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purposes, but in support of this latter assumption, not a single instance was met in the 艣rauta or g峁沨ya s奴tras. Taking the support of Bharata R.V. Jagirdar writes, it is interesting to note that everything had connections with lower castes. Not only the art and the advocates, but even the first patron of drama was an anti Vedic if not a non-Aryan king. King Nahu峁�a is spoken of as the first patron of drama in the mortal world. It can be seen that Sanskrit drama has the least to do with religion and religious rites; that it is the work of people treated as anti-Vedic, fiends and that its origin is to be sought in the interest of the castes lower to Brahmins. Jagirdar draws the conclusion that it was thus the post epic s奴ta and not the puppet shows, that oriented dramatic representation. He further states that it is the recitation of epic and not that of religious hymns that was used on the Bh膩rati stage, and the recitation of the s奴ta and the ku艣ilavas formed the S膩tvati stage. On the Kaisiki stage the dansuse (na峁璱) was introduced; and the Arabhati was the final mode of the 鈥榝ull body in action'. In its structure from beginning to end, Sanskrit drama took its hero from the s奴ta and the epics in such a way that he never recited and from the religious lore or any matter from the host of Vedic Gods. To sum up, all the above discussions point to the pertinent fact that Natya has been structured keeping in mind common man has the target audience. 6. Jagirdar R.V., Drama in Sanskrit Literature, Pub, Popular Book Depot, Bombay (1947) pp 33ff, 41. 5