The Sanskrit Drama in its Origin, Development, Theory & Practice c17.s9.6

c17.s9.6

The exact purpose of such a play is not obvious, but it looks rather like a literary *tour de force*, possibly in preparation for some form of performance¹ at which the dialogue was plentifully eked out by narrative by the director and the other actors. It is incredible, however, that, as we have it, it can ever have served any practical end, and its chief value, such as it is, is to reflect possibly the form of drama of a period when the drama had not yet completely emerged from the epic condition. We should thus have the old work of the Granthikas reinforced by putting part of the dialogue in the mouths of real actors. But it would be dangerous in so late a production to lay any stress on the possibility of deriving hence evidence for the growth of the early drama. It is, however, legitimate to note that there are similarities between the type and that of the performance of a Tamil version of the *Çakuntalā*.² The curious number of Acts has been suggested as indicating that the original was otherwise divided than a normal drama, but on this it would be dangerous to lay much stress.