184 
John Beames —Grammar of Chanel Barden. 
[No. 2, 
It has the subjective construction for all tenses of the intransitive verb, ancl 
for all tenses of the transitive also, except the preterite in which it admits 
the objective construction, as TT5TT «JTcT ^*ft, also the impersonal as vr 
^T. In the former the verb agrees with the object, and in the 
latter is neuter and impersonal, Hindi having amalgamated the neuter with 
the masc., the verb has attained to the masc. form, though really neuter. 
Applying the above principles to Chand, we are struck in the first 
instance by the absence of ^ with the instrumental sense. For instance— 
fiWT ^11 
f%<T II 
j 
Hearing it, the prince Prithiraj 
Himself invited them kindly. Y. 13. 3. 
Here if we are to see in this our modern friend, the object not being 
noted, but being understood as living beings, we should according to rule 
expect and the sentence would run in ordinary Hindi ir 
sf^rreT, in other words, the construction would be the impersonal one, the 
verb would be singular (masc.), unless it be that the verb is here put in the 
plural out of respect. This instance, however, seems at present quite 
exceptional, more usually the agent is in the oblique crude form, and both 
the objective and impersonal constructions are used; a good example of the 
former is 
f?pr efrtift ^ ^ II 
He protected the Brahmans. I. 136. 1. 
Where the verb agrees with the object raksha, and the agent is in the 
crude oblique which may be any case we like to call it; again 
f*rf% ^ ^tJ II 
Who arranged heaven, earth, the seven hells. I. 11. 11. 
The various nouns agree with the verb in the neuter pi. and the 
agent is again singular oblique. On the other hand, we have the direct or 
subjective construction in 
^ ®IIT Tm II 
vr q&T*T li 
Ten times the king asked 
The Brahman gave no answer (in the) matter. I. 48. 23-24. 
And as a remarkable instance of Chand’s indifference to the subject we 
have in one line (I. 49. 9.) ^ ‘ he who killed the snake,’ and the 
next line with the direct construction. It is perhaps too earlv 
to lay down rules for Chand yet, but it may be hinted that in common with 
many of his successors in Indian poetry, he generally uses the subjective 
construction when the agent is a noun, and occasionally the objective or 
impersonal when the agent is a pronoun, and even in that case he is careless 
