Leaving out of sight all historical or probable facts concerning Viswámitra and Vasishtha, but remembering the spirit of them, let us read the great Passion-play of the East, in which their respective parts are performed again as intervening ages have interpreted them. The hero of this drama is an ancient king named Harischandra, who, being childless, and consequently unable to gain immortality, promised the god Varuna to sacrifice to him a son if one were granted him. The son having been born, the father beseeches Varuna for respite, which is granted again and again, but stands firmly by his promise, although it is finally commuted. The repulsive features of the ancient legend are eliminated in the drama, the promise now being for a vast sum of money which the king cannot pay, but which Viswámitra would tempt him to escape by a technical fiction. Sir Mutu Cumára Swámy, whose translation I follow, presents many evidences of the near relation in which this drama stands to the religious faith of the people in Southern India and parts of Ceylon, where its representation never fails to draw vast crowds from every part of the district in which it may occur, the impression made by it being most profound. [18] We are first introduced to Harischandra, King of Ayòdiah (Oude), in his palace, surrounded by every splendour, and by the devotion of his prosperous people. His first word is an ascription to the 'God of gods.' His ministers come forward and recount the wealth and welfare of the nation. The first Act witnesses the marriage of Harischandra with the beautiful princess Chandravatí, and it closes with the birth of a son.