Manasara Series (I. A Dictionary of Hindu Architecture; II. Indian Architecture according to Manasara-Shilpashastra; III. Manasara on Architecture and Sculpture: Sanskrit Text; IV. Architecture of Manasara: Translation; V. Architecture of Manasara: Illustrations; VI. Hindu Architecture in India and Abroad; VII. An Encyclopaedia of Hindu Architecture) v7.c47.3263

v7.c47.3263

This traditional account has been gathered from the *Bharata-Nāṭya-śāstra* which treatise the Western scholars have placed in the third century of the Christian era. There is also a class of works, called *Naṭasūtra*, referred to in Paṇini’s grammar (4, 3, 110), dealing with directions to actors (naṭa). But the dialogues and other elements have been discovered in the early *Vedas*.² These dialogues are romantic in nature and dramatic in essence. Thus the conversations between Yama and Yamī, or Purūravas and Ūrvaśi would charm a modern audience in a most up-to-date theatre. Professor Keith has further recognized that ‘the Vedic ritual contained within itself the germs of drama’ and in the ceremonies ‘there was undoubtedly present the element of dramatic representation.’¹