1875.] G. E. Fryer— Pali Studies.— No. 1. 97 



3. Faulty as to usage (bhaggar'iti), as when cases are mixed together, 

 such as the genitive and locative cases in v. 64. ' Trust cannot be placed 

 in women, evildoers, poison, horned cattle, rivers, disease, nor royalty', v. v. 

 109, 110. 



4. Ambiguous (samsaya), as when a word susceptible of two meanings 

 is employed ; as ' go\ which signifies both ' a cow' and ' a ray of light', v. 65, 

 and 111. Ambiguity in jocular composition is not reckoned a fault, 

 v. 112. 



5. Rustic {gamma), as when it is difficult to comprehend what is 

 meant by the sense ; as — ' This vigorous youth is reposing — having slain his 

 enemy, or — exhausted from excesses', v. 66. ' That man's sister is charm- 

 ing' is not a rustic expression, v. 114. 



6. Faulty as to Rhetoric (dutthdlankdra). This fault is discussed in 

 chapter 4. 



Chaptee III. 



In this chapter are described the Merits, or Excellences (gunu), of 

 composition, which are ten in number, namely : 



1. The pleasing (pasada). 



2. The forcible (pja). 



3. The elegant (madhurata). 



4. The uniform (samata). 



5. The soft {sukhumalata). 



6. The compact (silesa). 



7. The elocment (uddrata). 



8. The bright (kanti). 



9. The lucid (althavyatti). 



10. The imaginative (samddhi), v. 118. 



A compact pleasing style, composed of words whose meaning is clear, 

 constitutes the Pleasing Merit, v. 120. 



The merit of Force is Energy manifested by an ample use of com- 

 pounds, v. 122, and by condensation (samdsa), and amplification {vydsa) 

 of the meaning, v. 224. 



The Elegant style is manifested either by an arrangement of words 

 with letters pronounced by the same organ of speech, v. 129 ; or, of words 

 having similar letters, v. 130. A collection of syllables pronounced with 

 little effort, dependent upon a profusion of alliteration, is inelegant, v. 131. 



The merit of Uniformity is manifested when the composition is either 

 smooth, or rough, or a mixture of both, v. 132. 



An absence of jarring letters constitutes the merit of Softness, v. 136. 



The merit of Compactness is manifested by a clear and firm style, v. 

 141. 



