The form was that of Dionysos Melanaigis, and for his intervention the Athenians rewarded him by admission to the Apatouria, the festival of deceit. Thus the black Melanthos with the aid of Dionysos of the black goatskin slays the fair; the dark winter destroys the light of summer. Even in modern times in Northern Thrace[1] is celebrated a popular festival in which a man clad in a goatskin is hailed as king, scatters seed over the crowd – obviously to secure fertility – and ultimately is cast into the river, the usual fate for the outworn spirit of vegetation. In a similar mummery performed near the ancient Thracian capital there is a band of mummers, clad in goatskins, of whom one is killed and lamented by his wife. It is natural to deduce hence that tragedy had its origin in a primitive passion-play performed by men in goatskins, in which an incarnation of a divine spirit was slain and lamented, whence the dirge-like nature of the Greek drama.
The primitive Indian play differs in one essential from this suggested origin of tragedy; the victory lies, as we have seen, with Kṛṣṇa, with the Vaiçya, not with the dark Kaṅsa, the black Çūdra. We have, therefore, not sorrow, though there is death, and the fact that the Sanskrit drama insists on a happy ending is unquestionably most effectively explained if it be brought into connexion with the fact of the origin of the drama in a passion play whose end was happiness through death, not grief. This view has received a remarkable measure of confirmation from the discovery of the plays of Bhāsa; that dramatist does not conform to the rule of the later theory that there must be no slaying on the stage, but he most assuredly conforms to the principle of the Kaṅsavadha that the slaying is to be of an enemy of the god; the Ūrubhan̄ga, which has erroneously[2] been treated as a tragedy is, on the contrary, the depicting of the deplorable fate of an enemy of Kṛṣṇa, and we have from Bhāsa himself the Bālacarita which describes the death of several monsters at Kṛṣṇa's hands, and finally of Kaṅsa himself.
In the recitation of the Granthikas divided into two parties
- ↑ Dawkins, Journ. Hell. Stud., 1906, pp. 191 ff.
- ↑ Lüders (SBAW. 1916, p. 718, n. 3) is responsible for the view that Duryodhana is the hero. Lindenau (BS. p. 30) accepts this, but gives the true facts (pp. 32, 33), without apparently realizing that the views are contradictory. The Ūrubhan̄ga's conclusion is happy, not tragic, for the worshipper of Kṛṣṇa.
