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essential topics, ranges itself as a member of the Upanishad group, so to say; in Sanskrit literature. Its philosophy, its mode of treating its subject, its style, its language, its versification, its opinions on sundry subjects of the highest importance, all point to that one conclusion. We may also, I think, lay it down as more than probable, that the latest date at which the Gîtâ can have been composed, must be earlier than the third century B.C., though it is altogether impossible to say at present how much earlier. This proposition, too, is supported by the cumulative strength of several independent lines of testimony.

Before closing this Introduction, it is desirable to add a word concerning the text of the Bhagavadgîtâ. The religious care with which that text has been preserved is very worthy of note. Schlegel and Lassen have both declared it as their opinion, that we have the text now almost exactly in the condition in which it was when it left the hands of the author. There are very few real various readings, and some of the very few that exist are noted by the commentators. Considering that the Mahâbhârata must have been tampered with on numerous occasions, this preservation of the Gîtâ is most interesting. It doubtless indicates that high veneration for it which is still felt, and has for long been felt, by the Hindus, and which is embodied in the expression used in the colophons of the MSS. describing the Gîtâ as the 'Upanishad sung by God .' In view of the facts and deductions set forth in this essay that expression existing as, I believe, it does, almost universally in Indian MSS. of the Gîtâ, is not altogether devoid of historical value.

Schlegel draws attention to one other circumstance regarding the text of the Gîtâ, which is also highly interesting, namely, that the number of the stanzas is exactly 700.