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mere existence of the word Yavanika, exhibiting by chance a formative resemblance to a term vague in itself, can carry no weight with it. Lastly, all institutions, sciences or arts that have their origin in religion are admittedly home-sprung. The Sanskrit drama as invariably written and exhibited at religious festivals and congregations cannot have a foreign origin.
These theories are obviously advanced at random to dishonour the half-refined capabilities of primitive Indians and the natural tendencies of their time-honoured institutions. No wonder, therefore, they have as usual sought their way back to their original sources and are now no more rewarded than with oblivion and ignominy.
3* Music, dialogue, gesticulation and imitation may be confidently asserted the precursors of Sanskrit drama, be it on a secular or religious basis.
Music in its theoretical as well as its practical aspect may be traced in India as far as the Vedic age. Men who presided at sacrifices and those who witnessed them were not satisfied with the dull incantations of the Hotris or with the monotonous recitations of the Adhvaryus. Something to charm the people, something to elevate their imagination was the need. And this want was soon, supplied by the formation of a third class of priests called Udgatris. Their business at sacrifices was to chant the Saman which was totally borrowed from the Rig Veda and was adapted to singing. Thus the primeval cultivation of the science and art of music is to be found in the Samaveda.
Dialogic, being an impressive form of composition, was often employed in the Vedic, Epic, and Rationalistic periodsact that the Indian drama but the language not so stiff or obscure. He has a greater grace and melody about his verse. " •/:-'.. . • ' ' . : .; .". <