dawn, twilight, darkness, morning, midday, the hunt, mountains, the seasons, forests, the ocean, the sky, a town, the pleasures of love, the misery of separation from one's beloved, a sacrifice, a battle, the march of an army, a marriage, the birth of a son, all of which should be developed in appropriate detail.
The essential feature of these little epics is the enormous development of the art of description, and the feature occurs in the other forms of narrative literature, the Kathā, tale, and the Ākhyāyikā, romance, types which blend with each other. Whether the subject be an imaginary theme, as is the Vāsavadattā of Subandhu, or a historical one, as in the Harṣacarita of Bāṇa, we find nothing treated as really important save the descriptions as contrasted with the narrative. The Sanskrit lyric also, in Kālidāsa's masterpiece, the Meghadūta, is essentially descriptive, as is the Prākrit lyric preserved in the collection of Hāla, which is based on the model of an older lyric in Sanskrit, whose existence is revealed to us by the Mahābhāṣya.
The love of description, however, is not new; it is a characteristic of the epic itself, and the Rāmāyaṇa in special shows us how the way for the court poetry was being prepared.[1] Hence the fact that the verses of the drama are overwhelmingly descriptive, when not gnomic in character, is no matter for surprise. The peculiarity is a direct inheritance from the epic.
This fact has one important bearing on the history of the drama. The suggestion of Pischel[2] that the verses alone were once preserved, and the prose left to be improvised would have been plausible only if the verses had been essentially the important elements in the dialogue, as in the supposed Vedic Ākhyāna hymns. But this is assuredly not the case; the verses do little to help on the action; as in the epic, they express descriptions of situations and emotions; when movement of the play is requisite recourse is had to prose. Or the verses serve to set out maxims, as is natural in view of the great fondness of India for gnomic poetry, seen already in the verses introduced
- ↑ See Jacobi, Das Rāmāyaṇa, pp. 119 ff.; Walter, Indica, III.
- ↑ Such a drama as the Haragaurīvivāha of Jagajjyotirmalla of Nepal (A.D. 1617-33), which is really a sort of opera with the verses, written in dialect, as the only fixed element (Lévi, Le Népal, i. 242) is of no cogency for the early drama. The Maithilī beginnings of drama, based on the classical, give song in dialect, dialogue in Sanskrit and Prākrit (Lévi, TI. i. 393).
