This theory, which is technically known as the ‘Âkhyâna’ theory (as it derived its starting point from the discussion of the Suparnâkhyâna text), won considerable support, but was contested by M. Sylvain Lévi, who asserted that, in these hymns, we had the remains of the earliest, and oldest, Indian dramatic creations, the beginning of the Indian Drama; and that the fragments could only be satisfactorily interpreted from the point of view that they were intended to be spoken, not by a solitary reciter, but by two or more _dramatis personae_.[3] J. Hertel (_Der Ursprung des Indischen Dramas und Epos_) went still further, and while accepting, and demonstrating, the justice of this interpretation of the ‘Dialogue’ poems, suggested a similar origin for certain ‘Monologues’ found in the same collection.[4] Professor Leopold von Schroeder, in his extremely interesting volume, _Mysterium und Mimus im Rig-Veda_,[5] has given a popular and practical form to the results of these researches, by translating and publishing, with an explanatory study, a selection of these early ‘Culture’ Dramas, explaining the speeches, and placing them in the mouth of the respective actors to whom they were, presumably, assigned. Professor von Schroeder holds the entire group to be linked together by one common intention, _viz_., the purpose of stimulating the processes of Nature, and of obtaining, as a result of what may be called a Ritual Culture Drama, an abundant return of the fruits of the earth. The whole book is rich in parallels drawn from ancient and modern sources, and is of extraordinary interest to the Folk-lore student. In the light thrown by Professor von Schroeder’s researches, following as they do upon the illuminating studies of Mannhardt, and Frazer, we become strikingly aware of the curious vitality and persistence of certain popular customs and beliefs; and while the two last-named writers have rendered inestimable service to the study of Comparative Religion by linking the practices of Classical and Medieval times with the Folk-customs of to-day, we recognize, through von Schroeder’s work, that the root of such belief and custom is imbedded in a deeper stratum of Folk-tradition than we had hitherto realized, that it is, in fact, a heritage from the far-off past of the Aryan peoples. For the purposes of our especial line of research _Mysterium und Mimus_ offers much of value and interest. As noted above, the main object of these primitive Dramas was that of encouraging, we may say, ensuring, the fertility of the Earth; thus it is not surprising that more than one deals with the theme of which we are treating, the Freeing of the Waters, only that whereas, in the quotations given above, the worshippers praise Indra for his beneficent action, here Indra himself, _in propria persona_ appears, and vaunts his feat. “Ich schlug den Vritra mit der Kraft des Indra! Durch eignen Grimm war ich so stark geworden! Ich machte für die Menschen frei die Wasser”[6]