pra'crit foetrv. 449 



mation. She recounts the circumstances under which 

 she was transformed into stone. 



Having thus fortunately recovered I lis beloved 

 princess, the prince proceeds to his city, where they 

 pass many years in uninterrupted happiness. 



This story, told in elegant language and intermixed 

 with many flowery descriptions in a poetical style, is 

 the Va'savadatta' of Suband'jiu. There is an al- 

 lusion, however, in Bhavarhu'tTs drama*, to ano- 

 ther tale of Va'savad'atta'"s h;iving been promified 

 by her father to the king Saxjaya and giving herself 

 in marriage to Udayan^a. I am unable to reconcile 

 this contradiction otherwise than by admitting an iden- 

 tity of name and difference of story. But no other 

 traces has been yet found of the story to which Bha- 

 vabhu'ti has alluded. 



In the work above described, as in various compo- 

 sitions of the same kind, the occasional introduction of 

 a stanza, or even several, either in the preface, or in the 

 body of the work, does not take them out of the class 

 of prose. But other works exist, in which more fre- 

 quent introduction of verse makes of these a class apart. 

 It bears the name of Chanipit: and of this kind is the 

 NaJa C/iawpu of Trivickama before mentioned. This 

 style of composition is not without example in European 

 literature. The '* Voyage de Bachaltmont et de la 

 Chapele," which is the most known, if not the first 

 instance of it, in French, has found imitators in that 

 and in other languages. The Satiscrit inventor of it 

 has been equally fortunate : and a numerous list may be 

 collected of works expressly entitled Chuuipic'^'. 



^ * Malati madhava. Act 2d. 



t As the Nriiinha Champu, Ganga Chamfu, Vrindavanna Cham' 

 pu) Sec. 



Vol. X, G g 



