them, the same species of literature was flourishing elsewhere under a somewhat different form. It is made a question, whether Aesop, through the Assyrians, with whom the Phrygians had commercial relations, did not either borrow his art from the Orientals, or lend it to them. This disputed subject must be left to those who have a taste for such inquiries. Certain it is, however, that fable flourished very anciently with the people whose faith embraces the doctrine of metempsychosis. Among the Hindoos, there are two very ancient collections of fables, which differ from those which we have already mentioned, in having a principle of connection throughout. They are, in fact, extended romances, or dramas, in which all sorts of creatures are introduced as actors, and in which there is a development of sentiment and passion as well as of moral truth, the whole being wrought into a system of morals particularly adapted to the use of those called to govern. One of these works is called the

    Pantcha Tantra

   , which signifies "Five Books," or Pentateuch. It is written in prose. The other is called the

    Hitopadesa

   , or "Friendly Instruction," and is written in verse. Both are in the ancient Sanscrit language, and bear the name of a Brahmin, Vishnoo Sarmah,[

    1

   ] as the author. Sir William Jones, who is inclined to make this author the true Aesop of the world, and to doubt the existence of the Phrygian, gives him the preference to all other fabulists, both in regard to matter and manner. He has left a prose translation of the

    Hitopadesa

   , which, though it may not fully sustain his enthusiastic preference, shows it not to be entirely groundless. We give a sample of it, and select a fable which La Fontaine has served up as the twenty-seventh of his eighth book. It should be understood that the fable, with the moral reflections which accompany it, is taken from the speech of one animal to another.

   [

    1

   ]

    Vishnoo Sarmah

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