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6 decoration were apparently very simple and much was left to the imagination. Elaborate directions for gestures, pantomime, and clothing are given. Thrones, seats, chariots, weapons, and armor were employed, and some sort of mechanical contrivances were perhaps not unknown. We must infer, however, from the frequent use of the word nāṭayitvā, 'having gesticulated,' nāṭayati, 'mimics, acts as if doing,' as a stage direction, that pantomime and gesticulation were largely resorted to for filling out the deficiencies of the staging.

The age of the Sanskrit drama may roughly be given as extending from 400 to 1100 A.D. This period does not, of course, include the earliest efforts at dramatic composition, nor take in a large number of late and inferior plays. Very little is known of the earliest dramatists before Kālidāsa, and none of their compositions excepting scattered verses are extant. For example, the poets Bhāsa, Rāmila, Somila (or Saumillaka), and the Kaviputras were well known and popular playwrights among the Hindus of Kālidāsa's time, but our knowledge of them is practically confined to their names.

Most students of the Sanskrit drama are of the opinion that the Mṛcchakaṭikā, or 'Clay Cart,' of Śūdraka is the oldest extant Sanskrit play. The arguments in favor of this view are based upon the state of civilization shown in the play, the general style of the drama and the richness and diversity of the Prākrit dialects employed in its composition. Some scholars, however, whose researches in the Hindu drama entitle them to speak with great authority upon this subject, believe that the play is not earlier than the sixth century of our era, or approximately of the same period as Kālidāsa's dramas. I must confess, nevertheless, that I find myself among the number of those that are inclined to consider it of much earlier date. The question of the authorship of the Mṛcchakaṭikā is also still under discussion. In the prologue the play is stated