A variant of the Nāṭikā is the Saṭṭaka, [748] which differs from it merely by being all in Prākrit, in having no introductory scenes of any kind, and in having the acts called Javanikāntara. As the name denotes a form of dance, it is quite possible that it owes its origin as a species to the use of such dances in these plays. We have an example in Rājaçekhara’s Karpūramañjarī. The Troṭaka [749] or Toṭaka is merely a variant of the Nāṭaka; the Bengālī recension of the Vikramorvaçī which contains Apabhraṅça verses and an appropriate dance of the distracted king alone gives the name. The term denotes both a dance and confused speech, and the origin of the species need be sought only in this peculiarity. The other manuscripts call it a Nāṭaka. The other species enumerated have no representatives in the old literature, nor is this wonderful, for they show the character rather of pantomime with song, dance, and music than of serious drama; the Goṣṭhī [750] has nine or ten men and five or six women as actors; the Hallīça [751] is clearly a glorified dance; the Nāṭyarāsaka [752] a ballet and pantomime; the Prasthāna, [753] in which hero and heroine are slaves, is based on a mimetic dance; so also apparently are the Bhāṇikā, [754] or little Bhāṇa, and the Kāvya, both one-act pieces; the Rāsaka, of the same general type, includes dialect in its language. The Ullāpya may have one or three acts, and its hero is of high rank, while battles form part of its subject, as they do also in the Saṁlāpaka, which may have one, three, or four acts. The Durmallikā has four acts, a hero of low rank, and a precise time-table of duration of acts. The Vilāsikā has one act, but is interesting in that the hero has, to support him, not only the Vidūṣaka, but also the parasite and a friend (pīṭhamarda); the sentiment is erotic. The Çilpaka is mysterious, for it has four acts, allows all the manners, has a Brahmin as hero with a man of lower rank as secondary hero, excludes the calm and comic sentiments, and has twenty-seven most miscellaneous constituents; if a pantomime, it was clearly not amusing. The Pren̄khaṇa, or Prekṣaṇa, is a piece in one act, with a hero of low birth, full of combats and hard words; it has no introductory scenes, and both the benediction and the Prarocanā are performed behind the scenes, but none of the late works which bear approximately this title conforms to type. The Çrīgadita is in a single act, the story legendary, the hero and heroine of high rank, the manner verbal; the word Çrī is often mentioned, or the goddess is presented seated and singing some verse. The only play known of that name is the Subhadrāharaṇa of Mādhava before A.D. 1600, which is much like an ordinary play, but contains a narrative verse, suggesting connexion with the shadow-drama. It is characteristic that the theory ignores wholly this type. 10. THE INFLUENCE OF THEORY ON PRACTICE