1860.] The tenth BooJc of the Sáhitya Bardana. 219 



— nec verba quidem nec equas sonus ille videtur, 

 Sed simulantis equam. 

 But wlien Ovid goes on to add 



parvoque in tempore certos 

 Edidit hinnitus, 

 we have a parallel to the fourth, Atis'ayolcti, where the metamor- 

 phosis is finally accomplished, — the subject being no longer visible, as 

 it is wholly swallowed up in the object and identified with it, Thus 

 when in Persian poetry we have " narcissus" used for " eye" and 

 « cypress" for " a womarís figure" these ideas, which in the simile 

 would have been only subordínate, have not only advanced into pro- 

 minence, but have completely overgrown and concealed the original.* 

 The following may serve as English illustrations of the series. 



Í3he lived among untrodden wajs — 



A violet by a mossy stone 



That never nieets the eye, (R úpale a.) 

 Fair as a star when only one 



Is shining in the sky. ( Upamá.) 



I saw thee weep — the big bright tear 



Stood in thine eye of blue, 

 And then, methought, it did appear 



A violet dropping dew. (Utprekshá.) 



To behold the wandering moon, 



Eiding near her highest noon, 



Like one that had been led astray 



Through the heaven's wide pathless way, 



And oft, as if her head she bowed 



Stooping through a fleecy cloud. (UfprelcsM.) 



* The mo9t singular specimen of Atis'ayokti I have met with is the following 

 anonymous stanza on a woinan who stands weeping at her husband's door, 



V«ftW ^^T ffHsTf ^«J 5 ^ H *I^T 

 ^Í%ÍTT W ^ÍT^^ÍH ^TÍq ?>f?T^: II 



2 a 2 



