The first element is the abrupt dialogue (udghātya), which takes either the form of a series of questions and answers in explanation of something not at once understood, or a monologue of question and reply. The second is continuance (avalagita) of one section by another in substitution, as where, when Sītā has decided to go to the forest for pleasure, Rāma is persuaded to let her go indeed, but into exile, or, according to Dhanaṁjaya alone, where there is a sudden turn in an event in progress. [694] The third is the Prapañca, which passes for a comic dialogue, in which two actors frankly set out each other’s demerits, [695] or, according to Viçvanātha, such a clever ruse as that of Nipuṇikā in the Vikramorvaçī, Act II, where she worms out from the Vidūṣaka the king’s infatuation. The triple explanation (trigata), a term which is used in a different sense in the rule regarding the prologue, seems to denote guesses made at the cause of a sound, which in its character is ambiguous and may be, e.g. the hum of the bees, the cry of the cuckoo, or the music made by celestial maidens. [696] Cheating (chala) denotes the use of words of seeming courtesy but boding ill, as in the inquiry for Duryodhana, their foe, by Bhīma and Arjuna in the Veṇīsaṁhāra, Act V. The repartee (vākkelī) produces comic effect in a series of questions and answers; but the same term is applied to the interruption of a sentence by Dhanaṁjaya, and by Viçvanātha to a single reply to many questions. Outvying (adhibala or atibala) applies to a dialogue in which those conversing vie with one another in violence, as in the discussion of Arjuna, Bhīma, and Duryodhana in the Veṇīsaṁhāra, Act V. The abrupt remark (gaṇḍa) is one which intervenes vitally in the tale; thus in the Uttararāmacarita Rāma has just declared that separation from Sītā would be unbearable, when the porteress announces Durmukha, the spy of the king, who comes to destroy the king’s happiness. Reinterpretation (avasyandita) is the taking up of an expression which has escaped one in a different sense; thus in the Chalitarāma, Sītā carelessly tells her sons to go to Ayodhyā and greet their father, and seeks to remedy this slip by insisting that the king is father of his people. The enigma (nālikā) conceals the sense under joking words. Incoherent talk (asatpralāpa) is the speech of one just awake, drunk, asleep, or childish; such are the hero’s words in Vikramorvaçī, Act IV. In another sense, admitted by Viçvanātha, it denotes good advice thrown away, as in the Veṇīsaṁhāra, Act I, Gāndhārī’s admonition of Duryodhana. Humorous speech (vyāhāra) is a remark made for the sake of some one else, which provokes a laugh, as when the Vidūṣaka in the Mālavikāgnimitra, Act II, by his chatter makes the damsel laugh, and permits the king longer to gaze on her charms. Mildness (mṛdava) denotes the turning of evil into good, or vice versa, as when in the Çakuntalā, Act II, the virtues of hunting, a