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Rāsaka, Natyarāsaka, Kavya, Bhāṇa or Bhāṇaka and Bhāṇikā, It may be noted that these other types of Rupakas 2 2 3 are relegated to the commentary i.e., not defined in the main text by the authors of the Natyadarpana because, as they say, they are not so interesting and that they are not mentioned by the "Vrddhas" (N.D., G.O.S., p. 198).
Dr. K. H. Trivedi has studied the Natyadarpaṇa critically (L.D. Series No. 9). He remarks, "the N.D. recognizes only thirteen out of the eighteen subordinate types later known as Uparūpakas. The N.D. and the K.S. as well, call them other types of drama the N. D. ..... differentiates them from Rūpakas on the basis of the place of Rasa which predominates in the latter. In the Uparupakas Rasa has a subordinate place. It is the element of music and dance that prevails here in most cases ..... the B. P. calls the varieties of dance (Nṛtyabhedah)" (pp. 204-205).
the
The Number of Uparūpakas Varies with Different Authors
It may be noted that the number of these So called Uparūpakas varies with different writers at different times. As for the number of these Uparupakas, some instances can be stated. Abhinavagupta mentions nine types. Dhanika mentions seven of them. Bhoja has twelve varieties. Hemachandra enumerates twelve but uses the word Adi at the end of the list. So his list is not hard and fast. Also, Hemachandra has three more Śrīgudita, Kavya and Gostḥi added to the list of Abhinava. He has adopted Abhinava's verses which define the nine shows. The other two definitions are found in the Śṛngaraprakāśa of Bhoja. And the last one is said to be from Kohala, quoted by Abhinava and it purports to be the definition of the Ragakāvya. The Sahityadarpaṇa is the first to call these shows as Uparūpakas and mentions eighteen varieties. But the largest number, twenty, is given in the Bhavaprakāśa of Saradātanaya. Thus one thing is clear that the minor dramatic
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