The Sanskrit drama : $b in its origin, development, theory and practice — John Shaqi
The Sanskrit drama : $b in its origin, development, theory and practiceKeith, Arthur Berriedale
History
The Sanskrit drama : $b in its origin, development, theory and practice
Keith, Arthur Berriedale
Sanskrit drama -- History and criticism
When we leave out of account the enigmatic dialogues of the Ṛgveda we
can see that the Vedic ritual contained within itself the germs of
drama, as is the case with practically every primitive form of worship.
The ritual did not consist merely of the singing of songs or
recitations in honour of the gods; it involved a complex round of
ceremonies in some of which there was undoubtedly present the element
of dramatic representation; that is the performers of the rites assumed
for the time being personalities other than their own. There is an
interesting instance of this in the ritual of the Soma purchase for the
Soma sacrifice. The seller is in some versions at the close of the
ceremony deprived of his price, and beaten or pelted with clods. Now
there can be no doubt that we have here, not a reflex of a disapproval
of trafficking in Soma, but a mimic account of the obtaining of Soma
from its guardians the Gandharvas, and there is some truth in the
comparison drawn between the Çūdra who plays the rôle of the mishandled
seller and the much misused Devil of the mediaeval mystery plays. [23]
But we must not exaggerate the amount of representation; it falls very
far short of an approach to drama, a point which is overlooked by
Professor von Schroeder throughout his discussions. A drama proper can
only be said to come into being when the actors perform parts
deliberately for the sake of the performance, to give pleasure to
themselves and others, if not profit also; if a ritual includes
elements of representation, the aim is not the representation, but the
actors are seeking a direct religious or magic result. It would be
absurd, for instance, to treat the identification in the marriage
ritual of the husband and wife with the sky and the earth as in any
sense dramatic or to see any drama in the performance of the royal
consecration, which is based carefully on the divine consecration of
Indra, doubtless in the view that thus the king was for the time being
identified with the great god, and so acquired some measure of his
prowess.
Public-domain text, read in full here on John Shaqi.
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