Professor Hillebrandt, [27] on the other hand, is satisfied that we have actual ritual drama before us, and Professor Konow [28] insists that these are indeed ritual dramas, but that they are borrowed by the ritual from the popular mime of the time, which accordingly must have known dialogue, abusive conversation and blows, but of which the chief parts were dance, song, and music which are reckoned in the Kauṣītaki Brāhmaṇa [29] as the arts, but of which the Pāraskara Gṛhya Sūtra [30] disapproves for the use of men of the three higher castes. The evidence for this assumption is entirely lacking, and it is extremely significant that the Vedic texts ignore the Naṭa, [31] whose activity belongs according to all the evidence to a later period. It is, of course, always possible to deprecate any argument from silence, though the value of this contention is diminished by the very remarkable enumerations of the different forms of occupation given in the Puruṣamedha sections of the Yajurveda, where in the imaginary sacrifice of men the imagination of the Brahmins appears to have laboured to enumerate every form of human activity. But in the absence of any proof that secular pantomime is older than religious throughout the world, and in the absence of anything to indicate that it was so in the case of India, it seems quite impossible to accept Professor Konow’s suggested origin of drama. 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 completed [32] 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. [33] 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 Oldenberg [34] and which finds the origin of drama in the sacred dance, a dance, of course, accompanied by gesture of pantomimic 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.