situations suggested by their hosts, and Vajranābha himself induces them to perform an episode from the legend of Kubera, the rendezvous of Rambhā; after music from the orchestra the actresses sing, Pradyumna enters and recites the benediction, and then a verse on the descent of the Ganges, which is connected with the subject-matter of the piece; he then assumes the role of Nalakūbara, Sāmba is his Vidūṣaka, Çūra plays Rāvaṇa, Manovatī Rambhā. Nalakūbara curses Rāvaṇa, and consoles Rambhā, and the audience was delighted by the skilled acting of the Yādavas, who by a magic illusion had presented mount Kailāsa on the stage.
4. Theories of the Secular Origin of the Drama
Professors Hillebrandt[1] and Konow[2] agree in the main in maintaining the view that it is an error to look to religious ceremonies as explaining the origin of the drama. True, these ceremonies have a share in the development of the drama, but they themselves are merely the introduction into the ritual of elements which have a popular origin. We are to believe that a popular mime existed, which, with the epic, lies at the bottom of the Sanskrit drama.
It must be admitted at once that we have extremely little authentic information regarding the performers of these mimes, believed to have existed before the origin of drama. The statements made by Professor Konow, who finds in them experts in song, dance, music, but also in matters such as jugglery, pantomime, and the allied arts, all rest on evidence which is either contemporary with the Mahabhāṣya or later than it; the fact that Naṭas sang is recorded for us in the Mahabhāṣya, which of course may refer to genuine actors, and not to professors of the mime, and their connexion with sweet words is attested in the Jātaka prose only, which dates several centuries after the existence of the true drama. We need not, of course, doubt that music, song, and dance, popular in the Vedic age, preserved that character throughout the later period, and we have evidence from Açoka's time onwards of the existence of Samājas which he condemned, doubtless because of the fights of animals which took
