between each act and that which follows. Occasionally, however, the interval is much longer. Thus in Kālidāsa's Çakuntalā and Urvaçī several years pass between the first and the last act; while in Bhavabhūti's Uttara-rāmacharita no less than twelve years elapse between the first and the second act.
Nor is unity of place observed; for the scene may be transferred from one part of the earth to another, or even to the aërial regions. Change of locality sometimes occurs even within the same act; as when a journey is supposed to be performed through the air in a celestial car. It is somewhat curious that while there are many and minute stage directions about dress and decorations no less than about the actions of the players, nothing is said in this way as to change of scene. As regards the number of characters appearing in a play, no limit of any kind is imposed.
There were no special theatres in the Indian Middle Ages, and plays seem to have been performed in the concert-room (saṃgīta-çālā) of royal palaces. A curtain divided in the middle was a necessary part of the stage arrangement; it did not, however, separate the audience from the stage, as in the Roman theatre, but formed the background of the stage. Behind the curtain was the tiring-room (nepathya), whence the actors came on the stage. When they were intended to enter hurriedly, they were directed to do so "with a toss of the curtain." The stage scenery and decorations were of a very simple order, much being left to the imagination of the spectator, as in the Shakespearian drama. Weapons, seats, thrones, and chariots appeared on the stage; but it is highly improbable that the latter were drawn by the living animals supposed to be attached to them. Owing to the very
