a celebrated story
for its plot; it should represent heroic or godlike characters and
good deeds; it should be written in an elaborate style, and be full of
noble sentiments. Moreover, it should be composed like the end of a
cow's tail; so that each of the Acts be gradually shorter.

In India, as in Greece, scenic entertainments took place at religious
festivals, and on solemn public occasions. Kalidasa's '[S']akoontala'
seems to have been acted at the commencement of the summer season--a
period peculiarly sacred to Kama-deva, the Indian god of love. We are
told that it was enacted before an audience 'consisting chiefly of men
of education and discernment.' As the greater part of every play was
written in Sanskrit, which, although spoken by the learned in every
part of India even at the present day, was certainly not the
vernacular language of the country at the time when the Hindu dramas
were performed, few spectators would be present who were not of the
educated classes. This circumstance is in accordance with the
constitution of Hindu society, whereby the productions of literature
as well as the offices of state, were reserved for the privileged
castes[6].

Every Sanskrit play opens with a prologue, or, to speak more
correctly, an introduction, designed to prepare the way for the
entrance of the _dramatis personae_. The prologue commences with a
benediction or prayer (pronounced by a Brahman, or if the
stage-manager happened to be of the Brahmanical caste, by the manager
himself), in which the poet invokes the favour of the national deity
in behalf of the audience. The blessing is generally followed by a
dialogue between the manager and one or two of the actors, in which an
account is given of the author of the drama, a complimentary tribute
is paid to the critical acumen of the spectators, and such a reference
is made to past occurrences or present circumstances as may be
necessary for the elucidation of the plot. At the conclusion of the
prologue, the manager, by some abrupt exclamation, adroitly introduces
one of the dramatic personages, and the real performance commences.

The play, being thus opened, is carried forward in scenes and Acts;
each scene being marked by the entrance of one character and the exit
of another, as in the French drama. The _dramatis personae_ were
divided into three classes--the inferior characters (nicha), who were
said to speak Prakrit in a monotonous accentless tone of voice
(anuda