human life Kālidāsa has no message for us; they raised, so far as we can see, no question in his own mind; the whole Brahmanical system, as restored to glory under the Guptas, seems to have satisfied him, and to have left him at peace with the universe. Fascinating and exquisite as is the Çakuntalā, it moves in a narrow world, removed far from the cruelty of real life, and it neither seeks to answer, nor does it solve, the riddles of life. Bhavabhūti, it is true, shows some sense of the complexity and difficulty of existence, of the conflict between one duty and another, and the sorrow thus resulting, but with him also there prevailed the rule that all must end in harmony. Sītā, who in the older story is actually finally taken away from the husband who allowed himself to treat her as if her purity were sullied by her captivity in Rāvaṇa's hands, is restored to Rāma by divine favour, an ending infinitely less dramatic than final severance after vindication. How serious a limitation in dramatic outlook is produced by the Brahmanical theory of life, the whole history of the Sanskrit drama shows.[1] Moreover, acceptance of the Brahmanic tradition permits the production of such a play as the Caṇḍakauçika, where reason and humanity are revolted beyond measure by the insane vengeance taken by the sage Viçvāmitra on the unfortunate king for an act of charity.
The drama suffered also from its close dependence on the epic, and the failure of the poets to recognize that the epic subjects were often as a whole undramatic. Hence frequently, as in the vast majority of the Rāma dramas and those based on the Mahābhārata, we have nothing but the recasting of the epic narrative into a semi-dramatic form, without real dramatic structure. There was nothing in the theory to hint at the error of such a course; on the contrary, to the poets the subject was one admirably suitable, since in itself it suggested the appropriate sentiments, and therefore left them merely the duty of heightening the effects. This led on the high road to the outward signs of the degradation of the drama, the abandoning of any interest in anything save the production of lyric or narrative stanzas of perfection of form, judged in accordance with a taste which progressively declined into a rejection of simplicity and
- ↑ Contrast Greek tragedy; Butcher, Greek Genius, pp. 105 ff.; G. Norwood, Greek Tragedy, pp. 97 f., 114 f., 128 f., 177, 318, 324; W. Nestle, Euripides (1901).
