is far too violent a change to be credible, while Lévi's[1] view which makes him a borrowing from the Prākrit drama, which depicted with truth the type of Brahmin who serves as go-between in love affairs, masking his degraded trade under the cloak of religion, renders it unintelligible why the Brahmins should have consented to maintain him in the Sanskrit drama. Equally unconvincing is Professor Konow's[2] effort to explain him as a figure of the popular drama, which loved to make fun of the higher classes, especially the Brahmins. There was no conceivable reason why the Brahmins should have kept such a figure in a drama which never appealed to the lower classes, and it is significant that there is no trace of a comic figure of the Kṣatriya class, although the populace doubtless was as willing to make fun of the rulers as of the priests. The similarity between the Çakāra and the miles gloriosus is by no means small, but the argument from borrowing is refuted by the reflexion that such a figure can be explained perfectly easily from the actual life of India in the period of Bhāsa and the Mṛcchakaṭikā, when mercenary soldiers must have been painfully familiar to Indians.
The number of actors is certainly not in accord with the Greek practice; not only has Bhāsa large numbers, but the Çakuntalā has thirty, the Mṛcchakaṭikā twenty-nine, the Vikramorvaçī eighteen, the Mudrārākṣasa twenty-four, and it is only in the later and less inventive Bhavabhūti that we find but thirteen in the Mālatīmādhava and eleven in the Uttararāmacarita.
The prologue in both dramas serves the purpose of announcing the author's name, the title of the play, and the desire of the dramatist for a sympathetic reception, but the Indian prologue is closely attached to the preliminaries, and has a definite and independent character of its own in the conversation between the Sūtradhāra and his wife, the chief actress, so that borrowing is out of the question. Nor does any importance attach to the fact that Çiva, who is in a special sense the patron of drama, is the nearest Indian representative of Dionysos, or that the time of the festival at which plays were often shown was spring, as in the case of the Great Dionysia at Athens when new plays were usually presented. There is similarity between the Protagonist and the Sūtradhāra, for both undertake the leading parts in the drama,
