anything to do it with. But I strongly recommend the view. There is more monkey than view, and there is always going to be more monkey while that idiot survives, but what view you get is superb. All Benares, the river, and the region round about are spread before you. Take a gun, and look at the view.
The next thing I saw was more reposeful. It was a new kind of art. It was a picture painted on water. It was done by a native. He sprinkled fine dust of various colors on the still surface of a basin of water, and out of these sprinklings a dainty and pretty picture gradually grew, a picture which a breath could destroy. Somehow it was impressive, after so much browsing among massive and battered and decaying fanes that rest upon ruins, and those ruins upon still other ruins, and those upon still others again. It was a sermon, an allegory, a symbol of Instability. Those creations in stone were only a kind of water pictures, after all.
A prominent episode in the Indian career of Warren Hastings had Benares for its theater. Wherever that extraordinary man set his foot, he left his mark. He came to Benares in 1781 to collect a fine of £500,000 which he had levied upon its Rajah, Cheit Singh, on behalf of the East India Company. Hastings was a long way from home and help. There were, probably, not a dozen Englishmen within reach; the Rajah was in his fort with his myriads around him. But no matter. From his little camp in a neighboring garden, Hastings sent a party to arrest the sovereign. He sent on this daring mission a couple of hundred native soldiers—sepoys—under command of three young English lieutenants. The Rajah submitted without a word. The incident lights up the Indian situation electrically, and gives one a vivid sense of the strides which the English had made and the mastership they had acquired in the land since the date of Clive's great victory. In a quarter of a century, from being nobodies, and feared by none, they were become confessed lords and masters, feared by
