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classification into sixteen types. But while taking up the other eightfold classification, he says, unlike Rudrabhatta and Dhananjaya, that it is applicable only to the Svakiya. Parakiyā, according to him, can be of only three types: Virahotkanthita, Abhisarika and Vipralabdha. With regard to the courtesan he does not speak of this classification at all.190 The topic is concluded with the mention of the Pratināyikā or the rival wife."
Thus Hemachandra's treatment of Nayaka-Nayika-Bheda is based on the scheme of classification adopted by Rudrata as well as on the outlook and the method of presentation adopted in the Dasarūpaka of Dhananjaya who is indebted to the Śṛngāratilaka, 191 In fact, Dhananjaya "reproduces in toto the three classifications of the Sṛngar. Tilaka with all possible brevity and conciseness, giving only short definitions and omitting illustrations and other details."192
The Daśarupaka discusses the characteristics of the Hero and the Heroine and the dramatis personae of all types, in the second Prakāśa. We have already noted that Vastu, Neta and Rasa form the basis of classification of a dramatic composition. And since the topic of the Vastu or subject matter has been dealt with in the first Prakasa of the Daśarupaka, Dhananjaya takes up for treatment the topic of the Neta or Nāyakabheda in the second Prakasa to be followed by the theory of Rasa.
Hemachandra's Treatment of Nayaka-Nayika-Bheda
At the outset Hemachandra briefly explains the reason why this chapter on the characteristics of the Hero and other characters is included in this work. He says that in view of the fact that Kavya or Literary compositions contain the Hero and other characters, it is proposed to describe their characteristics.
Both men and women fall into three natural types : Uttama, Madhyama and Adhama. The Uttama type is possessed
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