Indifference to individuality necessarily meant indifference to action, and therefore to plot, and this lies at the basis of the steady progress by which the dialogue was neglected in favour of the stanzas. The latter express the general; they draw highly condensed, but also often extremely poetical, pictures of the beauty of nature in one of its many aspects, or of the charms of the beloved; or they enunciate the Brahmanical solutions of the problems of life and conduct. In them the individual has no place; the beloved may be described, but she is merely typical. These stanzas appealed to the audience; we have no echo in India of the criticisms which were levelled in Greece against Euripides, for the introduction of sentiments unfitted to his characters and the scenes involved, and we have no hint that Indian theory ever recognized that the drama by the tenth century A.D. was in a state of decadence. The peculiar and limited view of the drama was intimately connected with its Brahmanical character. The drama of Greece was popular; it appealed to all free Athenian citizens, [587] an infinitely wider class than that for which the dramas of India in Sanskrit and Prākrit were composed, and it was written in a language easily comprehended by all those who viewed the spectacle. From the period of the earliest dramas known to us the full comprehension of the words can have been confined to a limited section of the audience, which, however, had sufficient pleasure in the spectacle, in the song, the pantomimic dances, and the music, and sufficient general comprehension of the drama to follow it adequately enough. Such an audience, however, acted as a stimulus to refinement and elaboration; the dramatist could neglect the prime necessity of being understood which weighed on the Greek dramatist, and indulge in the production of something recondite, calculated to manifest his skill in metrical form and management of words. The fact that Sanskrit was not a normal living language presented him with the temptation, to which none of the later dramatists rises superior, of the free use of the vast store of alleged synonyms presented by the lexica, [588] freed from any inconvenient necessity, such as exists in every living language, of using words only in that precise nuance which every synonym possesses in a living dialect.