r which an ancient language may be studied are its
philology and its literature, or the arts and sciences, the notions and
manners, the history and beliefs of the people by whom it was spoken.
Particular branches may be preferably cultivated for the understanding
of each of these subjects, but there is no one species which will be
found to embrace so many purposes as the dramatic. The dialogue varies
from simple to elaborate, from the conversation of ordinary life to the
highest refinements of poetical taste. The illustrations are drawn from
every known product of art, as well as every observable phenomenon of
nature. The manners and feelings of the people are delineated, living
and breathing before us, and history and religion furnish the most
important and interesting topics to the bard. Wherever, therefore, there
exists a dramatic literature, it must be pre-eminently entitled to the
attention of the philosopher as well as the philologist, of the man of
general literary tastes as well as the professional scholar.

THE ORIGIN OF DRAMA.

Among the various sorts of literary composition the drama holds the most
important position; for it is a picture of real life, and, as such, of
national interest. It consists of two principal species, tragedy and
comedy; the minor species are tragi-comedy, farce, burlesque and
melo-drama. Both tragedy and comedy attained their perfection in Greece
long before the Christian era. There it originated in the worship of
Bacchus.

The English drama took its rise from the mysteries or sacred plays by
the medium of which the clergy in the Middle Ages endeavoured to impart
a knowledge of the Christian religion.

The Sanskrit drama is said to have been invented by the sage Bharata,
who lived at a very remote period of Indian history and was the author
of a system of music. The earliest references to the acted drama are to
be found in the _Mahabhashya_, which mentions representations of the
_Kansabadha_ and the _Balibadha_, episodes in the history of Krishna.
Indian tradition describes Bharat as having caused to be acted before
the gods a play representing the _Svayamvara_ of Lakshmi.

Tradition further makes Krishna and his cowherdesses the starting point
of the _Sangita_, a representation consisting of a mixture of song,
music, and dancing. The Gitagovinda is concerned with Krishna, and the
modern _Yatras_ generally represent scenes from the life of that deity.

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