The language of this music is also familiar from its influence on music for film and television. The Vidusaka is a more lively character, who takes a greater- part in the development of the plot in this play than in the other dramas of Kalidasa. We may regard the Mahabharata and the Rdmdyana The, bhdrata 9 as the earliest specimens of great works written in the its dynamic kdvya style. A mere fact as fact was contingent and unimportant but what is important is a total effect, the transfiguration of the character as conceived in the poet's mind, The discussions on the nature of EDITOR'S NOTES 681 truth and falsity as found in the various parts of the Mahabharata and elsewhere reveal to us the fact that mere verbal correctness and objective agreement of words was not really truth.

The former deals with correctness of speech and the latter with literary embellishments* In most works on Alamkara we find a chapter dedicated to the three-fold powers of words. Although many musical settings of the Requiem were composed during the Renaissance and Baroque periods, the Classical period produced a setting by Mozart (completed by a student following Mozart's death) that has become a staple of the choral repertoire and two settings by Cherubini that are also often performed.

He composed music dramas and expounded the idea of a Gesamtkunstwerk, or complete artwork drawing together music, words (he wrote his own libretto for the epic Ring cycle) staging, visual arts and effects. In Russia, Menahem Mendel Beilis, a Jew, is put on trial for the ritual murder of a Christian boy. Samudragupta had also received Vasuvaridhu. Throughout his conquests he secured submission of the various chiefs but he seldom annexed their territory.

While considering Bana's Harsa-carita, which is the earliest known specimen of a sustained character, we have briefly indicated the general characteristics of such writings, and little need be added to what has been said. He came to Vienna in 1792, where he studied with Haydn and Albrechtsberger. The earlier Devl-Sataka l of Anandavardhana (c. 850 A. S. t 1911, p. 138; Cambridge History, Vol. Cintamani, 119*, 361*, 437* Treasury, xcv Treatment of Love in Sanskrit Literature, 159*, 246*. 611*, 666* Tribhuvanacandra, 533* Tribhuvanapala, commentator, 169* Tribhu\anpala, king, 50'2 Trichur. 129*, 248* Tridanda-mala, 72* Trigarta, 113 Trikanta-s'efa, 525*, 702 Trilinga country, 771 Trilocana, 686 Trimaladeva, 473 Tripttaka, cv Tnpura, 322, 323, 474, 627 Tripura-dahana, 121*, 338% 621, 687 Tiipura-daha, Ixxxiv, 474, 087, 768 Tripura-mardana, 687 Tnpura-sundari-stuhkavya, 71(K Tripuravijaya campu, 764 Tripnrari, 277^763 Tripurl, 455 Triratnadasa, 611* Tnratna-stotra, 613* Tris'-iranatatabhlma, 533* TTi$asti-alaka~purusa-c(trita, 343 Tristubh-JagatI (metre), 2*, 12, 150 Tnthen, 277* Trivandram, 16, 60", 101,104, 105,106, l;)7, 109*, 112, 178*, 418*, 477*, 479*, 545, 620, 627. 679* Triv&mlrnm Sanskrit Series or TrfS 2M 4, 256*, 331% 334*, 175*, 382%.

In the second act, the efforts of the chaplain and his pupil to obtain the damsel meet with opposition from those of another religious teacher, Mada- ndhami&ra and bis pupil, who are birds of the same feather. The plot of the drama does not also appear to be as carefully developed as in the other two plays. 2 The denouement is also weak; for the great sacrifice suggests a real tragedy, and the divine intervention of Gauii to turn it into a comedy and reward of virtue is an unconvincing artificial device.

Even during the Maurya period, music was popular as evident from references in Mautilya’s famous treatise, Arthashastra. It is a known fact that the early prafasti writer, during the first few centuries of the Christian era, Agvaghosa, in his Buddha-carita is well-acquainted with such figures of speech as upama, utpreksa, or rupaka, yathasaifikhya, or aprastuta- praamsa, etc. These conquests led to the spread of Greek culture to other parts of the world, including Egypt and Persia. The work calls itself a Mahakavya, but its main purpose is religious edification, the intrusion of which affects its long and tedious narrative.

A major part of medieval history were the Crusades. But what is signi- ficant is that the erotic element gets the upper hand in the later Bhanas, as they do not make the best of the comic possibilities of the society which they handle and which lend themselves finely to such treatment. At this time he got a number of associates and friends. (A little scrutiny into the %k~oJL ..associates that Bana had may give us an idea of the sort of people that lived in the city and bow in the city life all classes of people mixed together^ Thus he says that he had for his associates Candasena and Matrsena, who were born out of a Brahmin father and a Sudra mother, the poet Isana, B^ra and Naray ana T who were learned ^schdar^ Bharata^Jjhe composer of Sanskrit songs, Vgyu-vikara, who was born in the 1 iha kalidasa-inenthav-atra'maiarfipa-sura'bhdravayah/ haiicandra-candraguptau parikitav'ilia vMlayam// Myate ca pa^aliputre sastrakara-parlkfd, atro-pavar$a-var

IPS*, 12-2M24M33*. 169*. 17.3'-, I8b*, 185 4, 186", 189", 20UV201*, 218V24I)*, 322*, 338*, 360*, 371% 378 -, 401*. 413*, 417*, 464*, 490% 501, 520", 525*, 52G, 531*, 5,33, 537*, 539*, 540*, 550*, 552, 016*, 619*, 621*, 630*-32-S 635*, 647, 648, 656*, 657-, 659*, 66-2*, 674,695*, 701*, 704*, 708*, 710, 7-28, 720*, 731*, 732*, 738*, 752*, 756*, 759, 7tH) T 761 Jrmbhaka (weapon), 53* J. Vftidya, Karafija Jaina Series, Karaftja, Berar 1931. 3 For an analysis of the work, see Peterson, Second Report, Bombay 1884! pp. 35-46.

We know that the name of the Mahabhasya is Curm and it is by this name that Induraja quotes the Mahabhasya in his commen- tary on Udbhatdlamkara. It is a work of art in which there is no didactic moralising, but which is characterised by direct and animated, but not merciless, painting of droll life, essentially of the higher grades of society. Anatomy became more accurate and as a result statues started to look much more true-to-life. It was philosophers of this period who first enunciated the doctrine of the "mandate of heaven" (tianming or ) governed by divine right but that his dethronement would prove that he had lost the mandate.

Upadbye, Mftpikacandra Digambara Jaina Granthamalfi, Bombay 1988. It has no lyrics and only ab stract (meaningless) syllables are used (eg. It is no wonder, therefore, that the whole question has run the normal course of enthusiastic acceptance, sceptical opposition and subdued suggestion of a via media. Stenzler, 120*, 129*, 132*, 23'.)*, 741, 713,751, 756. He was also asked to compose an oratorio in the style of Handel. I, pp. 16) Vamana's acquain- tance with Bhamaha's work. From the earliest periods of recorded history, slavery was found in the world's most "advanced" regions.