Of the part played by the song, dance, and music in the drama the theorists curiously enough tell us comparatively little of interest, though it is certain that both were most important elements in the production of sentiment. The types of dance recognized in the Nāṭyaçāstra are two, the violent dance of men, invented by Çiva himself, the Tāṇḍava, and the tender and voluptuous dance of Pārvatī, the Lāsya. The latter alone, by reason of its special importance, is carefully analysed into ten parts by the Çāstra, [717] which shows the essential union of song and dance. The first is the song proper, which is sung by one seated, to the accompaniment of a lute, without dancing; the recitation standing (sthitapāṭhya) is a declamation in Prākrit by a woman pacing rapidly under the influence of love, or it may also mean, according to Abhinavagupta, a declamation by a woman in anger. The recitation sitting (āsīna) is performed by a woman lying down, under the stress of sorrow, without musical accompaniment. In the Puṣpagaṇḍikā various metres are used; Sanskrit may be employed; men act as women and vice versa, and there is a musical accompaniment. In the Pracchedaka a woman sings to the lute her grief at her lover’s infidelity. The Trigūḍha is the acting of a man in woman’s dress, as of Makaranda in the Mālatīmādhava, Act VI. The Saindhava is a song to a clear accompaniment of a lady whose love has failed to keep his tryst. The Dvigūḍhaka is a harmonious song, full of sentiment, in dialogue form. The Uttamottaka is a song filled with the bitterness of a troubled love. The Uktapratyukta is a duet, in which one lover addresses to the other feigned reproaches. These divisions, of course, appear to ignore their nature as parts of a dance, but it must be remembered that the motions of the performers are essential in the performance. The music of the drama is not described at length in the later theorists; what is clear is that each sentiment has its special appropriate music, and each action its special accompaniment. Thus the Dvipadikās accompanied the performance of the rôles of persons distressed, unwell, and unhappy; the Dhruvās were chosen so as to intimate at once to the audience the quality of the new arrival on the stage. [718] 8. THE PRELIMINARIES AND THE PROLOGUE