An account of the state of musical science amongst the Hindus of early ages, and a comparison between it and that of Europe, is yet a desideratum in Oriental literature. From what we already know of the science, it appears to have attained a theoretical precision yet unknown to Europe, and that at a period when even Greece was little removed from barbarism. The inspirations of the bards of the first ages were all set to music; and the children of the most powerful potentates sang the episodes of the great epics of Valmiki and Vyasa. There is a distinguished member of the Royal Asiatic Society, and perhaps the only one, who could fill up this hiatus; and we may hope that the leisure and inclination of the Right Honourable Sir Gore Ousely will tempt him to enlighten us on this most interesting point. Footnote 4.20.33: [The lyrical drama of Jayadeva, _Gītagovinda_, dates from the twelfth century A.D. (Macdonell, _Hist. Sanskrit Literature_, 344 f.).] Footnote 4.20.34: I have often been struck with a characteristic analogy in the sculptures of the most ancient Saxon cathedrals in England and on the Continent, to Kanhaiya and the Gopis. Both may be intended to represent divine harmony. Did the Asi and Jits of Scandinavia, the ancestors of the Saxons, bring them from Asia? Footnote 4.20.35: [The Janamashtami, Krishna’s birthday, is celebrated on the 8th dark half of Sāwan (July-August).] Footnote 4.20.36: _Trans. Royal Asiatic Society_, vol. i. p. 146. Footnote 4.20.37: [Rādha was daughter of Vrishabhānu.] Footnote 4.20.38: _Madho_ in the dialect of Vraj. Footnote 4.20.39: We meet with various little philosophical phenomena used as similes in this rhapsody of Jayadeva. These aërolites, mentioned by a poet the contemporary of David and Solomon, are but recently known to the European philosopher. [But one was worshipped at Rome in B.C. 204.] Footnote 4.20.40: This is, in allusion to the colour of Krishna, a dark blue. Footnote 4.20.41: The Indian Pluto; she is addressing the Yamuna. Footnote 4.20.42: Thus the ancient statues do not present merely the sculptor’s fancy in the zone of bells with which they are ornamented. Footnote 4.20.43: This is a favourite metaphor with the bards of India, to describe the alternations of the exciting causes of love; and it is yet more important as showing that Jayadeva was the philosopher as well as the poet of nature, in making the action of the moon upon the tides the basis of this beautiful simile. Footnote 4.20.44: This yellow robe or mantle furnishes another title of the Sun-god, namely, _Pitambara_, typical of the resplendence which precedes his rising and setting. Footnote 4.20.45: It will be again necessary to call to mind the colour of Krishna, to appreciate this elegant metaphor. Footnote 4.20.46: This idea is quite new. Footnote 4.20.47: _Childe Harold_, Canto iii. Footnote 4.20.48: