The History of Indian Literature c8.308.3

c8.308.3

6), of the *súta* to the dance, and of the *śailúsha* to song, though not so well, it must be admitted, with the dedications immediately preceding, of the *klíba* (eunuch), the *ayogú* (gambler?), and the *puńśchalú* (harlot). The *mágadha* again appears in their company in v. 22,† and they cannot be said to throw the best light upon his moral character, a circumstance which is certainly surprising, considering the position held by this caste in the epic; though, on the other hand, in India also, musicians, dancers, and singers (*śailúshas*) have not at any time enjoyed the best reputation. But another interpretation of the word *mágadha* is possible.‡ In the fifteenth, the so-called Vrátya book\* of the Atharva-Saṃhitá, the Vrátya (*i.e.*, the Indian living outside of the pale of Brahmanism) is brought into very special relation to the *puńśchalí* and the *mágadha*; faith is called his harlot, the *mitra* (friend ?) his *mágadha*; and similarly the dawn, the earth (?), the lightning his harlots, the *mantra* (formula), *hasa* (scorn ?), the thunder his *mágadhas*. Owing to the obscurity of the Vrátya book, the proper meaning of this passage is not altogether clear, and it is possible, therefore, that here also the dissolute minstrel might be intended.