1S75.] G. E. Fryer— Pali Studies.— No. 1. 93 



Sarigharakkhittanamena mahatherena dhimata 

 nivasabhutenanekagimanam 'ppicchatadinam ; 

 tenayam racita sadhu sasanodayakarina 

 Khuddasikkhaya tikayam Sumarigalapasadini. 



The couplet in italics commencing " susaddasiddhi " tlius appears in 

 the postscript to Sambandhacintd : 



yoganiccham Moggallanam yam gandham Kabbivannitam 



Subodhalankaram Vuttodayam sattham anakulam. 

 In other respects the postscripts are nearly the same. 



Analysis. 



Stjbodha'lanka'ka, or ' Easy Rhetoric', is a metrical treatise of 370 

 verses, divided into five chapters which treat of the following subjects, 

 namely :— 



1. Faults in Composition. 



2. Their avoidance. 



3. Merits, or Verbal Ornaments. 



4. Rhetorical Figures, or Ornaments of the Sense. 



5. Flavour. 



These subjects will be found discussed at some length in the seventh, 

 eighth, tenth, and third chapters of the Sanskrit work on Rhetorical Com- 

 position, the Sdhitya-Darpana or ' Mirror of Composition', by Vis'wanatha 

 Kaviraja — circa 9th or 10th century. 



Chapteks I and II. 



The Pali treatise in common with the Sanskrit one opens with an In- 

 vocation to the goddess of Speech thus : — 



May Vani the beautiful, born in the lotus womb of the mouth of the 

 Chief of Sages, the refuge of mortals, irradiate my mind, v. 1. 



The object of the work is then declared : — 



Although there are excellent ancient treatises on Rhetoric by Rama- 

 samma and others, yet they are not adapted for the Magadha people, v. 2. 



It is, therefore, hoped the present attempt at a suitable Rhetoric may 

 be acceptable to them, v. 3. 



The author then states that he has not consulted the works of 

 writers on the minor poems (Jcdbba), nor the drama (ndtakaj, as they are 

 not esteemed, v. 6. That a combination of words and meanings faultless 

 with (merits or verbal ornaments) is composition (bandha), which is three- 

 fold, being metrical (pajja) ; in prose (gajjct) ; and in a mixture of both, 

 v. 8. It is further divided into continuous composition (nibandha), and 

 non-continuous composition (anibandha), each of which is pleasing if em- 

 bellished with ornament, v. 9. Verbal Ornament {Chap. 3) and Ornament 



