elaborate pantomime through the action of getting up off the ground, and the audience, trained and intelligent, realizes what has happened. At the beginning of the Çakuntalā the gazelle which Duḥṣanta follows is not a real animal, but the Sūtradhāra tells us that the king is pursuing a gazelle, and the actor, who represents the monarch, by his eager gaze and his gestures reveals himself as in the act of seeking to shoot the deer. To pluck flowers is merely to imitate the movements of one who really does so, and an actress with any skill has no difficulty in persuading an audience by her marks of agitation that she is escaping from the attacks of a bee.
There is thus no tedious attempt at realism, though the dramatists vary in the care with which they avoid the absurd in their use of conventions; the works of Bhāsa show doubtless an excessive tendency to allow of strain being placed on the credulity of the audience. The exits and entrances of the characters are often abrupt and unnatural, but the drama was not primarily intended as a realistic copy of events, and doubtless was not felt unsatisfactory by the audience. Nor, it may be remembered, has perfection in detail in any form of ceremonial ever made a strong appeal to Indian minds; in the most gorgeous celebrations there will occur, without exciting surprise or comment, strange deviations from western canons of good taste and elegance.
To a limited extent, however, use was made of minor properties, which are classed under the generic style of model work (pusta).[1] The Nāṭyaçāstra distinguishes three forms of such objects; they may be made up (sandhima) from bamboos covered with skins or cloths; or mechanical means might be employed (vyājima); or merely clothes (veṣṭita) used. We hear of the making of an elephant in the Udayanacarita; the Mṛcchakaṭikā owes its name to the toy cart which appears in it; the Bālarāmāyaṇa has mechanical dolls, and doubtless there were represented houses, caves, chariots, rocks, horses, and so on; monsters with animal heads and many arms could be made of clay and bamboos, and covered with cloths; we are expressly told that weapons must not be made of hard material, but that
- ↑ N. xxi. 5 ff. Masks may have been used for animals, but not normally as in Greece; cf. ZDMG. lxxiv. 137, n. 2.
