The Sanskrit Drama in its Origin, Development, Theory & Practice c7.s3.40

c7.s3.40

The drama which was nascent in Patañjali’s time must be taken to have been, like the classical drama, one in which Sanskrit was mingled with Prākṛit in the speeches of the characters. The epic recitations of the slaying of Kaṃsa which he records must have been in Sanskrit, but, if the drama was to be popular—and the *Nāṭyaçāstra* in its tale of the origin of the art recognizes both its epic and popular characteristics, the humble people who figured in it must have been allowed to speak in their own vernacular; this accords brilliantly with the presence of Ṣaurasenī as the normal prose of the drama of the classical stage. A different view is taken by Professor Lévi,¹ who conceives that the drama sprang first into being in Prākṛit, while Sanskrit was only later applied at the time when Sanskrit, long reserved as a sacred language, re-entered into use as the language of literature; India, he contends, was never anxious for contact with reality, and it is absurd to suppose that the mixture of languages was adopted as a representation of the actual speech-usage of the time and circles in which drama came into being. This contention is supported by the observation that a number of the technical terms of the Nāṭyaçāstra are of strange appearance, and the frequency of cerebral letters in them suggests Prākṛit origin. The contention can hardly be treated as satisfactory, nor is it clear how it can possibly be reconciled with the evidence of Patañjali. The early drama, it seems clear, was not secular in origin, and Professor Lévi emphasizes its dependence on the cult of Kṛṣṇa; to refuse to use Sanskrit in it, therefore, would be extremely strange, unless we are to assume that the existence of true drama goes back to a period considerably earlier than Patañjali, and that it came into being among a milieu which was not Brahminical. There are very serious difficulties in such a theory; we may legitimately hold that such a literary form as the true drama was not created until the Brahmin genius fused the ethic and religious agonistic motives into a new creation of the highest importance for the literary history of India. The presence of a number of Prākṛit terms in the Nāṭyaçāstra is probable, but it does not mean that a theory of drama was first excogitated in Prākṛit; the main theory in all its essentials is expressed in Sanskrit, and all that is borrowed from Prākṛit is some technical terms of subsidiary importance, borrowed, doubtless, from the minor arts, which go to aid but do not constitute the drama, song, music, dancing, and the mimetic art.