The evidence, therefore, for a secular origin disappears; it is curious, indeed, that Professor Hillebrandt [94] himself adduces proof that the western parallel of the Vidūṣaka is connected with religious ceremonies rather than a secular creation. But what is most remarkable of all is that Professor Konow adduces as evidence of the secular origin of the drama the Yātrās, which are essentially bound up with the religion of Kṛṣṇa, and the rough dramatic sketches performed at Almora at the Holi festival, also essentially religious. [95] It is indeed to ignore how essentially religion enters into the life of the Hindu to imagine that it is possible to trace the beginnings of drama to a detached love of amusement. It is apparently difficult for the modern mind to appreciate that religion may cover matters which to us appear scarcely connected with it or even repugnant; but this is a delusion largely due to the narrower and more exalted conception of religion of the northern and western lands of Europe. Less plausible still is the attempt of Pischel [96] to find evidence that the puppet-play is the source of the Sanskrit drama, and that moreover it has its home in India, whence it has spread over the world. The curious and odd art may indeed have an Indian origin, but it would be wholly unwise to suppose that the drama is due to it, nor is the theory apparently accepted on any side at the present time. The existence of such a play is attested by the Mahābhārata, [97] though the antiquity of the device is not thus made clear; in the Kathāsaritsāgara, following perhaps the Bṛhatkathā of Guṇāḍhya, possibly of the third century A.D., we hear of a damsel, daughter of the wonderful craftsman Asura Maya, who amused her companion with puppets which could speak, dance, fly, fetch water, or pluck and bring a garland. In the Bālarāmāyaṇa of Rājaçekhara Rāvaṇa is represented as deceived by a puppet made to resemble Sītā, in whose mouth a parrot was placed to give his entreaties suitable replies. Shaṅkar Pāṇḍuraṅg Paṇḍit [98] records of his time that in the Marāṭha and Kanarese country there are travelling marionette theatres, the only form of drama known in the villages; the puppets made of wood or paper are managed by the director, whose style is Sūtradhāra; they can stand or lie, dance or fight. From this puppet-play, it was suggested, the names of the Sūtradhāra, as the puller of the strings, and of the Sthāpaka, arranger, his assistant, passed over to the legitimate drama. The Vidūṣaka, in Pischel’s view, owed also his origin to the puppet-play.