[33] Cf. the connexion of Greek Comedy with ritual cathartic cursing; Keith, JRAS. 1912, p. 425, n. For less plausible theories see F. M. Cornford, The Origin of Attic Comedy (1914); Ridgeway, Dramas and Dramatic Dances, pp. 401 ff. [↑]

[34] AID. p. 27. Cf. below, p. 51, n. 1. [↑]

[35] Weber, Ueber die Kṛṣṇajanmāṣṭamī (1868). [↑]

[36] The influence of the Kṛṣṇa legend is suggested on the Vikramorvaçī; Gawroński, Les sources de quelques drames indiens, pp. 33 ff. Cf. below, p. 130. [↑]

[37] Lévi, TI. i. 331 f. Cf. Bloch, Langue Marathe, pp. ix. 12 f. [↑]

[38] Mathurā, pp. 91 f., 101 f. [↑]

[39] JPASB. v. 351 ff. [↑]

[40] Megasthenes ascribed the Kordax to the Indian Dionysos (Çiva); Arrian, Ind. 7. Bloch (ZDMG. lxii. 655) exaggerates his importance. [↑]

[41] Cf. Ridgeway, Dramas and Dramatic Dances, p. 190, and pp. 192 ff. on modern Indian drama in general. [↑]

[42] Lévi, TI. i. 319 ff. That any of the early Buddhist texts (e.g. Padhānasutta, Pabbajjāsutta; Mārasaṁyutta, Bhikkhunīsaṁyutta; Chaddanta-, Ummadantī-, Mahājanaka-, or Candakinnara-jātaka; Theragāthā, 866 ff.; Therīgāthā, 912 ff.) is really dramatic is out of the question; cf. Winternitz, VOJ. xxvii. 38 f. [↑]