Oh! beloved Radha! for this fault thou wilt lose the flute-playing (Krishnu). Ye foolish milk-maids; ye know him not. Burning with the pains of absence, and reduced to distress, you will wander up and down, weeping for your beloved Govindŭ (Krishnŭ.)

See! He whose excellencies excite Narudă, overcome with love, to sing; Shivă to dance; Doorga to clap her hands; Nundee to beat his cheeks; the tyger skin to fall from Shivu's back, and at hearing the sound of whose name, Huree, Huree, the top of Koilasů trembles ;-(this Krishnŭ) the milk-maids of Vrŭjŭ call, day and night, the butter-stealer.-Chorus. Oh! beloved Radha! for this fault, &c.

O beloved! (Radha), that Krishnŭ, the mark of whose foot is impressed on millions of holy places, as Gŭya, Gunga, &c; from the hairs of whose body, Indru, Yŭmữ, Sagŭrů, Prit❜hivēē,' &c. arose; and the worship of whom, the gods, descending in chariots, perform with fasting; this Krishnu, to appease thy anger, thou causedst to fall at thy feet" in the wilderness of Nikoonju. Chorus. Oh! beloved Radha! for this fault, &c.

Dhroovů, the moonee, became a yogee, to obtain the dust of his feet, who came and laid hold of thine; he whom Brumha and all the gods desire, is in thy eyes a common ipan. Hear, O beloved, he, putting his garment over his neck, spoke to thee with sweet words. Thou knewest him not; but thou wilt know at last.

'A sound of joy produced by striking the cheek with the thumb.

• Krishnu is charged with stealing butter from the houses of the milk-men,

when a boy.

४

t The earth.

On one occasion, Krishnŭ fell at Radha's fest t ́) remove her jealousy.

Chorus. Oh! beloved Radha! for this fault, &c.

Musical Instruments. The following are the names of those used among the Hindoos:-Dholü, a drum, used at all the Hindoo festivals.-Kara, another kind of drum, broad at one end, and narrow at the other. Dhak, a double drum. Jorăghaee, a small and large drum joined together. Damama, a large kettle-drum. Nagara, a small kettle-drum. Jŭyŭdhak, a drum used in the march of an army to battle, or after a victory. Jugŭdoombŭră, a tabor suspended from the neck, upon which the performer plays while dancing. Tasa, a drum, or rather a skin fastened to a metal pan. Dumpů, a hand drum; or skin, fastened to a wooden hoop. Mridungŭ, and Nadŭlŭ, drums formed like barrels. Dholňků, another kind of drum. Tăvălů, a tabor, having the skin fastened on an earthen pot or a piece of wood. Dara, a tabor, like the Dumpu, but smaller, with the skin fastened on an earthen pot. Kangsyu, a cymbal. Kansee, a small cymbal. Khŭnjŭrēē, a small tabor, used by the mendicant voiragēēs, while singing the praises of Krishnu. Julăturăngů: seven metal cups, of different sizes, filled with water, and beaten with thin sticks, compose this instrument. Swuru-mŭngulu, a number of reeds joined together, and beaten with the fingers. Khrutală, four thin stones, two held in each hand, and beaten together. Khumŭk, an instrument like an hour glass, with leather above and below, beaten with the fingers. Tōōree, a trumpet. Vank, a French horn. Runŭshinga, a brass horn, like the horn of a buffalo. Bhorungu, a straight trumpet.-Sanaee, a hautboy: the body is sometimes part of a bamboo-Vungshee, a kind of flute. Morchungu and Luphèree, instruments resembling

Jews'-harps. Sétara, and Tumbōōra, instruments with three strings, played with the fingers. Dotara, a similar instrument with two strings. Sharingēē, the Indian violin. Sharinda, another sort. Pinakŭ, a stringed instrument like a bow, having a dried gourd fastened at each end, the mouths covered with skins. The performer has in his hand another gourd, with which he produces the sounds. Kupilasŭ, an instrument composed of a stringed board resting on two excavated gourds. The sounds are produced by the fore-finger, on which is fixed a thing like a thimble. Veena, a lute. Trinŭntrēē, another kind of lute with three strings. Suptuswŭra, a lute with seven strings.

The Hindoos have various instruments for beating time, that their vocal and instrumental music may harmonize.

SECT. VIII.-Pantomimical Entertainments.

