kavya.

 I. THE SANSKRIT KAVYA. Before the student enters upon a critical and detailed study of the Raghuvamsi it is necessary that he should be acquainted with the salient features of what is called Kavya in Sanskrit.^ Sanskrit rhetoricians have divided all kinds of literary compositions into two main divisions,  what is capable of being seen ) and | ( what can only be heard or chanted ). All the varieties of dramatic pieces come under the 1st class, while everything else can be broadly described as . The Kavya', again, has been further sub-divided, on consideration? of its form, according as it is written in verse, or in prose, or in mixed verse and prose. (1) Compositions in verse or metrical form are the commonest specimens  Kavya. They generally fall into two classes, the dis- tinction being based chiefly on their length Great Poems ', such as the Raghuvamsa, the Sisnpalavadha   and   Small Poetical Pieces', a class which includes all minor lyrical poetry and such works as the Meghadnta,  Bhaminivilasa, the Amarnsataka  (2) Prose works are comparatively rare in Sanskrit; their main kinds are two'—Katha ( e. g, the Kadambari of Bdnabhatta ) and AkhySyika ( e. g. the Harshacharita of the same author ). (3) Works in which prose and

verse are mixed are classed as Ohatnpu ( e. g. the Bbaratachampu, the Visvaguiiadarsa-champu, &o. )'. The student will thus notice that, along with dramas, have been the most popular forms of literary composition, and have attracted the  geniuses to try their hand at them. It is true that the Kbanda Kavya attracted more attention, chiefly because it is short and requires less expenditure of time and energy; and that the number of extant Mahakavyas, therefore, is not very large. But what is here lacking in quantity has been amply made up in quality. For in dignity of style; depth of thought  of movement, the Mahasavya is far and away the bust expression which the Sanskrit literary artist has found for his genius. The Righuviiusa is a Miihakavya, which  defines as follows:

That, a Mahakavya should be divided into chapters, called Cantos. The hero should be either a divine personage, or a Kshtriya of noble descent and possessed of the qualities of a Dhirodatta Hero. This is when the poem is concerned with the description of the life of a single hero  as in the Sisupa1avadha or the Vikramankadevacharita ; if like the Raghuvamsa it has for its theme a number of Heroes, then they should all be Kshatriya princes sprung from the same race, and of pure descent. The prominent sentiment should be introduced as accessories. The subject-matter should be arranged as in a nataka with the necessary changes. The plot may be historical, or may have for its subject-matter the glorious deeds of the good and the virtuous. The object of such compositions should be the attainment of the four aims of human pursuit — i. e., they should be written in such a way that their study would point out the means of attaining them. It should open with a verse or verses expressive of a salutation to a deity, or a blessing conferred on the readers, or a hinting of the subject-matter; these may sometimes be followed by censure of villains and praise of the good ( as in the Vikramankadevacharita). A Mahakavya should be divided into chapters not less than eight,' which should be neither too long nor too short.'" They should be composed in the same metre which should change only at the end; sometimes ( as a variety ). a canto may be written in a number of metres. The contents of the next canto should be indicated at the end of the preceding one. It should describe, at more or less length, such incidents and topics as twilight, the rise of the sun and the moon, the night, the evening, darkness, the day, morning, noon, hunting, mountains, seasons, forests, oceans, the union and separation of loveis, sages, heaven, cities, sacrifices, battles, invasions, marriage ceremonies, advice, the birth of a son. It should be named after the poet, or the plot, or the Hero, or some other person; while each Sarga should be named in accordance with its own contents ( e. g. the 6th canto of the Ragh. is named swayamvaradaranam. It should be borne in mind that these elaborate rules were evolved after a minute examination of all available specimens. The works of early poets like Ka1idasa will not therefore be found to conform strictly to the definition given above, nor is it necessary that they should do so, . Thus the Raghuvamsa, though it does not describe everyone of all those incidents and topics, still conforms mostly to the definition given, as the student can verify for himself. Thus, it has for its theme a number of noble kings born of the same family. The predominent sentiment is  though are often in- troduced as accessories {e.g. in canto III. and VIII.). It is named after Raghu, the most eminent among its many heroes. The subject of the next canto is indicated toward the close of the previous one- e. g. it is evident from what is said at the end of canto V that the Svayamvara of Indumati would be described in canto VI The metre changes at the end of each into, and the ninth Canto is written in a number of different metres. described in Canto V. Each canto is named after the most important event described in it. Other particulars the student can find out for himself. Technically, the Raghuvamsa is quite a representative specimen of its class; as regards it's other merits and distinguishing features.