In Kālidāsa we find the normal state of the Prākrits in the later drama, Çaurasenī for the prose speeches, and Māhārāṣṭrī for the verses. [345] The police officers and the fisher in the Çakuntalā use Māgadhī, but the king’s brother-in-law, who is in charge of the police and is a faint echo of the Çakāra, speaks, as we have the drama, neither Çākārī nor Māgadhī nor Dākṣiṇātyā but simply Çaurasenī. By this time, of course, we may assume that Prākrit for the drama had been stereotyped by the authority of Vararuci’s Prākrit grammar, and that it differed considerably from the spoken dialect; there would be clear proof if the Apabhraṅça verses of the Vikramorvaçī could safely be ascribed to Kālidāsa. The Māhārāṣṭrī unquestionably owes its vogue to the outburst of lyric in that dialect, which has left its traces in the anthology of Hāla and later texts, and which about the period of Kālidāsa invaded the epic. [346] Kālidāsa’s Sanskrit is classical; here and there deviations from the norm are found, but in most instances the expressions are capable of defence on some rule or other, while in others we may remember the fact of the epic tradition which is strong in Bhāsa. The metres of Kālidāsa show in the Mālavikāgnimitra a restricted variety; the Āryā (35) and the Çloka (17) are the only metres often occurring. In the Vikramorvaçī the Āryā (29) and the Çloka (30) are almost in equal favour, while the Vasantatilaka (12) and the Çārdūlavikrīḍita (11) make a distinct advance in importance. In the Çakuntalā the Āryā (38) and Çloka (36) preserve their relative positions, while the Vasantatilaka (30) and Çārdūlavikrīḍita (22) advance in frequency of use, a striking proof of Kālidāsa’s growing power of using elaborate metrical forms. The Upajāti types increase to 16. The other metres used in the drama are none of frequent occurrence; common to all the dramas are Aparavaktra, [347] Aupacchandasika, [348] and Vaitālīya, Drutavilambita, Puṣpitāgrā, Pṛthvī, Mandākrāntā, Mālinī, Vaṅçasthā, Çārdūlavikrīḍita, Çikhariṇī, and Hariṇī; the Mālavikāgnimitra and the Çakuntalā share also Praharṣiṇī, Rucirā, [349] Çālinī, and Sragdharā; the latter adds the Rathoddhatā, [350] the Vikramorvaçī a Mañjubhāṣiṇī. [351] The earliest play has one irregular Prākrit verse, the second two Āryās, and 29 of varied form of the types measured by feet or morae, and the last seven Āryās and two Vaitālīyas. The predominance of the Āryā is interesting, for it is essentially a Prākrit metre, whence it seems to have secured admission into Sanskrit verse.