whom there may have been actors. Seleucus gave his daughter in marriage to Chandragupta, and both that ruler and Ptolemy II. maintained relations with the court of Pāṭaliputra by means of ambassadors. Greek dynasties ruled in Western India for nearly two centuries. Alexandria was connected by a lively commerce with the town called by the Greeks Barygaza (now Broach), at the mouth of the Narmadā (Nerbudda) in Gujarat; with the latter town was united by a trade route the city of Ujjayinī (Greek Ozēnē), which in consequence reached a high pitch of prosperity. Philostratus (second century A.D.), not it is true a very trustworthy authority, states in his Life of Apollonius of Tyana, who visited India about 50 A.D., that Greek literature was held in high esteem by the Brahmans. Indian inscriptions mention Yavana or Greek girls sent to India as tribute, and Sanskrit authors, especially Kālidāsa, describe Indian princes as waited on by them. Professor Weber has even conjectured that the Indian god of love, Kāma, bears a dolphin (makara) in his banner, like the Greek Erōs, through the influence of Greek courtesans.
The existence of such conditions has induced Professor Weber to believe that the representations of Greek plays, which must have taken place at the courts of Greek princes in Bactria, in the Panjāb, and in Gujarat, suggested the drama to the Indians as a subject for imitation. This theory is supported by the fact that the curtain of the Indian stage is called yavanikā or the "Greek partition." Weber at the same time admits that there is no internal connection between the Indian and the Greek drama.
Professor Windisch, however, went further, and maintained such internal connection. It was, indeed, impos-