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Pā;hya and Geya Rūpakas
Hemachandra calls this class of minor shows as 'Geya Rūpakas' and adds by way of comments in the Viveka commentary that the performance of a Geyakavya is either (1) soft or (2) boisterous or (3) mixed (soft and boisterous) Masrna, Uddhata or Misra. Further, in another passage in the Viveka Vyākhyā (p. 447) a question is raised as to the distinction between a Pāthya Rupaka and a Geya Rūpaka. To clarify this issue, we get a line which specifically speaks of Gitāśrayatva' and 'Vādyādeḥ prayogah', which two characteristics highlight, the two essentia! aspects of Song and Music in a Geyakāvya.
Emotional Fragments
And song and music agree with the nature of the Uparūpakas or dance-ballets which, as Dhananjaya says, are emotional fragments i.e., forms which are Bhävāśraya. But as the passage in the Viveka says, some forms have speech, song, instrumental music and dance and some resemble the Nștta, which is only Tālalayasraya (D.R.I. 9). And the ancient Indian drama "as envisaged by Bharata is of the nature of a dance-drama, with music and dance movements, it is the Uparūpaka class of performances that is so far excellence; for in them music and dance predominate, most of them are merely dances accompanied by songs, interpreting through Abhinaya or gesture, the emotional contents of the song."2 2 2
The Uparūpakas in the Nātyadarpana
The authors of the Nāțyadarpaņa, a work on dramaturgy by Hemachandra's two pupils, Ramachandra and Guņachandra, speak of thirteen other Rūpakas, besides the twelve main Rūpakas dealt with by them. These are Sattaka (written in one language, not in mixed Sanskrit and Prakrit), Śrigadita, Durmilita, Prasthāna, Gosthi, Hallisaka, Nartanaka, Prekșanaka,
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