In justification of the rendering of the above, an explanation of the technical terms, taken either from dictionaries or from the commentators, may be subjoined. (1) Kansa went to the Prekshágára, literally 'house of seeing;' but it is evident, from its interior being visible to spectators on the tops of the houses, as subsequently mentioned, that it was not a theatre, or covered edifice. If a building at all, it was merely a sort of stockade. One commentator calls it, 'a place made for seeing the sacrifice;' (2) Manchánám avalokaka. The Manchá is commonly understood to signify a raised platform, with a floor and a roof, ascended by a ladder: see Dictionary. (3) Mancha-vát́a. Vát́a is either 'site' or 'inclosure,' and is used here without much affecting the sense of Mancha. The compound is explained by the commentators, 'prepared places', or 'the sites of the platforms'. (4) The Śreńíś, associations p. 554 of artificers practising the same art. One of the commentaries understands the term to be here used to denote, not their station, but their labours: 'The structure was the work of the artificers.' (5) Several words occur here of technical import. The passage is, ###. Valabhi is said by the commentator to mean a structure with a pent roof, supported by six columns. Kut́í, a circular one, having seven roofs--something perhaps like a Chinese pagoda--and four columns. The Eka-stambha is a chamber, supported by one column. (6) Sáraniryyúham. It is difficult to understand the necessity of rafters in an inclosure in which the platforms and stages seem to have been erected independently of any floor or wall: but the commentary explains Niryyúha, 'strong brackets, projecting from a house:' (7) Aslisht́a sushsht́a manchárohanam. The first epithet is explained, 'not contracted'; the second, 'well constructed'; and for the 'ascending' (Árohanam) we have 'where was a line of steps' or 'ladders' There is another reading of the text, however, which may be rendered, 'Having steps well secured in their ascent above'. (8) 'Seats for kings'. (9) Such is the literal purport of Sanchára-patha-sankulam; implying, possibly, the formation of passages by fences on either side. (10) This is doubtful: the phrase is Chhannam-tad-vedikábhi. Chhannam means, literally, 'covered,' and can scarcely be used in the sense of 'overspread or filled with.' Vediká means an elevated floor or terrace, with which a hall or edifice cannot well be 'covered;' and therefore requires the sense here given to Chhanna. The commentators are silent. (11) The Manchavát́as and Valabhis, as above: the other term is Víthi, 'a shop,' 'a stall,' 'a terrace,' 'a road.' (12) Let them be Vapushmanta; 'having painted or sculptured figures'. The other commentary renders it merely 'pleasant' or 'agreeable'. (13) 'Covered above with cloths'. The use of the awning or Semiana is very common in India. (14) For the wrestlers to rub over their bodies to absorb the perspiration (15) This is all rather questionable: the passage is most usually, ###. Vali or Bali in one sense means 'the edge of a thatch,' and may be put for some sort of temporary structure, a kind of retiring or refreshment room for the boxers and wrestlers. In some copies it is read, 'beautiful with cloths spread,' on which the performers may sit when disengaged; perhaps a sort of carpet on the ground. (16) The expression is again Vali. Another sense of the word is, offering of viands, or of the remains of a sacrifice, to all beings; but that cannot be its purport here; nor is it ever used in the sense of viands in general. The verb Kalpa or Klrip also usually p. 555 implies 'making.' (17) Manchavát́a; 'in the Samája,' or 'assembly.' (18) Maháranga, 'the great place of the performance.' Ranga is 'acting' or 'representation;' also the place or site of it. (19) All the copies consulted, except one, offer an irregularity of construction, which, although defended by the commentators, is a license scarcely allowable. The epithets of the first verse are all in the plural number; they then occur in the singular, to agree with the only substantive in the description, Samájavát́a. According to the commentaries, the plural term Manchás understood is the substantive to the epithets of the first stanza, and Samájavát́a the singular to those of the other verses. This awkwardness is however avoided by the reading of an old and very good copy, which puts it all in the singular; as ### (20) The expression is Charańa, literally 'foot;' explained by the commentator, Stambha, 'post' or 'pillar' (21) The reading of most of the copies is Śayanottama, which may be taken as the sense of Talottama, 'couches or benches with cushions.' (22) Manchágárais, 'temporary houses.' (21) Or 'fronting to the east'. (24) Nirmuktais: explained by the commentator to mean 'fine threads,' 'network,' or 'gauze,' through which persons, females especially, may see without being seen. (25) ### (26) 'With ridges and projections'. The commentator explains this, 'with flags on the top of them.' (27) This appears to be intended for an epithet of the women, although Ástarańa is not usually applied to dress. (28) Phala, of course, is 'fruit.' Avadanśa is explained in lexicons, what is eaten to excite thirst:' one comment gives it, what may be sucked,' as tamarinds, and the like. Chángeri is explained, 'fluids for drinking, made with sorrel, or acid fruits;' that is, sherbets. (29) ### is an epithet of the Prekshágára, or look-out house of the women, situated on the tops of their houses, according to the commentators; an arrangement very compatible with the form of Indian houses, which have flat roofs, commonly enclosed by a trellis work, or jalousie of masonry. It is observable, that in the Vishńu Puráńa, and in the Mahábhárata, on various public occasions, the women take their places on the platforms, or in the pavilions, without curtains or screens.