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qualities, constitute the characteristics of a poet. The first poet Valmiki was both a seer and a master of description. He naturally was a real poet. For, true poetry depends on the poet's ability to give a proper form and shape to his lofty vision.
The Preksya literary form is again twofold: (1) Pathya and (2) Geya.
The Pathya types of representational (i.e., dramatic) poetry consist of (1) Naṭaka, (2) Prakaraṇa, (3) Nātikā, (4) Samavakāra, (5) Thamṛga, (6) Dima, (7) Vyayoga, (8) Utsṛṣṭikanka, (9) Prahasana, (10) Shaṇa, (11) Vithi, (12) Saṭṭaka etc. It is well known that the first eleven types of dramatic compositions or forms are enumerated and defined by Bharata in his Natyaśastra. But though the twelfth variety, Saṭṭaka, represented by Rajasekhara's Karpuramañjarī is outside Bharata's list, yet it is included here because it satisfies all the tests of the Pathya kind of poetry. Hemachandra remarks that dramatic forms from Naṭaka upto Vithi are Vakyarthābhinayasvabhāva (वाक्यार्थाभिनयस्वभाव ).
Hemachandra's Twelve Rūpakas
Hemachandra thus gives twelve Rūpakas and not the traditional ten types of major plays i.e, Daśarupakas. These twelve types of Preksya forms should now be defined by Hemachandra. But Hemachandra quotes Bharata's Karikas which define the first eleven types of dramas. Thus Hemachandra quotes (47) Bharata's Karikas to define the Nataka, the Prakarana, the Naṭika, the Samavakara, the Thamṛga, the Dima, the Vyayoga, the Utsṛṣṭikanka, the Prahasana, the Bhāṇa and the Vithi. But, to define the Saṭṭaka he quotes Bhoja's words (Sr. Pr. XI, p. 466). Bharata begins by announcing that
he will describe the tenfold division of plays (Daśarūpavikalpanam) together with names, functions and modes of production. He includes Naṭaka, Prakarana etc. but excludes Nāțika which Hemachandra has included here. Abhinavagupta
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