Note 15 — III DRAMATIC THEORY XIII THE THEORY OF THE DRAMATIC ART

Further light is shown on the nature of drama (nāṭya) by the discrimination of it from dance (nṛtta) and mimetic art (nṛtya), which united with song and speech serve to make up the drama.15 The dance is based on time and rhythm; the mimetic art is concerned with representing the feelings or emotions (bhāva), while the essence of the drama is the sentiment (rasa) which it evokes in the spectator, a fact which places it on a higher level than either of its handmaidens. But there may be dramas in which these auxiliaries take first place, and on this fact is based a distinction between the primary forms, Rūpakas, in which the poetry is the dominant element and the secondary forms, Uparūpakas. Of Rūpakas ten are distinguished, Nāṭaka, Prakaraṇa, Bhāṇa, Prahasana, Ḍima, Vyāyoga, Samavakāra, Vīthī, An̄ka, and Īhāmṛga, which vary in regard to subject-matter (vastu), hero or heroine, and sentiment.