The grand manner is appropriate to the sentiments of heroism, wonder, and fury, and in a less degree to the pathetic and erotic. Virtue, courage, self-sacrifice, compassion, and righteousness are its subjects, not sorrow. Its divisions are the challenge (utthāpaka), as in the Mahāvīracarita, Act V, Vālin defies Rāma; breach of alliance (saṁghātya) among one’s foes, which may be brought about by deliberate stratagem, as in the Mudrārākṣasa, or by fate, as in the Rāma dramas Vibhīṣaṇa severs himself from Rāvaṇa; change of action (parivartaka) as when in the Mahāvīracarita Paraçurāma offers to embrace Rāma, whom he came to overthrow; and the dialogue (saṁlāpa) of warriors such as that of Rāma and Paraçurāma in the same play. The violent manner accords with the sentiments of fury, horror, and terror. It employs magic, conjuration, conflicts, rage, fury, and underhand devices. Its elements include, first, the almost immediate construction (saṁkṣipti) of some object by artificial means, such as the elephant of mats made to contain Udayana’s men in the lost Udayanacarita; but others interpret this member as a sudden change of hero, whether real, as in the substitution of Vālin for Sugrīva, or merely a change of heart on the hero’s part, as in Paraçurāma’s submission to Rāma; in either case only a secondary hero can change or be changed, else the unity of the drama would disappear. The other elements are the creation of an object by magic means (vastūtthāpana); the angry meeting of two persons who end by fighting (sampheṭa), as do Mādhava and Aghoraghaṇṭa in the Mālatīmādhava; and a scene of tumultuous disturbance (avapāta), such as that when the monkey escapes in the Ratnāvalī or of the attack on Vindhyaketu in the Priyadarçikā, Act I. The verbal manner is based on sound, as the other three are on sense. The voice only is its means of expression; women may not use it, and the men must speak Sanskrit; these actors bear the name Bharata, which is appropriated to this manner. It is adapted to all the sentiments, or, according to the Nāṭyaçāstra, only to those of heroism, wonder, and fury. Its elements are, in true scholastic fashion, likewise reckoned as four; two of them, the propitiation (prarocanā), and the introduction (āmukha, prastāvanā), essentially belong to the prologue of the drama, and will be considered in that connexion; the other two are given as the garland (vīthī) and the farce, which are species of drama. But the theorists agree that the elements (an̄ga) of the garland [693] are applicable in any part of the drama, especially the first juncture, and they are evidently an essential part of the verbal manner.