahma; 13. Jag-jat-brahma; 14. Kíl-brahma; 15. Súraj-brahma; 16. Janrúpbrahma; 17. Ráhil-brahma. He invades Ceylon, founds Rásin, marries Rájmati; 18. Madan-brahma; 19. Kírat-brahma; 20. Parmál. Being ashamed of his origin, he drops the affix Brahma and in consequence loses his ráj. Mainpuri, October 17th, 1868. Authors of Armenian Grammars, from the earliest stages of Armenian literature up to the present day.-By JOHANNES AVDALL, Esq., M. A. S. [Received 30th July, 1868.] Agathangelus A brief sketch of the rise and progress of Armenian literature will, it is hoped, not be deemed altogether uninteresting. was the first who wrote a history. of the life and exploits of the Armenian king Tiridates, towards the close of the third century of the Christian era. He was of Greek extraction, and well acquainted with the Armenian language. Before that period, it cannot be said that the Armenians had a literature of their own. Some popular and rural songs were extant, commemorative of heroes and heroic achievements. At this period, there was no Armenian alphabet. Consequently the Armenians used the Greek, Pelhevic and Syriac characters. The Armenian alphabet was invented in the beginning of the fourth century by the intelligence and efforts of St. Mesrop. Although some odd and uncouth letters were in existence, bearing the name of their inventor Daniel, they were altogether incomplete, and all the vowels were wanting. The invention or perfection of the Armenian alphabet was soon followed by the establishment of schools, the formation of literary and scientific societies, the translation of the holy scriptures into Armenian from the original Greek and Syriac, and by the production of original works, such as history, biography, grammar, theology, geography, &c. During these days the Armenians. generally used the grammar of Dionysius of Thrace, which was originally written in Greek and translated into Armenian by David, surnamed the invincible philosopher. The Armenian grammar has only two numbers, singular and plural, but David attempted to introduce into it the dual number, in imitation of the Greek. The idiom of the Armenian language, however, did not admit of this extraordinary innovation. Subsequent to this, the grammar of Moses Rp the grammarian was prepared and introduced into all the Armenian schools, which was, in the course of a short time, generally studied, and became a popular class-book. Moses Khorenensis nu fʊpany is supposed by contemporary historians to be the author of this grammar. Gregorius Magistratus, who flourished in the eleventh century, compiled another grammar from those that were already extant. This was also introduced into the schools of that period. Johannes of Ezinka, of the thirteenth century, wrote a new grammar by the help of a dictionary compiled by Dr. Aristakes. In this new work, the author has compiled and mentioned all that was worthy of note and useful from the preceding grammars. Gregor Tathevensis Sugh of the thirteenth century, produced a commentary on the grammar of Aristakes and his coadjutor George. Jacob of Ghrim Bap dgh is the author of a grammar, in which he has taken a great deal of pains in dilating upon punctuation and accentuation. A grammar is also extant without date, supposed to be a compilation by the wwq Deacon Johannes. In like manner, another grammar is in existence, the authorship of which is ascribed to Priest Cachatúr. The foregoing are the authors of Armenian grammars, who flourished n Armenia prior to the four |