IN different parts of the year, but especially in the months Jyoisht'hŭ, Asharŭ, Shravŭnů, Bhadrŭ, and Ashwinů, assemblies are formed in the night, to see the pantomimes called Yatra, which refer to the histories of Krishnŭ, Ramů, Shivů, and Doorga.

I just mention the names of a few of those which relate to the history of Krishnŭ: Manŭ-bhungů, or the removing of Radha's jealousy.-Kŭlunkŭ-bhůnjunů, the removal of Rhadha's disgrace for cohabiting with Krishnu.-Pōōtunabudhu, the destruction of a female titan, sent by Kungsu to destroy Krishnŭ.—Průlŭmbŭ-bŭdhŭ, the destruction of Průlumbu, another titan sent by Kungsŭ against Krishnů.—

Danŭ-khŭndŭ, certain tricks of Krishnŭ with the milkmaids.-Nouka-khundů, Krishnŭ and the milk-maids going upon the water in pleasure boats.-Bŭstru-hŭrŭnů, Krishnu running away with the clothes of the milk-maids while they are bathing.-Kaliyŭ-dŭmůnŭ, the killing of a great serpent by Krishnů.--Ůkrōōrŭ-sŭngbadů, the journey of Krishnŭ to Mut'hoora.-Dōōtee-sungbadu, Radha's inviting Krishnŭ to come back to her to Vrinda-vůnŭ.Vŭkasoorŭ-bŭdhů, Krishnu's destroying Vŭků, a titan.— . Rasu, Krishnu's play with the milk-maids in the woods of Vrinda-vŭnů.-Yunmŭyatra, the history of Krishnŭ'ş birth.-Kungsŭ-bŭdhů, or the slaying of Kŭngsů.Gosht'hŭ-yatra, the childish play of Krishnŭ with the children of the milk-men.-Radhika-raja; Radha, with all sorts of officers about her as a sovereign princess.

The entertainment called Manŭ-bhungŭ is founded on a story, the meaning of which is as follows: Radha sent for Krishnu to meet her in the forest of Nikoonju; but as he was going, another of his mistresses met him, and detained him till morning. Early the next day, Krishnů went to Radha, but she, full of jealousy, would not speak to him, and ordered him to be driven away. Krishnŭ was very uneasy, and sent people to conciliate her, but in vain. At length, he assumed the form of Shivu, and, as a mendicant yogee, his body covered with ashes, his eyes inflamed with intoxicating drugs, &c. went to beg, at the house of Ayunů-Ghoshŭ, Radha's husband. Ayunŭ's mother offered him something, but he refused to receive the alms from her hands, saying, he would receive alms only from the virtuous. Ayunu's two sisters were equally unacceptable; but, he would take it from Radha. Radha came, and told him to ask for what he would, and she would give it him. He said, he wished for no other alms

than that she would be reconciled to Krishnu. In this way Radha's jealousy was removed.

The following introductory scenes occur in every yatra respecting Krishnŭ; Eight or ten boys are fancifully dressed, to represent Krishnu, Radha, Nŭndŭ-Ghoshŭ, Bülŭramů, Yushoda, Shree-damů, Soobůlů, Narŭdů, Vyasu-dévŭ, &c. These boys repair to the place prepared for the yatra, and begin to dance, while different instruments of music are played. After they have danced about an hour, they sit down, when the person who represents Narudŭ appears, dressed in a droll manner, with a fiddle in his hand; playing on which, he continues to dance and sing, for some time. At last he calls his servant Vyasŭdévŭ; after calling twenty times, he gives him no answer; but at length he arrives, sitting astride on a bamboo, carried on the shoulders of two men; and, making certain indecent gestures, as if he were dancing, he falls, first on one side, and then on the other. He next dismounts, and sings droll songs, or rather some unmeaning jargon, which, however, makes the multitude laugh. Narŭdŭ again calls him several times; but he, full of tricks, half dance, half song, half jest, pretends not to hear. Narŭdů now gives him a slap; but be, as though he felt it not, asks the multitude if some one is beating another, as he heard the sound of slaps. The multitude at last tell him, that Narudu calls him, when he makes some foolish answer; but at length he and Narudu come together, and the latter asks him where he has been, upon which some low conversation takes place, like that of two mountebanks on a stage in England. When this is ended, Narŭdů tells his man to call Krishnu, and he goes to one side of the crowd, and begins to talk with the person who personates the god, telling him, that Narŭdŭ wishes to see him. As soon as