Note 97 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART
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The verbal manner is based on sound, as the other three are on sense. The voice only is its means of expression; women may not use it, and the men must speak Sanskrit; these actors bear the name Bharata, which is appropriated to this manner. It is adapted to all the sentiments, or, according to the Nāṭyaçāstra, only to those of heroism, wonder, and fury. Its elements are, in true scholastic fashion, likewise reckoned as four; two of them, the propitiation (prarocanā), and the introduction (āmukha, prastāvanā), essentially belong to the prologue of the drama, and will be considered in that connexion; the other two are given as the garland (vīthī) and the farce, which are species of drama. But the theorists agree that the elements (an̄ga) of the garland97 are applicable in any part of the drama, especially the first juncture, and they are evidently an essential part of the verbal manner.