exceed, or only by a little, the duration of a day. If the rule was borrowed, it was greatly changed in sense by permitting long periods, up to a year, to elapse between the acts in the Sanskrit drama, and the mere moral needs of the approximation to reality requisite for illusion would produce the state of the Sanskrit drama without external influence.
The characters of the drama present problems which are not solved by the theory of borrowing. The figure of the queen, loving her husband, noble and dignified, is compared by Windisch with that of the matrona of the Roman comedy, while her attempts to prevent the union of her husband and the new love are compared to the efforts of the senex to dissuade his son from a rash marriage or intrigue. But it is clear that the comparisons are idle; the rivalry of the old love and the new is an incident of the life of the harem inevitable in polygamy, while it affords an admirable opportunity for the poet to depict the contrast of types and the different aspects of love, his chief theme. Windisch, however, lays most stress on his comparison of the three figures of the Viṭa, Vidūṣaka, and Çakāra, with the parasite, the servus currens, and the miles gloriosus of the Greek drama, and his arguments have a certain weight. It is true that these three, with the Sutradhāra and his assistant, are given by the Nāṭyaçāstra in a list of actors, and that the five correspond fairly closely with the male personnel of a Greek drama; it is also true that, while Kālidāsa and the Mṛcchakaṭikā with the Cārudatta know the Çakāra, he vanishes from the later drama, and the Viṭa shows comparatively little life, suggesting that the Greek borrowings were gradually felt unsuited to India and died a natural death. But the argument is inadequate to prove borrowing. The Viṭa is, indeed, more closely akin to the parasite than to any other character of the Greek or Roman comedy, but the parasite is lacking in the refinement and culture of his Indian counterpart, who is clearly drawn from life, the witty and accomplished companion who is paid to amuse his patron, but whose dependence does not make him the object of insolence and bad jokes. The Vidūṣaka has, in all likelihood, as has been seen, his origin in the religious drama; his Brahmin caste, and his use of Prākrit can best thus be explained. The alternative views all present far more difficulties; the transformance of the slave into a Brahmin
