The importance of Kṛṣṇa must not cause us to ignore the prominent place occupied by Çiva in the history of the drama. To him and his spouse are ascribed the invention of the Tāṇḍava [75] and the Lāsya, the violent and the tender and seductive dances, which are so important an element in the representation of a play. Nor is it surprising that a god who in the Vedic period itself is hailed as the patron of men of every profession and occupation should be regarded as the special patron of the artists. But it is probable that this importance in the drama is later than that of Kṛṣṇa, and it is not without significance that Bhāsa, who is older than any of the other classical dramatists, unlike them, celebrates in full Kṛṣṇa, and is a Vaiṣṇava, while Çūdraka, Kālidāsa, Harṣa, and Bhavabhūti alike are adorers of Çiva in their prefaces. The Mālavikāgnimitra of Kālidāsa introduces a dancing-master who speaks of the creation of the dance by the god and its close connexion with the drama. The sect of the Pāçupatas, adorers of Çiva as lord of creatures, include in their ritual the song and the dance, the latter consisting in expressing the sentiments of the devotees by means of corporeal movement in accord with the rules of the Nāṭyaçāstra. In the decadent ceremonial of the Tantras the ritual includes the representation of Çiva by men, and of his spouse as Çakti, female energy, by women. The part of Rāma in the growth of drama was certainly not less important than that of Kṛṣṇa himself, for the recitation of the Rāmāyaṇa was popular throughout the country, and has persisted in vogue. The popularity of the story is proved to the full by the effect of the Rām-Līlā or Daçārha festival, at which the story is presented in dumb show, children taking the places of Rāma, Sītā, and Lakṣmaṇa before a vast concourse of pilgrims and others. No effort is made to speak the parts, but a series of tableaux recalls to the minds of the devotees, to whom the whole tale is familiar, the course of the history of the hero, his banishment, his search for Sītā, and his final triumph. In Rāma’s case the influence of the epic on the drama appears in its full development. [76]