The Bh[=a]rata (or the epic [Greek:  kat exochen] gives us our first view of Hinduism in its sectarian developments.  But no less does it show us a changing Brahmanism.  The most typical change in the Brahmanism of this period, which covers all that time called by Mueller the era of the Renaissance, and ends with the pedantically piquant literature of the drama,[8] is the abnormal growth of the ascetic religious exercise.  Older Brahmanism, like the sects, admitted Yogis and ascetics of various kinds, but their aim was to attain oneness with God; and ‘union’ (with God) is the yoga (Latin jugum has the same origin) which they sought.  But it was not long before the starved ascetic, with his wild appearance and great reputation for sanctity, inspired an awe which, in the unscrupulous, was easily turned to advantage.  The Yogi became more or less of a charlatan, more or less of a juggler.  Nor was this all.  Yoga-practices began to take precedence before other religious practices.  In the Br[=a]hmanas it is the sacrifice that is god-compelling; but in the epic, although sacrifice has its place, yet when miraculous power is exerted, it is due chiefly to Yoga concentration, or to the equally general use of formulae; not formulae as part of a sacrifice, but as in themselves potent; and mysterious mantras, used by priest and warrior alike, serve every end of magic.[9] Apart from acquisition of power, this Yoga-training is, moreover, all that is needful from the point of view of righteousness.  Physical prowess here is the one thing admirable.  To stand for years on one leg, to be eaten by ants, to be in every way an ascetic of the most stoical sort, is the truest religion.  Such an ascetic has no ordinary rules of morality.  In fact, his practices are most peculiar, for to seduce young women is one of his commonest occupations; and in his anger to cause an injury to his foes is one of the ends for which he toils.  The gods are nothing to him.  They are puppets whom he makes shake and tremble at will.  As portrayed in the epic, in terms of common sense, the Muni (silent saint) is a morose[10] and very vulgar-minded old man, who seeks to intimidate others by a show of miraculous power.  In the matter of penances those of the law are extended beyond all bounds.  The caste-restrictions are of the closest, and the most heinous crime is to commit an offence against caste-order.  On the other hand, the greatest merit is to give gifts to priests.  This had already proceeded far enough, as was indicated by a passage cited above from Manu.  But in the epic the greed and capacity of the priest exceeds all imaginable limits.  He takes whatever he can get and asks for more.  He has, by his own showing, scarcely one estimable trait.  Avarice, cupidity, sensuality, gluttony, love of finery, effeminacy, meanness, and pride—­everything charged against him by the Buddhist—­are his most marked characteristics.  He appears, however, to be worse than he always was.  For