the treasure of the sixty-four
arts, and the best teacher of the rules of music. He says that he
composed the work after reflecting on the aphorisms of love as revealed
by the gods, and studying the opinions of Gonikaputra, Muladeva,
Babhravya, Ramtideva, Nundikeshwara and Kshemandra. It is impossible to
say whether he had perused all the works of these authors, or had only
heard about them; anyhow, none of them appear to be in existence now.
This work contains nearly six hundred verses, and is divided into five
chapters, called Sayakas or Arrows.

The author of the 'Light of Love' (No. 3) was the poet Gunakara, the son
of Vechapati. The work contains four hundred verses, and gives only a
short account of the doctrines of love, dealing more with other
matters.

'The Garland of Love' (No. 4) is the work of the famous poet Jayadeva,
who said about himself that he is a writer on all subjects. This
treatise is, however, very short, containing only one hundred and
twenty-five verses.

The author of the 'Sprout of Love' (No. 5) was a poet called Bhanudatta.
It appears from the last verse of the manuscript that he was a resident
of the province of Tirhoot, the son of a Brahman named Ganeshwar, who
was also a poet. The work, written in Sanscrit, gives the descriptions
of different classes of men and women, their classes being made out from
their age, description, conduct, etc. It contains three chapters, and
its date is not known, and cannot be ascertained.

'The Stage of Love' (No. 6) was composed by the poet Kullianmull, for
the amusement of Ladkhan, the son of Ahmed Lodi, the same Ladkhan being
in some places spoken of as Ladana Mull, and in others as Ladanaballa.
He is supposed to have been a relation or connection of the house of
Lodi, which reigned in Hindostan from A.D. 1450-1526. The work would,
therefore, have been written in the fifteenth or sixteenth century. It
contains ten chapters, and has been translated into English, but only
six copies were printed for private circulation. This is supposed to be
the latest of the Sanscrit works on the subject, and the ideas in it
were evidently taken from previous writings of the same nature.

The contents of these works are in themselves a literary curiosity.
There are to be found both in Sanscrit poetry and in the Sanscrit drama
a certain amount of poetical sentiment and romance, which have, in every
country and in every language, thrown an immortal halo round the
subje