The Sanskrit Drama in its Origin, Development, Theory & Practice c6.s3.14

c6.s3.14

Of other elements which enter into drama we find the songs of the *Sāmaveda*, and the use of ceremonial dances. Thus at the Mahāvrata maidens dance round the fire as a spell to bring down rain for the crops, and to secure the prosperity of the herds. Before the marriage ceremony is completed¹ there is a dance of matrons whose husbands are still alive, obviously to secure that the marriage shall endure and be fruitful. When a death takes place, and the ashes of the deceased are collected, to be laid away, the mourners move round the vase which contains the last relics of the dead, and dancers are present who dance to the sound of the lute and the flute; dance, music, and song fill the whole day of mourning.² Dancing is closely associated throughout the history of the Indian theatre with the drama, and in the ritual of Çiva and Viṣṇu-Kṛṣṇa it has an important part. Hence the doctrine which has the approval of Professor Oldenberg³ and which finds the origin of drama in the sacred dance, a dance, of course, accompanied by gesture of pantomic character; combined with song, and later enriched by dialogue, this would give rise to the drama. If we further accept the view that the dialogue in prose was added from the ritual element seen in the abuse at the horse sacrifice and the Mahāvrata, then within the Vedic ritual we may discern all the elements for the growth of drama present.