After The Most Pompous Marriage Ceremonies, The Monkey Soldiers Made A Bridge, With The Help Of Their Own Tails, And Safely Landed With Their Spouses In Europe, Where They Lived Very Happily And Had A Numerous Progeny.

This progeny are we, Europeans. Dravidian words found in some European languages, in Basque for instance, greatly rejoice the hearts of the Brahmans, who would gladly promote the philologists to the rank of demi-gods for this important discovery, which confirms so gloriously their ancient legend.

But it was Darwin who crowned the edifice of proof with the authority of Western education and Western scientific literature. The Indians became still more convinced that we are the veritable descendants of Hanuman, and that, if one only took the trouble to examine carefully, our tails might easily be discovered. Our narrow breeches and long skirts only add to the evidence, however uncomplimentary the idea may be to us.

Still, if you consider seriously, what are we to say when Science, in the person of Darwin, concedes this hypothesis to the wisdom of ancient Aryas. We must perforce submit. And, really, it is better to have for a forefather Hanu-man, the poet, the hero, the god, than any other monkey, even though it be a tailless one. Sita-Rama belongs to the category of mythological dramas, something like the tragedies of Aeschylus. Listening to this production of the remotest antiquity, the spectators are carried back to the times when the gods, descending upon earth, took an active part in the everyday life of mortals. Nothing reminds one of a modern drama, though the exterior arrangement is the same. "From the sublime to the ridiculous there is but a step," and vice versa. The goat, chosen for a sacrifice to Bacchus, presented the world tragedy (greek script here). The death bleatings and buttings of the quadrupedal offering of antiquity have been polished by the hands of time and of civilization, and, as a result of this process, we get the dying whisper of Rachel in the part of Adrienne Lecouvreur, and the fearfully realistic "kicking" of the modern Croisette in the poisoning scene of The Sphinx. But, whereas the descendants of Themistocles gladly receive, whether captive or free, all the changes and improvements considered as such by modern taste, thinking them to be a corrected and enlarged edition of the genius of Aeschylus; Hindus, happily for archaeologists and lovers of antiquity, have never moved a step since the times of our much honoured forefather Hanuman.

We awaited the performance of Sita-Rama with the liveliest curiosity. Except ourselves and the building of the theatre, everything was strictly indigenous and nothing reminded us of the West. There was not the trace of an orchestra. Music was only to be heard from the stage, or from behind it. At last the curtain rose. The silence, which had been very remarkable before the performance, considering the huge crowd of spectators of both sexes, now became absolute. Rama is one of the incarnations of Vishnu and, as most of the audience were worshippers of Vishnu, for them the spectacle was not a mere theatrical performance, but a religious mystery, representing the life and achievements of their favourite and most venerated gods.

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