These facts explain the confusion [728] of the notices of the theorists as to the actor by whom the benediction is to be recited. We find ascribed to Bharata the view that a special actor, the Nāndī, should recite it, or that duty should be performed by the Sūtradhāra; another authority permits the Sūtradhāra or any other actor to recite it. The situation is complicated by the rule that at the end of the preliminaries the Sūtradhāra is supposed to leave the stage and the Sthāpaka to come on, while our dramas, as a rule, have the benediction followed by the entry of the Sūtradhāra, or rarely, as in the Pārthaparākrama, the Sthāpaka. The theory, therefore, suggests that the benediction is recited by the Sūtradhāra or Sthāpaka (called Sūtradhāra by reason of similarity of function and character) behind the curtain, and then he enters on the stage. The matter is not cleared up by the practice followed in the embryo dramas introduced into others: in that included in the Bālarāmāyaṇa the Sūtradhāra recites a benediction of twelve inflected words, and then proceeds with the prologue without a break; in the Jānakīpariṇaya it is one of the actors who does so, as in Ravivarman’s Pradyumnābhyudaya, the director then beginning the play; in the Caitanyacandrodaya the benediction is recited behind the curtain, but that is stated to be because the piece to be acted is a Bhāṇa or Vyāyoga, implying that in other cases it normally was recited on the stage, presumably by an actor other than the director. The extent of the benediction was, as we have seen, disputed. [729] Bharata’s rule of eight or twelve Padas does not stand alone, for he is credited with mentioning four or sixteen as possible numbers, and Pada may mean inflected word, line, or proposition. Abhinavagupta allows three, six, or twelve Padas in a benediction of three times; four, eight, or sixteen in one of four times; and definitely takes Pada as proposition; illustrations of eight- and twelve-Pada benedictions of this type are given by Abhinavagupta and Bharata. The dramas differ; the Çakuntalā has one of eight propositions or four lines; the Ratnāvalī four stanzas; the Mālatīmādhava and the Mudrārākṣasa eight lines each; the Uttararāmacarita twelve words. Harmony between the benediction and the character of the drama is naturally demanded by the theory, and is observed largely in practice; thus the Prabodhacandrodaya, a philosophic drama, begins with an adoration of the sole reality, the Mudrārākṣasa, a drama of political intrigue, with a verse as tortuous as the diplomacy of Cāṇakya. It is a characteristic of the determination to carry matters to extremes which distinguishes Indian theory that attempts are made to extract from the benediction not merely a general harmony with the theme, but also a reference both to the main characters and to the chief events. [730] 9. THE TYPES OF DRAMA