by adding a great number of more similarities and
identities of expression.
Let us now turn to analogies of thought. The following are a few of them: —The regret of the king that while the Asoka is blessed by the touch of Mâlavikâ's foot, he himself enjoys no such favour, and is therefore unhappy. A similar address to a bee in the Śâkuntala. Cf. note on page 53, 1. 13.—The trustworthiness and the cutting sharpness of the fowery weapon of the God of Love. Cf. note on page 36, 1. 5.—The withdrawing of characters from the stage, with the pretext of driving away the young deer. C f. note on page 77, 1. 6.—Comparison of the hand of a handsome woman with the Śyâmâ creeper. Cfnote on page 25,1. 4.—IThe gracefulness of beauty, in whatever posture and state this may be. Cf. note on page 25, 1. 1.-The erection of hair through an amorous emotion compared to the sprout of a tree. Cf. note on page 61, 1. 5.—The fulfilment of a Brahman's words. C£. note on page 45, 1. 6.-Description of the flower Kurabaka Cf. note on page 38, 1. 14.-Surprise of Nipunikâ that she should be supposed to have told her mistress what was untrue. Cf. note on page 79, 1. 13.—'The scene of Irâvatî accompanied by her attendant, Nipunika, wandering through the garden in search of the king, greatly analogous to that of Queen Auśînarî and her attendant, Nipuņikâ, in quest of King Purûravas. Cf note on page 79, 11. 11-18.—The comparison with the thief who has been caught in the act of committing theft. Cf. note on page 57, ll.7-9. Sweet professions of love without love. Cf. note on
