of the hero into exile excites their tears and sobs, even to the interruption of the recital; when he returns and ascends the throne the village is illuminated and garlanded.[1] Fortunately we have in a bas-relief[2] from Sānchi, which may safely be placed before the Christian era, a representation of a group of these Kathakas. We see in it that they accompanied with music in some degree their recitations, danced, and indicated by gestures the sentiments of the characters they presented. We have thus something which in its nature is far from undramatic; given the use of dialogue, the drama would be present in embryo. This step is foreshadowed but not actually taken in the account given in the later additions to the Rāmāyaṇa[3] of the first recitation of that poem. Vālmīki, the author of the narrative of Rāma's deeds, teaches the poem to Kuça and Lava, the children whom Sītā in exile bears to Rāma; they enter Ayodhyā at the moment when the king performs the horse sacrifice, and excite the curiosity of the king himself, who hears the recitation of his own deeds by the two rhapsodes, and recognizes them for his own sons.
The term Bhārata,[4] which is an appellation of the comedian in the later texts, attests doubtless the connexion of the rhapsodes with the growth of the drama. It has survived in the modern form of Bhāṭ denoting a class of reciters, who are the inheritors of a tradition of recitation of the epics, and who are expert in genealogy, enjoy general consideration, and by their mere presence with a caravan assure its passage in safety. The Bhāratas must be the rhapsodes of the Bhārata tribe,[5] whose fame is great in the early history of India, whose special fire is known to the Ṛgveda, and who have a special offering (hotrā) of their own. The Mahābhārata is the great epic of the family, preserved by their care. With the passage of time the rhapsodes doubtless took upon them the newer art of drama. Bhavabhūti in the Uttararāmacarita shows himself conscious of the debts owed by the drama to the epic, and the clearest proof is now available in the dramas of Bhāsa, with their wide indebtedness to the great epic itself.
