the theory of Oldenberg has sought to explain the hymns in question as ballads.[1]
Nor of course is it necessary to make any use of this theory in order to explain the mixture of prose and verse in the Sanskrit drama. The use of prose needs no defence or explanation; that of verse is what was essentially to be expected, in view of the importance of song as a form of amusement as well as in worship both in Vedic times and later, and of the fact that our extant dramas draw so largely on epic tradition, preserved in versified texts. Nothing indeed is more noteworthy in Sanskrit literature than the determination to turn everything, law, astronomy, architecture, rhetoric, even philosophy into a metrical form. The theorists on the drama give no suggestion that the prose was regarded as any less fixed in character than the verses, or that it was not the duty of the author of the drama to be as careful in preparing the one as the other, and the manuscript tradition of the drama does not hint at any distinction of the two elements as regards source.
3. Dramatic Elements in Vedic Ritual
When we leave out of account the enigmatic dialogues of the Ṛgveda we can see that the Vedic ritual contained within itself the germs of drama, as is the case with practically every primitive form of worship. The ritual did not consist merely of the singing of songs or recitations in honour of the gods; it involved a complex round of ceremonies in some of which there was undoubtedly present the element of dramatic representation; that is the performers of the rites assumed for the time being personalities other than their own. There is an interesting instance of this in the ritual of the Soma purchase for the Soma sacrifice. The seller is in some versions at the close of the ceremony deprived of his price, and beaten or pelted with clods. Now there can be no doubt that we have here, not a reflex of a disapproval of trafficking in Soma, but a mimic account of the obtaining of Soma from its guardians the Gandharvas, and there is some truth in the comparison drawn
- ↑ The existence of this type in the Epic is certainly most improbable, and in the Jātakas it is not frequent; cf. Charpentier, Die Suparṇasage, and Winternitz's admissions, GIL. ii. 368 with Oldenberg, GN. 1918, pp. 429 ff.; 1919, pp. 61 ff.
