II. Consonants.
1. Ka retains the looped form, but the acute angle at the bottom becomes more sharply defined.
2. In kha, we find the hook at the top, having become elongated, is converted into a left limb, which in certain cases e.g. in the Bodh-Gayā inscription, is projected further downwards than the right limb. In this inscription, the acute angle in the right limb, becomes still more sharp, e.g. nikhila (L. 20) and khalu (L. 25).
3. In ga, we find the left limb has been sharply curved to the right, the extremity of the curve being occupied by the usual wedge.
4. In gha we have a broad top stroke, the left end of which is connected with the lower extremity of the right vertical line, by means of two curves. In fact, the base line of the 5th century gha, consisting of a curve to the left and a slanting straight line to the right, has been transformed into two distinct curves, while the acute angle at the bottom has become very small.
5. ña occurs in ligatures only and has not changed, cf. Saṅgīryamānaḥ (L. 22).
6. In ca, there is no other change, save the sharpness of the acute angle and the consequent decrease in the breadth of the letter.
7. In cha also, there is little or no change, except the downward elongation of the vertical line, which forms a short tail, attached to the point or junction of the two circles, cf. ahavecchā (L. 20).
8. In ja, we find remarkable changes. The lowest horizontal line consists of a hook, while the middle horizontal has been forced downwards; the place of the upper horizontal line being taken by a wedge. There is very little difference between this form and the modern Bengali form of this letter.
