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Twofold Dramatic Composition: Criterion of Division
The Preksya compositions are significantly classified into two broad types: (1) The Vakyarthabhinayasvabhāva 214 compositions, called Daśarupaka or Dramas and (2) The Padarthābhinayasvabhāva Geya Rūpakas. It may be noted that while the expression Vākyarthābhinaya refers to Rasa (i.e., the nature or essence of a Rupaka is to evoke Rasa; hence Rūpaka is termed Raśāśraya. cf D.R. 1.7): "Daśadhaiva Rasaśrayam" i.e., it (the Rūpaka) is tenfold and is based on sentiments, the other expression Padarthabhinaya refers to the pantomimic nature of the Geya Rūpakas. The word Padarthabhinaya is used by Dhananjaya in connection with Nṛtya or Dance or Pantomine and this term is translated by Haas as 'a representation of any object' (D.R. II. 9). Further, Dhanañjaya makes it clear that while Natya or Rupaka is Rasāśraya, Nṛtya or dance is Bhāvāśraya i.e., based on the (emotional) states and it is auxiliary and helpful to the Natya. The Prataparudriya also says that these two, Nṛtta and Nṛtya, are Natyāngas (3.2). It would, therefore, appear that the Geyarūpakas of Hemachandra are connected with the Nṛtya, type of Pantomine as defined in the Daśarupaka. However, the interrelation of the three concepts of Natya, Nrtya and Nṛtta is an interesting subject.215 Bharata's work deals with three kinds of stage presentation: the Tandava, the Lasya, both of which are dances, and a class of dramas called Dasarūpaka.
Hemachandra Follows Bharata
Hemachandra follows the Natyaśāstra of Bharata completely. For, he reproduces the relevant Kārikās from the Natyaśāstra to define and explain not only the Daśarupakas but also Nāṭikā, which is a separate, eleventh rūpaka according to Hemachandra. Bharata speaks of "ten dramas" in Chapter XX of the Natyaśastra. But defines eleven varieties he deals with Nātika after the Nataka and the Prakarṇa. Abhinavagupta says that the Natikā is included in the concept of Dasarupaka since
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