between the Çūdra who plays the role of the mishandled seller and the much misused Devil of the mediaeval mystery plays.[1] 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.
In the Mahāvrata[2]we find elements which are of importance as indicating the materials from which the drama might develop. The Mahavrata is plainly a rite intended to strengthen at the winter solstice the sun, so that it may resume its vigour and make fruitful the earth. Now an essential part of the rite is a struggle between a Vaiçya, whose colour is to be white, and a Çūdra, black in colour, over a round white skin, which ultimately falls to the victorious Vaiçya. It is impossible, without ignoring the obvious nature of this rite, not to see in it a mimic contest to gain the sun, the power of light, the Aryan, striving against that of darkness, the Çūdra. In the face of the ethnological parallels it is impossible also to sever this episode from the numerous forms of the contest of summer and winter, the first represented by the white Aryan, the second by the dark Çūdra. We have in fact a primitive dramatic ritual, and one which it may be added was popular throughout the Vedic age. The same ceremony is also marked by a curious episode; a Brahmin student and a hetaera are introduced as engaged in coarse abuse of each other, and in the older form of the ritual
