Vol. V;_No. 9.] The Origin of Indian Drama. 357 
[NV.S.] 
be recited with deep sound containing a hymn to the god 
e 
towards his companions. This is called Cari. Then handing 
over jarjara to one of his companions, he is to move with quick 
and fierce steps with accompanying suitable music, and read a 
verse of fierce import. This is called Mahacari. After the end 
of this he should talk with his companions. This talk is called 
Prarocana or inducement. It should include an invitation to 
the audience to hear and see, and also give a summary of the 
subject-matter of the drama. And then he retired with his 
companions in the same way as he came. 
The preliminaries should not be prolonged, for in that case 
both the actors and the audience would become tired, and if they 
are tired the drama wiil not be appreciated. After the departure 
while in unison. ; 
poet, and indicate the beginning of the drama and then retire. 
The preliminaries having been explained, the Munis_aske 
Bharata to explain ‘ Rasa,’ ‘ Bhava,’ ‘ Samgraha,’ Karika 
and Nirukta. Bharata says that the dramatic art is so vast 
IT : 
entire Samgraha is given in which all the principal topics of 
the dramatic art are enumerated in 17 slokas, after which comes 
this significant verse :— 
wanes aaral fafeet argqeae: | 
Ba: ut vaaifa eanyfanwsa | 
