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Classification of Poetry
vyāyoga-samavakārau
vithyankehāmrgā iti toṭakam nāṭikā gosthi sallāpaḥ śilpakan tathā. dombī śrīgaditam bhāṇī prasthānam kāvyam eva ca, prekṣakam saṭṭakam nātya-rāsakam lāsakam tathā ullopyakañca hallīsam atha durmallika'pi ca, mallikā kalpavalli ca pārijātakam ity api. rasātmakā daśaite tu, vimśad bhāvātmakā matāḥ, teṣām rūpaka-samjñā'pi, prayo dṛśyatayā kvacit.
trimśad rūpakabhedāś ca prakāśyante tra laksanaih.
Thus, though 'bhāvā❞tmaka', the twenty enumerated as above by Śā. are in his opinion, 'rūpakas' also, i.e. they could be subsumed under 'rūpakas' because they are also dṛśya i.e. to be seen on the stage, to be enacted, with an element of abhinaya. Actually, we know that they are classed as 'upa-rupakas' for this reason only. They are 'upa' or 'not principal' in the sense that they involve a lot of dance and music, both vocal i.e. song, and instrumental i.e. vādya along with thin abhinaya. Again, as seen in H., such art-forms as dombī and the rest are not fullfledged rūpakas as in these there is no 'rūpana' i.e. superimposition of the characters such as Rāma etc. as in drama, and the self of the lady dancer or anyone is not concealed. If Śā. calls them 'rūpaka' also, he means precisely this.
In the beginning of the next chapter i.e. Ch. IX, Śā. again enumerates twenty uparūpakas as :
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"dasarūpeṇa bhinnānām rūpakāṇām atikramāt, avantarabhidāḥ kāścit padárthábhinayā”tmikāḥ. te nṛtya-bhedāḥ prāyeṇa sankhyayā vimśatir matāḥ, toṭakam nāṭikā goṣṭhī sallāpaḥ śilpakas tathā. dombī śrīgaditam bhāņo bhāṇī prasthānam eva ca, kavyañ ca prekṣaṇam natya-rāsakam rāsakam tathā. ullopyakanca hallīsam atha durmallikā'pi ca, kalpavalli mallikā ca, pārijātakam ity api. etā nāmántaraiḥ kaiścid ācāryaiḥ kathitā api, samvidhāna-kramas tāsām na kadācana bhidyate. nātikāyāstoṭakasya'pi saṭṭakasya ca lakṣaṇam,
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