stands the Nátaka, of which the '[S']akoontalá' is an example. It should
consist of from five to ten Acts; it should have 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. Kalidása's '[S']akoontalá'
seems to have been acted at the commencement of the summer season--a
period peculiarly sacred to Káma-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 Hindú dramas
were performed, few spectators would be present who were not of the
educated classes. This circumstance is in accordance with the
constitution of Hindú 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 personæ_. The prologue commences with a
benediction or prayer (pronounced by a Bráhman, or if the
stage-manager happened to be of the Bráhmanical 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