We learn also from the Çāstra and from Mārkaṇḍeya in special of a number of Vibhāṣās, [715] which seem to be modified forms of the more normal Prākrits, as stereotyped for use by certain characters in the drama. Thus the Çāstra attributes Çākārī to the Çakas, Çabaras, and others, while the Sāhityadarpaṇa accords Çābarī to these persons. The Çāstra ascribes Çābarī to charcoal-burners, hunters, wood-workers, and partly also to forest dwellers in general, and Ābhīrī is ascribed with the option of Çābarī to herdsmen, Cāṇḍālī to Caṇḍālas, and Drāviḍī to Draviḍas, while Oḍri, mentioned by the Çāstra, is left unascribed; presumably it was assigned to men of Orissa. Something of this is seen in the Mṛcchakaṭikā, where Çākārī, Cāṇḍālī, and a further speech Ḍhakkī or Ṭākkī appear. They all have nothing very marked as to their characteristics; the first two may be allied to Māgadhī, the last is more dubious. The addition of Chāyās or translations in Sanskrit to explain the Prākrit is normal in the manuscripts of the dramas, and it is certain that it is old, for it is alluded to by Rājaçekhara in his Bālarāmāyaṇa. Evidently, even so early as A.D. 900, there was no public which cared for Prākrit without a Sanskrit explanation. On the subject of the use of stanzas, as opposed to prose, the text-books are curiously and unexpectedly silent. [716] This indicates how entirely empirical they are in these matters. The use of Prākrits in the dramas obviously varied, and something had to be said regarding this point, but the alternation of prose and verse is accepted as something established, on which comment is unnecessary. The fact is recognized, but its implications and purpose remain unexplored. In the stanzas themselves, it is clear, we must distinguish between those which were sung and those which were simply recited; recitation must clearly have been the normal form of use, and as sung we have normally at any rate only some of the stanzas in Māhārāṣṭrī which are placed in the mouths of women. Çaurasenī stanzas, on the other hand, we may assume to have been recited, but the distinction has practically vanished from the texts preserved. 7. THE DANCE, SONG, AND MUSIC