Note 119 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART

We learn also from the Çāstra and from Mārkaṇḍeya in special of a number of Vibhāṣās,119 which seem to be modified forms of the more normal Prākrits, as stereotyped for use by certain characters in the drama. Thus the Çāstra attributes Çākārī to the Çakas, Çabaras, and others, while the Sāhityadarpaṇa accords Çābarī to these persons. The Çāstra ascribes Çābarī to charcoal-burners, hunters, wood-workers, and partly also to forest dwellers in general, and Ābhīrī is ascribed with the option of Çābarī to herdsmen, Cāṇḍālī to Caṇḍālas, and Drāviḍī to Draviḍas, while Oḍri, mentioned by the Çāstra, is left unascribed; presumably it was assigned to men of Orissa. Something of this is seen in the Mṛcchakaṭikā, where Çākārī, Cāṇḍālī, and a further speech Ḍhakkī or Ṭākkī appear. They all have nothing very marked as to their characteristics; the first two may be allied to Māgadhī, the last is more dubious.