profession, which doubtless can quite fairly be connected with the gradual elevation of the drama from humble origins to the rank of an elaborate and refined poetry. Bharata, the alleged founder of the Nāṭyaçāstra, ranks as a Muni, or holy sage, and Urvaçi, a divine nymph, is treated as an actress. What is more important is that Bāṇa definitely enumerates in the Harṣacarita among his friends an actor and an actress; Bhartṛhari[1] refers to their friendship with kings, which is also attested in the legend of Vasumitra, son of Kālidāsa's hero Agnimitra, who was slain amidst his actors by his enemy. Kālidāsa himself represents Agnivarṇa, king of Raghu's line, as pleased to compete with actors in their own speciality. Vatsa, in the Priyadarçikā, is prepared to play a part without question, and Bhavabhūti in two of his prefaces asserts his friendship with his actors. In truth, men who could effectively declaim the stanzas of Bhavabhūti must have possessed both education and culture in a high degree, and have been very different from the acrobats and jugglers, dancers, and others whose humble occupations account for the censures of the law books and the Arthaçāstra.
3. The Mise-en-scène and Representation of the Drama
We have no trace in the drama of any attempt to introduce scenery into the representation. The curtain remained as a background throughout the entertainment, and it was in the main left to the imagination of the spectator, aided by the descriptions of the poet, to conceive the beauties of the situation supposed to be presented to his eyes. We have for this conclusive proof, if any were needed beyond the silence of the text-books, in the abundant stage directions which accompany the text of our dramas, and are found even in the fragments of Açvaghoṣa. When actions such as watering a plant were ascribed to an actress, no serious effort was made to bring in plants and perform the ceremonial of watering; on the contrary, she went through a mimicry of the process, which was enough to satisfy the audience. The king may mount a chariot, but no effort is made to bring one for this purpose; he merely goes in
- ↑ iii. 57.
