Their hymns and prayers, and, as we have strong reason to suppose, their dramatic ritual, were devised for the main purpose of obtaining from the gods of their worship that which was essential to ensure their well-being and the fertility of their land—warmth, sunshine, above all, sufficient water. That this last should, in an Eastern land, under a tropical sun, become a point of supreme importance, is easily to be understood. There is consequently small cause for surprise when we find, throughout the collection, the god who bestows upon them this much desired boon to be the one to whom by far the greater proportion of the hymns are addressed. It is not necessary here to enter into a discussion as to the original conception of Indra, and the place occupied by him in the early Aryan Pantheon, whether he was originally regarded as a god of war, or a god of weather; what is important for our purpose is the fact that it is Indra to whom a disproportionate number of the hymns of the _Rig-Veda_ are addressed, that it is from him the much desired boon of rain and abundant water is besought, and that the feat which above all others redounded to his praise, and is ceaselessly glorified both by the god himself, and his grateful worshippers, is precisely the feat by which the Grail heroes, Gawain and Perceval, rejoiced the hearts of a suffering folk, _i.e._, the restoration of the rivers to their channels, the ‘Freeing of the Waters.’ Tradition relates that the seven great rivers of India had been imprisoned by the evil giant, Vritra, or Ahi, whom Indra slew, thereby releasing the streams from their captivity. The _Rig-Veda_ hymns abound in references to this feat; it will only be necessary to cite a few from among the numerous passages I have noted. ‘Thou hast set loose the seven rivers to flow.’ ‘Thou causest water to flow on every side.’ ‘Indra set free the waters.’ ‘Thou, Indra, hast slain Vritra by thy vigour, thou hast set free the rivers.’ ‘Thou hast slain the slumbering Ahi for the release of the waters, and hast marked out the channels of the all-delighting rivers.’ ‘Indra has filled the rivers, he has inundated the dry land.’ ‘Indra has released the imprisoned waters to flow upon the earth.’[1] It would be easy to fill pages with similar quotations, but these are sufficient for our purpose. Among the _Rig-Veda_ hymns are certain poems in Dialogue form, which from their curious and elliptic character have been the subject of much discussion among scholars. Professor Oldenberg, in drawing attention to their peculiarities, had expressed his opinion that these poems were the remains of a distinct type of early Indian literature, where verses forming the central, and illuminating, point of a formal ceremonial recital had been ‘farced’ with illustrative and explanatory prose passages; the form of the verses being fixed, that of the prose being varied at the will of the reciter.[2]