The second great Epic of the Indians--the Ramayana--is essentially distinguished from the poems of the great war. Here also a legend, or ancient ballads, may have formed the basis; here, too, it is clear that a later redaction has changed the hero of the poem into an incarnation of a god. But the legend is already changed into the fairy tale, of which the scene is principally the Deccan, the banks of the Godavari, the island of Lanka (Ceylon) where the Aryas first arrived about the year 500 B.C. The cast of the poem as a whole is essentially different from that of the Mahabharata. The old legend may have related the story of a prince who wins his wife by his power to string the great bow of her father, and who, when banished from the banks of the Sarayu, contends in the Himavat, or in the south of the Ganges, against the giants dwelling there. These giants carried off his wife from the forest hut, and he is only able to regain her after severe struggles. Rama, the banished prince, is supposed to be a son of a king of the Koçalas (the Tritsus of the Rigveda), who had taken up their abode on the Sarayu. Daçaratha, the father of Rama, had apparently reigned a long time before the great war; he was descended from Ikshvaku, the son of Manu. According to the Vishnu-Purana, Daçaratha is the sixtieth king of this family, the eleventh after Sudas, who repelled the attack of the Bharatas.[150] In their battle the Tritsus were aided by the priest Vasishtha, to whom in the poem of Rama the same place is allotted which in the Mahabharata is first allotted to Viçvamitra and then to Vyasa. Without regard to the ancient poems and their strongly-marked traits of great battles and mighty contests, the priests entirely transformed the legend of Rama from their point of view into the form in which it now lies before us; and this took place at a period of Indian life, when the warlike impulse had long given way to peaceful institutions, and the requirements of the priests had driven out the military code of honour and martial glory--a time when the weaker sides of the Aryan disposition, submission and sacrifice, had won the victory over the hard and masculine qualities of activity and self-assertion. The Ramayana gives expression to the feeling of calm subjection, virtuous renunciation, passionless performance of duties, patient obedience, unbroken reticence. Throughout, prominence is given to the system of priestly asceticism, of the eremite's life in the forest, of voluntary suicide. Here we can scarcely find any echoes of that desire of honour, that jealousy, that lust of battle, and eagerness for revenge, which occur unmistakably in the Mahabharata; nothing remains of the knightly pride which scorns to give a blow forbidden by the rules of the battle. The hero of the Ramayana is a hero of virtue, not of the battle. He commends without ceasing renunciation and the fulfilment of duties; he abandons throne and kingdom; he gives up his right out of obedience to